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Queen Anne was the second daughter of which king ?	Queen Anne Stuart of England Queen Anne of England Anne Stuart was an unlikely person to become queen of England. She was born on February 6, 1665 to the Duke and Duchess of York and was their second daughter out of three children. Shortly before her birth, her uncle, King Charles II, had married and seemed destined to have a large family after fathering several illegitimate children. But he had no more children. As Anne grew older she would be plagued by numerous health problems, but she survived to adulthood. She only received a limited education, yet Anne would reign during a critically important period in her nation's history. During her reign she would oversee two major events in English history, one domestic and one foreign. The first being the Act of Union that united England and Scotland. The second was a major international war, the War of Spanish Succession. Best remembered as the last of the Stuart dynasty Anne had no heirs. The events of her reign would pave the way for Britain to become an international world power. Although born into royalty, her education was similar to that of other aristocratic girls: languages and music. Her knowledge of history was limited and she received no instruction in civil law or military matters that most male monarchs were expected to have. She was also a sickly child, and may have suffered from the blood disease porphyria, as well as having poor vision and a serious case of smallpox at the age of twelve. Poor health would plague Anne her entire life, probably contributing to her many miscarriages. Anne grew up in an atmosphere of controversy. Her father James, the Duke of York, and both her mother and later her stepmother were Roman Catholic. They would have preferred to raise Anne and Mary (their only children to survive early childhood) as Roman Catholics. Nevertheless, prominent Protestants, such as Henry Compton, later bishop of London, interceded and ensured the girls would not only be required to attend Protestant services but that they also receive Protestant religious instruction. Anne's life dramatically changed when the Lord Treasurer and Earl of Danby, in an attempt to strengthen his influence with King Charles II, arranged the marriage of Anne's sister, Mary, to William of Orange. Their father, the Duke of York, had wanted to wed Mary to the heir to the French throne, a Roman Catholic. Danby persuaded by the King to allow the marriage to William, a Dutch Protestant and an enemy of France, thus straining the close relationship between Anne and Mary. Anne married Prince George of Denmark. This was an arrangement Anne's father negotiated in secret with sponsorship by King Louis XIV of France, who hoped for a Anglo-Danish alliance against William of Orange and the Dutch. No such alliance would ever materialize. Her husband did not affect Anne's position as he remained politically weak and inactive, suffering from a drinking problem. Prince George's influence in matters of state would remain small throughout their marriage. The relationship he had with Anne was a close one and she loved him deeply, however, their marriage was saddened by Anne's twelve miscarriages and the fact that none of their other five children reached adulthood. When King Charles II died in 1686, Anne's father became King James II. His Roman Catholicism and his desire to rule without Parliament's input caused Parliament to call on William of Orange and Mary to take the throne, in the Glorious Revolution of 1688. This revolution created a constitutional, limited monarchy in England, where elected representatives, not a dynastic monarch, truly ruled. Interestingly, later Queen Anne became the last British monarch to veto an act of Parliament. Anne supported the revolution and opposed her father. Mary allowed her husband to rule, and neither got along with Anne during their reign. But since they never had children, after Mary died, followed by William, in 1702, the throne then passed to Anne. The Settlement Act of 1701 paved the way for Anne's reign. It stated that if Anne died without children the throne would pass to the German Hanoverians. The only challenge was her half brother James, a Roman Catholic living in exile in France. Thus Anne ascended as the last Stuart monarch, and was the first married queen to rule England. Anne's reign would be characterized by the attempts of others to manipulate her. Most significantly among these individuals was Sarah Churchill. A friend of Anne's since childhood, Anne leaned heavily on her for companionship. After Anne's marriage she named Sarah to the prestigious position of Lady of the Bedchamber. After Anne became queen, she named Sarah to other prominent posts including Keeper of the Privy Purse, Mistress of the Robes and Groom of the Stole. Their relationship for many years was a close one with Anne showering Sarah with large allowances and gifts, such as the huge and extravagant Blenheim estate. The estate was given to the Churchill's as a reward for John Churchill's important military victory in the War of Spanish Succession. Anne often seemed dependent on Sarah, at least for emotional support. Anne would constantly write to Sarah when Sarah was away from the court attending to her family. Anne's letters made it seem like she could not get along without Sarah. They would use playful pseudonyms when writing to each other: Anne being Mrs. Morley and Sarah Mrs. Freeman. Their relationship would eventually deteriorate due to Sarah's nagging and their many petty arguments. Sarah would fall out of favor and would be replaced as Anne's favorite by a distant cousin, Abigail Masham. The end of Anne's friendship with Sarah signaled a change in political influences as well. Although Anne had always been a strong Tory throughout her reign she had vigorously supported the War of Spanish Succession, a Whig war. Sarah Churchill was a Whig and her husband John, though a Tory, was the leading English general in the conflict. Because of the Churchill's influence, Anne had always been inclined to support the war which was the most important event in foreign affairs during Anne's reign. However, when Abigail Masham a Tory replaced Sarah as Anne's close friend it signaled a shift in politics. Some historians believe Anne manipulated her ministers to enact the policies she wanted while others see her as a monarch manipulated by her ministers. Whatever the case, when the Tories came into power they negotiated an end to the war. The Settlement Act of 1701 had angered Scotland where the Stuart dynasty had originated. The Scots threatened to bring back James, Anne's Roman Catholic half-brother and pretender to the throne, to rule. To head off a revolt and unite support for the crown, Anne pushed for the Act of Union which would unite England and Scotland. The Act of Union was finally accepted in 1707. In the last couple years of her life Anne became very ill. She was often bedridden and attended to by doctors. These doctors used many techniques to try to cure Anne including bleeding her and applying hot irons. These crude medicinal techniques probably did more harm than good, and Anne died on July 31st 1714. Annotated Bibliography Ashley, Maurice. The Stuarts in Love. New York: The Macmillan Company, 1964. This book is intended to deal with the personal lives and loves of the members of the Stuart dynasty. It begins in the first section by discussing love and marriages of each class of English society in the sixteenth and seventeenth centuries. It then goes on to discuss each of the Stuart monarchs, dedicating two chapters to each one. The two chapters dedicated to Queen Anne are entitled "The extravagant passions of Queen Anne." These chapters briefly discuss Anne's early life and love life. The main focus concern Anne's friendships, particularly with Sarah Churchill, and how these relationships intertwined with politics. These chapters go farther than Anne's personal life and talk extensively about her reign and the major events of that period. These chapters are brief biographies that go beyond Anne's personal life. Finally, this author concludes that Anne was not someone bullied by those vying for her affection, but rather a monarch who had a firm policy and pursued it in the manner she saw fit. This book provides a good list of footnotes at the end of each chapter. Overall though, the information contained in it can be found in other sources. Bucholz, Robert O. " 'Nothing but Ceremony': Queen Anne." Journal of British Studies. 30 (1991): 288-323. This is an interesting article in which the author sets out to write about an aspect of Queen Anne's reign he says has been neglected; her use of royal ritual to unite Britain. Bucholz states Anne uses royal ritual and ceremony in a couple of different ways. She uses ritual to make political statements and to demonstrate the monarchy was above the squabbling of partisan politics. He discusses Anne's use of parallels between herself and Queen Elizabeth and the use of the analogy of Anne being the mother to the people of England. He also discusses Anne's use of ceremony during special occasions to rally support for the monarchy. Bucholz concludes Anne's use of royal ritual was ultimately a failure because of her inability to unite the various political factions. These politicians were important subjects who were not dependent on the monarchy for their status in society. Though Anne reached back in history to reestablish Bucholz says she inadvertently brought about a future in which the main role of the monarchy was ceremonial, to represent the state. The monarchy was then limited and not able to rally people as effectively. This is an interesting article on a unique topic which is extensively footnoted and has a good bibliography. Clark, Sir George. The Later Stuarts 1660-1714 . 2nd Ed. Oxford: Clarendon Press, 1961. This book was written as part of a fourteen volume series of the history of England. This book covers English history from the time of the restoration until the death of Queen Anne. The book begins by discussing Anne's reign with the War of Spanish Succession followed by Whigs and Tories. Clark sees Anne as a weak and bullied monarch, sometimes not more than a figurehead. He sees are as appointing and dismissing ministers in accordance with her emotions rather than sound judgment. The only area that she ruled significantly in , he says, is in her religious appointments where her influence was great. He dedicates more time to events of social and political trends during her reign than to Anne herself. He does mention Queen Anne's Bounty, the money that she annually gave to the poor. Near the end of the book, he takes a topical approach and addresses economics, the criminal code, overseas colonies, arts and literature and other aspects of Anne's reign not found in other sources. This book has an annotated bibliography organized by topic, charts of the Stuart family, many maps and an appendix listing the important government ministers. This book is an excellent source for events and topics of Queen Anne's reign not covered elsewhere. Nevertheless, there is little personal biographical information about Anne herself. Curtis, Gila. The Life and Times of Queen Anne. London: Wiedenfeld and Nicolson Limited, 1972. An easy read, this book is written for a non-scholarly general audience. It is packed with a large number of illustrations of people, places, and events prominent during Queen Anne's life. It has no footnotes and only a brief bibliography, although it does contain many excerpts from primary source material.The book is divided into eight sections, each covering a different time period of Anne's life. Although not as detailed as some of the more scholarly works, this is a complete biography covering all aspects and major events of Anne's life and reign.It is particularly good in showing Anne's relationship and eventual falling out with Sarah Churchill. Also, it competently explains the political struggle of Whigs and Tories during Queen Anne's reign. Gregg, Edward. Queen Anne. London: Routledge & Kegan, Paul, 1980. R.O. Bucholz, Assistant Professor of History at Loyola University, in his article says that this book is the definitive biography of Queen Anne. This is a well written and thorough biography with frequent quotations from primary source material which is extensively footnoted and documented. The author cites many items previously unavailable from the archives in Britain and overseas as well as his use of works of other contemporary scholars as the unique characteristics of his work. His book tries to refute the claims of Sarah Churchill and others who have followed her interpretation of Queen Anne. These interpretations often painted Anne as weak, indecisive, dominated by others and as a monarch who let policy be affected by petty personal squabbles.Gregg sees Queen Anne as more important and attempts to give a balanced portrayal of her public and private life. Gregg believes that Queen Anne was a strong, careful and calculating monarch, was driven by ambition and resolve, and who asserted her authority without trampling on parliamentary authority. He also portrays Anne pursuing a course of political moderation. She is not someone dominated by changes in the strengths of different political parties. Rather, a monarch not controlled by either party who had ministers from both parties and changed them in order to pursue policies of which she approved. This extensive work and its bold interpretation of Queen Anne make this book an extremely useful source. Green, David. Queen Anne. New York: Charles Scribner's Sons, 1970. In this work, the author presents a work more complex than most. He sees her not as a great monarch and not one who was weak and ineffective. He sees her as a courageous queen who did her best despite many personal and political obstacles that would have been difficult for any monarch. Even though obstacles proved too difficult for her, she always did her best to carry out her duties. He also makes the point that Anne was a transitional monarch. She was not a powerful Divine Right monarch but one who was moving toward a constitutional monarchy in which Parliament had the power, although that form of government hadn't fully emerged. This is a good source with frequent quoting from primary sources and contains an extensive bibliography. The author's appendix on the health of Queen Anne is a unique feature of this book. Harris, Frances. "Accounts of the Conduct of Sarah, Duchess of Marlborough, 1704-1742" British Library Journal (1982): 7-35. This article focuses on the writings of Queen Anne's close friend and confidant Sarah Churchill. It provides some insight on Sarah's and Anne's turbulent relationship. Mainly, it addresses what Sarah wrote and when she wrote it. It provides some context by discussing Sarah's motivations when she wrote something as well as events surrounding that time. It also discusses who assisted Sarah with her writings and precisely what role they had in writing and compiling her papers. Finally, it discusses the organization of Sarah Churchill's papers. This is an excellent resource for those interested in serious research of the papers of Sarah Churchill. Although Sarah's papers undoubtedly contain a wealth of information on Queen Anne this article has only limited information on the topic. Kishlansky, Mark. A Monarchy Transformed. Allen Lane: The Penguin Press, 1996. This is the sixth volume in a nine volume Penguin History of Britain and covers the entire reign of the Stuart dynasty. As the title suggests, the author sees the Stuart dynasty as a time when the monarch and England itself were greatly changed. The monarchy evolved into a constitutional monarchy from a more absolute one. The nation itself also became more unified and grew to include a large overseas empire. Many of these changes occurred during Queen Anne's reign. Mentioned sporadically elsewhere, the last chapter focuses on Anne and her reign. It focuses a lot on the politics of her reign. Also included in the chapter is information relating to the War of Spanish Succession. This chapter is of some, but not great usefulness in studying Queen Anne. The book does include a section entitled 'For Further Reading,' which is organized by monarch and is helpful on finding other sources of information about Queen Anne. Trevelyan, George Macauly. England Under the Stuarts. History of England, vol. V. London: Methuen Co., LTD., reprinted 1961. This is a book by the author who wrote the ground-breaking and most important work on Queen Anne: the three volume work England Under Queen Anne. Trevelyan writes about the Stuart dynasty as his contribution to an eight volume history of England. The final chapter of the book is dedicated to the reign of Queen Anne. This chapter gives extensive treatment to the events of Anne's reign. The Queen herself is not the major focus although she is often mentioned and her friendship with Sarah Churchill and Abigal Masham are discussed. The politics of the Whigs and Tories and the War of Spanish Succession are extensively discussed. Trevelyan also pays more attention than most authors to the class structure as it related to political party makeup. His use of marginal headings are useful guides to topics of particular paragraphs. Also, he makes extensive use of maps; a Trevelyan trademark. Footnotes are located at the bottom of each page and are well done, as is the extensive bibliography. This is an excellent user-friendly source for the events of Anne's reign. WEBSITES "Monarchs of England ANNE (1702-14AD)". < http://www.britannia.com/history/monarchs/mon52.html > (November 9, 2004). This article provides only superficial background information on Queen Anne's life. It focuses mainly on her reign. It gives particular attention to those vying for influence over Anne especially Sarah Churchill and Abigal Hill. This is a useful source for background information on this aspect of Queen Anne's life. Royal Household. "Anne." The official website of the British monarchy. n.d. < http://www.royal.gov.uk/output/Page102.asp > (November 9, 2004). This article comes from . This article provides only brief background information about Anne's life and gives almost no attention to her friendship with the Churchills. Its main focus is on the role government and politics played in Queen Anne's reign. It is a good resource for basic information about politics during the reign of Queen Anne. "Sir William Wallace of Elerslie - Queen Anne and the 1707 Act of Union". < http://www.highlanderweb.co.uk/wallace/anne.htm >. This article focuses on the Act of Union of 1707 and Queen Anne's role in advocating for it. It makes the ironic point that Queen Anne was the last Stuart monarch, which was originally a Scottish dynasty, and the last monarch to rule and independent Scotland. Yet Anne pushed for an act that effectively ended Scottish independence. The article tries to make the connection with Sir William Wallace who fought in the 1200's for Scottish independence. Ironically this article claims it was a "Scottish" monarch who ended Scotland's independence. This article is somewhat biased and minimizes Anne's accomplishments. Surprisingly, this article provides good background information on her early life. This was the most unique website article found about Queen Anne. Copied from this website?< http://www.futura-dtp.dk/SLAG/Personer/NavneA/AnneEL.htm > (5 January 2004). < http://www.charlottesville-area-real-estate.com/FluvannaCountyRealEstate.html >.	James II of England
What is the main currency unit of Hungary ?	The Ancestry of Queen Anne Stuart The Ancestry of Queen Anne Stuart 50 Generations Burgundian chieftain and military leader Born (c300 AD) he was the father of, 2. GUNDOMAR (Born c325 AD) he was the father of, 3. GIOLAHAIR (Born c350 AD) he was the father of, 4. GUNDICAR of Burgundy King of Burgundy – also called Gundicus (Born c380 AD – Died 436 AD) He was the father by an unknown concubine of, 5. GUNDIOC of Burgundy King of Burgundy (436 – 474 AD) – also called Gunderic. (Born c410 AD – Died 474 AD) He was married (c430 AD) to FLAVIA RICIMIA (Born c415 AD – Died before 474 AD) the sister of the Roman military leader Flavius Ricimer. Gundioc and his queen were the parents of, 6. CHILPERIC II of Burgundy King of Burgundy (474 – 491 AD) He ruled jointly with his two elder brothers Gundobad and Godesgesil. Chilperic was married (c470 AD) to AGRIPPINA N (Born c454 – Died 491 AD) of noble but unspecified Gallo-Roman parentage. Chilperic and his two sons were killed by his brother Gundobad, whilst Queen Agrippina was captured and killed by being thrown into the Rhone River with a millstone tied around her neck. Chilperic and Queen Agrippina were the parents of, 7. CLOTILDA of Burgundy Princess of Burgundy (Born 475 AD at Vienne – Died June 3, 545, at Tours and buried within the Church of St Genevieve in Paris). Clotilda became the second wife at Soissons (492 AD) of CLOVIS I (Born 466 AD – Died Nov 27, 511 at Paris and buried within the Church of St Genevieve in Paris), King of the Salian Franks (481 AD – 511), the son of Childeric I, King of the Salian Franks (466 – 481 AD) and his wife Basina of Cologne, the former wife of King Basinus of Thuringia. Queen Clotilda was canonized as a saint (June 3). She and Clovis were the parents of, 8. CLOTAIRE I of Neustria King of Neustria (511 – 561) (Born 497 AD – Died 561 at Compeigne, Aisne, and buried with the Abbey of St Medard at Soissons). Clotaire I was married fourthly (c532) to ARNEGUNDE of Thuringia (Born c518 – Died c573 and was buried within the Abbey of St Denis at Rheims, near Paris), the daughter of Baderic, King of Thuringia (c505 – c529). Clotaire and Arnegunde were the parents of, 9. CHILPERIC I of Neustria King of Neustria (561 – 584) (Born 533 – Died Oct, 584, at the villa of Chelles, near Marne, being murdered at the instigation of Queen Fredegonde. He was buried within the Abbey of St Germain-des-Pres in Paris). Chilperic was married thirdly (568) to FREDEGONDE of Ardenne (Born 545 – Died 597 in Paris, and was buried within the Church of St Germain-des-Pres), the daughter of Count Brunulf of Ardenne and Cambrai and his wife Clotilda of the Visigoths, the daughter of Amalric II, King of the Visigoths. Chilperic I and Queen Fredegonde were the parents of, 10. CLOTAIRE II of Neustria King of Neustria (584 – 629) (Born 569 – Died Oct 18, 629, and was buried within the Church of St Germain-des-Pres in Paris). He was married secondly (c602) to BERTHETRUDE of Scheldt (Born c584 – Died 618, and buried within the Abbey of Rouen in Normandy), the daughter of Arnoald I, Margrave of Scheldt (570 – 601) and his wife Bilchilde of Austrasia, the daughter of Theudebald I, King of Austrasia (547 – 555) and his wife Vuldetrada of Lombardy. Clotaire II and Berthetrude were the parents of, 11. DAGOBERT I of Neustria King of Neustria and Austrasia (629 – 639) (Born 602 – Died Jan 9, 639, and was buried within the Abbey of St Denis at Rheims, near Paris) He was married secondly (before 630) to NANTECHILDE (Nanthilda) (Born c610 – Died 645), the daughter of Sandregiselus, Lord of Bobigny, an Austrasian magnate. Dagobert I and Queen Nantechilde were the parents of, 12. CLOVIS II of Neustria King of Neustria (639 – 657) His mother Queen Nantechilde ruled as regent until 645 (Born 633 – Died 657) King (639 – 657) married (648) BALTHILDE N (Born c630 – Died Jan 30, 678 at Chelles, near Paris) who was an Anglo-Saxon captive of unspecified parentage. As a widow Balthilde ruled as regent for her young sons until she was ousted from power during a court coup (c665). Balthilde retired from court and became the Abbess of the convent of St Marie at Chelles, near Paris. She was venerated as a saint (Jan 30). Clovis II and Queen Balthilde were the parents of, 13. THEUDERIC III of Neustria King of Neustria (673 – 690) (Born 651 – Died Jan, 690). He was married firstly (c670) to CLOTILDA of Austrasia (Born c655 – Died June 5, 692), the daughter of Anisegal, Duke (dux) of Austrasia and his wife Bega of Landen, the daughter of Pepin I of Landen, Duke of Austrasia and his wife Iduberga of Aquitaine. Theuderic was married secondly (c680 – c685) to Doda N (Born c665 – Died June 3, 694). Theuderic III and his first wife Queen Clotilda were the parents of, 14. BERTRADA of Neustria Merovingian princess (Born c687 – Died after 730 at the Abbey of Prum at Ardenne in Austria), she was the sister to King Childebert III of Neustria (690 – 711). Bertrada was married (c705 – c710) to Count CAROBERT of Laon (Born c678 – Died after 747), the son of Martin of Austrasia, Count of Laon and his wife Bertha of Austrasia, the daughter of Hugobert, Count Palatine in Austrasia and Neustria, patron of the Abbey of Echternach. She separated from her husband in order to embrace the religious life. Bertrada and Carobert were the parents of, 15. BERTRADA of Laon Carolingian queen consort (751 – 768) nicknamed ‘au Grand Pied’ (broad foot) (Born c725 at Laon, Aisne – Died July 12, 783) at Choisy, Annecy, and buried within the Abbey of St Denis at Rheims, near Paris). Bertrada was married (c743) to PEPIN III, King of the Franks (751 – 768) Born 715 – Died Sept 24, 768 at the Palace of St Denis, near Paris, buried within the Abbey of St Denis at Rheims), the son of Charles Martel, Duke of Austrasia and ‘Hammer of the Franks’ and his first wife Rotrude of Haspengau, the daughter of Lantbert II, Count of Haspengau (Hesbayne). Queen Bertrada and Pepin III were the parents of, 16. CHARLEMAGNE (Charles the Great) King of the Franks (768 – 771) as joint ruler with his brother Carloman III and was then sole ruler (771 – 800). He became the first Holy Roman Emperor (800 – 814) being crowned in Rome. (Born April 2, 746 at Aachen – Died Jan 28, 814 at Aachen) he was married firstly (c760 – c762) to HIMILTRUDE of Austrasia (Born c747 – Died c790 at the Abbey of St Gertrude at Nivelles in Brabant, and buried within the cloister there) probably the daughter of his cousin Count Bernard of Austrasia and his first wife Gisela of Laon, the sister to Queen Bertrada, wife of Pepin III. Himiltrude was later repudiated by Charles (769) in favour of a more prestigious alliance with the Lombards. Queen Himiltrude was forced to retire to the Abbey of St Gertrude at Nivelles, where she became a nun. Charlemagne and Queen Himiltrude were the parents of, 17. PEPIN the Hunchback Carolingian prince (Born c762 – Died 811, at the Abbey of Prum near Ardenne in Austrasia, and buried within the cloister there). Pepin was Charlemagne’s eldest legitimate son but he was born with a minor deformity and was eventually displaced as imperial heir by his half-brother Louis, the son of his stepmother Queen Hildegarde. After his rebellion against King Charles failed (792) Pepin was forcibly tonsured as a monk and immured within the Abbey of Prum where he remained until his death. Bertha then returned to her brother’s court in Toulouse and became a nun there. Pepin was married (before 780) to BERTHA of Toulouse (Born c763 – Died after Dec 14, 804 at the Abbey of St Guilhem-les-Desert in Toulouse), the daughter of theodoric I of Toulouse, Duke of Septimania and Count of Autun and his wife Aldana of Austrasia, the daughter of Charles Martel, Duke of Austrasia and his second wife Suanachilde of Bavaria, the daughter of Tassilo II, Duke of Bavaria (c715 – c720). Pepin and Bertha were the parents of, 18. AEDA of Neustria Carolingian princess (Born c785 – Died before 843) She became the wife (c798 – c802) of BILLUNG (Born c770 – Died 843), Count of Thuringia, whose parentage remains unrecorded. Aeda and Billung were the parents of, 19. ODA Billung Countess of Thuringia (Born 806 – Died May, 913 aged 107 years, at Gandersheim Abbey, near Goslar, and was buried within the cloister there). Oda became the wife (c820 – c825) of LUIDOLF I (Born c800 – Died 866, and buried within the Abbey of Bruneshausen, later Gandersheim), Duke of Saxony, count in East Saxony and Lord of Herzfeld, the son of Bruno III, Count of Engern in Saxony and his wife Oda of Montfort (also called Ordrada or Suana). Oda and Luidolf were the parents of, 20. ODA of Saxony (also called Enda) (Born c847 – Died after 874). Oda was married (c860 – c865) to LOTHAIR I (Born c835 – Died Feb 2, 880 at Ebstorf, being killed in battle), Count of Stade in Germany, the son of Abbo of Stade. Countess Oda and Lothair were the parents of, 21. LOTHAIR II of Stade Count of Stade in Germany (880 – 929) (Born c870 – Died Sept 5, 929 at Lenzen, being killed in battle) Count Lothair was married (c905 – c910) to SWANHILD of Saalgau (Born c890 – Died Dec 3, after 929), the granddaughter of Henry I of Saalgau, Duke of Austrasia and his wife Ingeltrude of Friuli who was the granddaughter of the Emperor Louis I the Pious (816 – 840). Lothair and Countess Swanhild were the parents of, 22. HENRY I the Bold of Stade Count of Stade and the Heiangau in Germany (929 – 976) (Born c915 – Died May 11, 976, buried in the Abbey of Heeringen). Henry was married firstly (c935 – c940) to Judith of the Wetterau (Born c925 – Died Oct 16, 973), the daughter of Odo I, Count of the Wetterau and his wife Kunigunde of Vermandois, the daughter of Herbert I, Count of Vermandois and his wife Bertha of Morvois. Henry was married secondly (c974) to HILDEGARDE of Rheinhausen, the daughter of Elli I, Count of Rheinhausen. Henry and Hildegarde of Rheinhausen were the parents of, 23. HILDEGARDE of Stade (Born 975 – Died Oct 3, 1011, buried within the Abbey of St Michael in Lunenburg) She became the second wife (c990) of BERNARD I, Duke of Saxony (Born c940 – Died Feb 9, 1011), the son of Herman I Billung, Duke of Saxony, by his wife Hildegarde of Westerburg, and the paternal grandson of Billung, Count of Stuebeckshorn. Duchess Hildegarde and Bernard I were the parents of, 24. BERNARD II of Saxony Duke of Saxony (1011 – 1059) (Born c995 – Died June 29, 1059) Bernard was married firstly (c1015) to Bertrada Haraldsdotter (Born c995 - Died c1017), sister of Olaf II Skotonnung, King of Norway, and daughter of Harold II Granske, under-King of Vestfold, in Norway, by his wife Astrid Gudbrandsdottir, later wife of Sigurd Styr (died 1018), the son of Halfdan, King of Trondheim. Duke Bernard was married secondly (1019) to EILIKA of Schweinfurth (Born c1004 - Died after 1055), the daughter of Henry of Swabia, Margrave of Schweinfurth, by his wife Gerberga of Tullfeld, the daughter of Otto III, Count of Tullfeld and Grabfeldgau. Bernard and Eilika were the parents of, 25. ORDULF of Saxony Duke of Saxony (1059 – 1072) – also called Ordulph (Born 1020 – Died March 28, 1072). Ordulph was married firstly (1042) to ULFHILD Olafsdotter (also called Gisela and Wulfhild) (Born 1026 – Died May 24, 1070), the daughter of Olaf II Skotunnung, King of Norway, by his Anglo-Saxon concubine Alfhilda, and the sister of King Magnus I of Norway (1024 – 1047). Ordulph was married secondly (1070) to Gertrude of Haldensleben (Born c1033 – Died Feb 21, 1116), the widow of Frederick, Count of Formbach, and the daughter of Conrad of Haldensleben, Margrave of Nordmark. Ordulf and Duchess Ulfhild were the parents of, 26. IDA of Saxony Princess of Saxony – also called Relinde (Born c1043 – Died July 31, 1102) Ida was married firstly (1060), as his second wife, to Frederick of Luxembourg (Born c1005 – Died May 18, 1065), Duke of Lower-Lorraine and Bar. Duchess Ida was married secondly (c1066) to ALBERT III, Count of Namur (Adalbert) (Born c1025 – Died June 22, 1102), the son of Albert II, Count of Namur by his wife Reginlinda of Lorraine, the daughter of Gozelo I, Duke of Lower-Lorraine. Countess Ida and Albert III were the parents of, 27. ADELAIDE of Namur Heiress and sovereign Countess of Namur (1102 – 1124) (Born c1068 – Died 1124) Adelaide was married (1080) OTTO II, Count of Chiny (Born c1065 – Died between 1124 – 1131), the son of Arnold II, Count of Chiny, by his wife Adela of Montdidier-Roucy, the daughter of Hilduin III of Montdidier, Count of Roucy. Countess Adelaide and Otto II were the parents of, 28. IDA of Namur Heiress and sovereign Countess of Namur (1124 – c1126) (Born c1083 – Died c1126) Ida became the first wife (c1100) of GODFREY I the Bearded of Louvain (Born c1063 – Died Jan 25, 1139, and buried at the Abbey of Afflighem), Duke of Lower Lorraine and Margrave of Antwerp, the son of Henry II, Count of Louvain, by his wife Adela of Orlamunde, probably the widow of Stephen II, Count of Champagne, and the daughter of Eberhard, Count of Orlamunde. Ida and Godfrey were the parents of, 29. GODFREY II of Louvain Duke of Lower-Lorraine (1139 – 1142) (Born c1100 – Died Nov or Dec, 1142) He was married (1139) to LUITGARDE of Sulzbach (Born 1121 – Died after 1163), later wife of Hugh IX, Count of Metz and Dagsburg), daughter of Berengar II, Count of Sulzbach, by his second wife Adelaide of Diessen (Wolfratshausen), the daughter of Otto II, Count of Diessen, Thaming and Ambras. Duchess Luitgarde remarried secondly to Hugh IX, Count of Metz and Dagsburg. Godfrey and Duchess Luitgarde were the parents of, 30. GODFREY III of Louvain Duke of Lower-Lorraine (1142 – 1190) (Born 1142 – Died Aug 10, 1190 and buried within the Church of St Peter in Louvain, Brabant). He was married firstly (1155) to MARGARET of Limburg (Born c1143 – Died 1173), the daughter of Henry II, Count of Limburg (1151 – 1167) and his first wife Matilda of Saffenberg, the daughter of Adolf, Count of Saffenberg and Seigneur of Rolduc. Godfrey was married secondly (c1175) to Imagina of Looz (Born c1158 – Died c1217), the daughter of Louis I, Count of Looz, and his wife Agnes of Metz, daughter of Volmar, Count of Metz. Godfrey and Duchess Margaret were the parents of, 31. HENRY I of Brabant Duke of Brabant (1183 – 1235) (Born 1165, died Sept 5, 1235 at Cologne (Koln) and buried within the Church of St Peter at Louvain in Brabant). Henry I was married firstly (1179) to MATILDA of Flanders (Born 1162 – Died 1211), heiress of the county of Boulogne, the daughter of Matthew of Alsace, Count of Boulogne and Flanders, by his first wife Mary of Blois, Princess of England, the daughter of Stephen of Blois, King of England (1135 – 1154). Duke Henry was married secondly (April 22, 1213) at Soissons, Aisne, to Marie Capet, Princess of France (Born 1198 – Died Aug 15, 1238, and buried within the collegiate Church of St Peter in Louvain), the widow of Philip I, Count of Namur, and the daughter of Philip II Augustus, King of France (1180 – 1223), by his third wife Agnes of Meran, the daughter of Berthold V, Duke of Meran. Henry I and Duchess Matilda were the parents of, 32. HENRY II of Brabant Duke of Brabant (1235 – 1248) nicknamed ‘the Courageous’ (Born 1189 – Died Feb 1, 1248). He was married firstly (before Aug 22, 1215) to Maria of Hohenstaufen and Swabia, Princess of Germany (Born 1201 – Died 1235), the daughter of Philip of Swabia, King of Germany and his wife Irene Angela, the widow of Roger of Hauteville, Duke of Apulia, and the natural daughter of Isaac II Angelus, Emperor of Byzantium. Henry II was married secondly (1240) to SOPHIA of Thuringia (Born March 22, 1224 at Wartburg Castle, Thuringia – Died May 29, 1275), the daughter of Louis IV, Landgrave of Thuringia (1217 – 1227), by his wife St Elizabeth of Hungary (1207 – 1231), the daughter of Andrew II, King of Hungary (1205 – 1235). Henry II and Duchess Sophia were the parents of, 33. MATILDA of Brabant Princess of Brabant (Born 1224 – Died Sept 29, 1288) Matilda was married firstly (June 14, 1237) at Compeigne to ROBERT I, Count of Artois (Born Sept, 1216 – Killed Feb 9, 1250, at the battle of El Mansurah, whilst on Crusade in Egypt), the son of Louis VIII, King of France (1223 – 1226), and his wife Blanche of Castile, the daughter of Alfonso VIII, King of Castile. Countess Matilda was married secondly (before May 31, 1254) to Guy III of Chatillon, Count of St Pol (Born c1220 – Died March 12, 1289), the son of Hugh V of Chatillon, Count of St Pol, by his wife Marie d’ Avesnes, the daughter of Gautier II, Seigneur d’ Avesnes and his wife Margaret, Countess of Blois. Matilda and Robert I of Artois were the parents of, 34. ROBERT II of Artois Count of Artois (1250 – 1302) (Born after August in 1250 – Died July 11, 1302) He was married firstly (1262) to AMICIA de Courtenay (Born 1249 – Died 1275), the daughter of Pierre de Courtenay, Seigneur of Conches, and his wife Peronelle of Joigny, the daughter of William II, Count of Joigny. Robert II was married secondly (1277) to Agnes de Bourbon (Born c1264 - Died Sept 7, 1289), daughter of Archambaud VII, Seigneur de Bourbon. He was married thirdly (1298) to Margaret of Holland (Born c1283 – Died Oct 18, 1342), the daughter of Johannn II, Count of Holland, by his wife Philippina of Luxemburg, the daughter of Henry II, Count of Luxembourg-Namur. Robert II and Countess Amicia were the parents of, 35. PHILIP of Artois Seigneur (Lord) of Conches (1275 – 1298) (Born 1273 – Died Sept 11, 1298) He was married (Nov, 1281) to BLANCHE of Brittany (Born 1270 - Died March 19, 1327), the daughter of Jean II, Duke of Brittany by his wife Beatrice Plantagenet, the daughter of Henry III, King of England (1216 – 1272). Philip and Blanche were the parents of, 37. MARGARET of Artois (Born 1284 – Died April 24, 1311) She was married (1300) to LOUIS Capet, Prince of France and Count of Evreux (Born May, 1276 – Died May 19, 1319), the son of Philip III, King of France (1270 – 1285) and his second wife Marie of Brabant, the daughter of Henry III, Duke of Brabant. Margaret and Louis were the parents of, 38. PHILIP III of Navarre Philip III, King consort of Navarre (1318 – 1343) and Count of Evreux (1319 – 1343) (Born 1301 – Killed Sept 16, 1343, at the siege of Algesiras, at Granada in Spain). Philip was married (June 18, 1318) to JEANNE II, Queen of Navarre (1316 – 1349) (Born Jan 28, 1311 – Died of the Black Death Oct 6, 1349 at the Chateau of Conflans, near Paris), the only surviving child and heiress of Louis X le Hutin (the Strong), King of France and Navarre (1314 – 1315) and his first wife Margeurite of Burgundy, the daughter of Robert II, Duke of Burgundy. King Philip and Queen Jeanne II were the parents of, 39. CHARLES II the Bad of Navarre King of Navarre (1349 – 1387) (Born Oct, 1332 – Died Jan 1, 1387) He was married (1351) to JEANNE de Valois, Princess of France (Born June 24, 1343 – Died Nov 3, 1378 at Evreux), the widow of Henry, Duke of Limburg, and the daughter of Jean II, King of France (1350 – 1364) and his first wife Bonne of Luxemburg (Judith), the daughter of Jean of Luxemburg, King of Bohemia. Charles II and Queen Jeanne were the parents of, 40. CHARLES III of Navarre King of Navarre (1387 – 1425) (Born 1361 - Died Sept 8, 1425 at Olite) He was married (May 27, 1375) to LEONORA of Castile (Born 1352 – Died March 15, 1416), the daughter of Henry II, King of Castile and his wife Juana Manuel, the daughter of Juan Emanuel III, Count of Pennafiel and Villena and his wife Constanza of Aragon, daughter of Jaime II, King of Aragon (1291 – 1327). Charles III and Queen Leonora were the parents of, 41. BLANCHE II of Navarre (Blanca) Queen Regnant of Navarre (1425 – 1441) The second daughter (Born 1386 – Died April 1, 1441) Blanche was married firstly (1402) to Martin II el Joven, (Born 1375 – Died July 25, 1409 at Calgliari), King of Sicily (1389 – 1409), (as his second wife) the son of Martin I, King of Aragon (1396 – 1410) and his first wife Maria Lopez de Luna, the daughter of Count Lope de Luna. Queen Blanche was married secondly (June 18, 1420), as his first wife, to JUAN II (Born June 28, 1397 – Died Jan 19, 1479), King of Aragon (born June 28, 1397, died Jan 19, 1479), son of Ferdinando I, King of Aragon and his wife Leonora of Albuerquerque, the daughter of Infante Sancho, Count of Alberquerque. Queen Blanche II and Juan II of Castile were the parents of, 42. LEONORA of Aragon (also Leonor or Eleanor) Queen Regnant of Navarre (Jan – Feb, 1479) (Born 1426 – Died Feb 12, 1479) She was married (July 30, 1436) to her first cousin GASTON IV, Count of Foix (Born 1412 – Died July, 1472), the son of Jean de Grailly, Count of Foix and his wife Jeanne of Navarre, the eldest daughter of Charles III, King of Navarre. Queen Leonora and Gaston de Foix were the parents of, 43. GASTON de Foix Prince of Viana and heir to the throne of Navarre (Born 1444 – Died Nov 23, 1470) Gaston was married (March 7, 1461) to MADELEINE de Valois, Princess of France (Born Dec 1, 1443 – Died 1495 at Pampeluna) the daughter of Charles VII, King of France (1422 – 1461), by his wife Marie of Anjou, the daughter of Louis II of Anjou, King of Naples and his wife Yolande of Aragon (Violante), the daughter of, Juan I, King of Aragon (1387 – 1396). Gastone and Madeleine were the parents of, 44. CATHERINE de Foix Queen Regnant of Navarre (1483 – 1515) (Born 1470 – Died Feb 12, 1517 at Mont-de-Marsan, France), the sister and heiress of Francis Phoebus, King of Navarre (Born 1467 – Died 1484), Catherine was married (1484 at Orthez) to JEAN II d’ Albret (Born 1469 – Died June 17, 1516), King consort of Navarre (1484 – 1515) the son of Alain II d’ Albret, Duke of Guienne and his wife Francoise of Brittany, Viscountess of Limoges, the daughter and co-heiress of Guillaume de Chatillon-Blois, Viscount of Limoges. Catherine and Jean II were the parents of, 45. HENRY II d’ Albret King of Navarre (1517 – 1555) (Born April 18, 1503 at Sanquesa – Died May 25, 1555 at Pau). Henry II was married (Jan 24, 1527) to MARGEURITE d’ Angouleme (Born April 11, 1492 at Angouleme – Died Dec 21, 1549 at Odos-en-Bigorre), the widow of Charles IV, Duke of Alencon, and sister of Francis I, King of France (1515 – 1547) being the daughter of Charles of Valois, Comte d’ Angouleme, by his wife Louise of Savoy, Comtesse and Duchesse d’Angouleme, the daughter of Philip I, Count of Savoy. Henry and Margeurite were the parents of, 46. JEANNE III d’ Albret Queen Regnant of Navarre (1555 – 1572) (Born Jan 7, 1528 – Died June 9, 1572 at Paris). She was married firstly (as his first wife) (1540 at the Cathedral of Notre-Dame, Paris) to William V, Duke of Cleves (1539 – 1592) (Born July 28, 1516 – Died Jan 5, 1592), son of Johann III, Duke of Cleves, by his wife Maria of Juliers (Julich) the daughter and heiress of William III, Duke of Juliers-Berg. This marriage remained childless and was annulled (1543). Jeanne III was married secondly (Oct 20, 1548) to ANTOINE of Bourbon, King consort of Navarre (Born April 22, 1518 – Died Nov 17, 1562, from wounds received at the siege of Rouen), the son of Charles of Bourbon, Duke of Vendome, by his wife Francoise d’ Alencon, the daughter of Rene, Duke of Alencon. Queen Jeanne and Antoine de Bourbon were the parents of, 47. HENRY IV of France King of France (1589 – 1610) (III of Navarre 1572 – 1610) (Born Dec 14, 1553 at Pau in Navarre – assassinated May 14, 1610, outside the Louvre Palace in Paris by an insane monk). Henry was married firstly (Aug 18, 1572) in Paris to Margeurite de Valois (Born May 14, 1553, at St Germain-en-Laye, near Paris – Died March 27, 1615 at Paris), the daughter of Henry II, King of France (1547 – 1559), by his wife Catherine de Medici, daughter of Lorenzo de Medici, Duke of Urbino. This marriage remained childless and was annulled (1599). Henry IV was married secondly (Dec 29, 1600 at Lyons, Burgundy) to MARIE de Medici, Princess of Tuscany (Born April 26, 1573 at Florence – Died July 3, 1642 at Cologne in Germany), the daughter of Francesco I de Medici, Grand Duke of Tuscany (1574 – 1587) and his first wife the Archduchess Johanna of Austria, daughter of Maximilian II, Emperor of Austria (1564 – 1576). Henry IV and Marie de Medici were the parents of, 48. HENRIETTA MARIA de Bourbon Princess of France (Born Nov 26, 1609 at the Louvre Palace in Paris – Died Aug 21, 1669 at the Chateau of Colombes, near Paris). She was married (June 13, 1625) at St Augustine’s Church, Canterbury, Kent to CHARLES I, King of England (1625 – 1649) (Born Nov 19, 1600 at Dunfermline Palace, Fife – executed by order of Cromwell’s Parliament at Jan 30, 1649 at Whitehall Palace, London), the second son of James I, King of England (VI of Scotland) by his wife Anne of Denmark, the daughter of Frederik II, King of Denmark, and his second wife Sophia of Mecklenburg-Schwerin, the daughter of Ulrich III, Duke of Mecklenburg-Schwerin. Queen Henrietta Maria and Charles I were the parents of, 49. JAMES II of England King of England (1685 – 1688) (Born Oct 14, 1633, at St James’s Palace, London – Died Sept 6, 1701, at St Germain-en-Laye, near Paris) the brother of Charles II (1660 – 1685). As Duke of York James was married firstly (secretly) (Nov 24, 1659) at Breda in Holland, and publicly (Sept 3, 1660) at Worcester House in the Strand, London, Lady ANNE Hyde (Born March 12, 1637) at Cranbourne Lodge, Windsor in Berkshire – Died March 31, 1671 at St James’s Palace, London, the daughter of Sir Edward Hyde, first Earl of Clarendon by his second wife Frances Aylesbury, the daughter of Sir Thomas Aylesbury. James was married secondly (Nov 21, 1673 at Dover, Kent) to Mary Beatrice d’ Este, Princess of Modena (Born (Sept 25, 1658 at the Ducal Palace in Modena – Died May 7, 1718 at the Chateau of St Germain-en-Laye, near Paris, the daughter of Alfonso IV d’ Este, Duke of Modena by his wife Laura Martinozzi, the daughter of Girolamo Martinozzi, by his wife Margeurita Mazzarini, the daughter of Pietro Mazzarini, and the sister of the infamous Cardinal Jules Mazarin. James II and his first wife Anne Hyde were the parents of, 50. ANNE Stuart Queen of Great Britain and Ireland (1702 – 1714) (Born Feb 6, 1665) at St James’s Palace, London – Died Aug 1, 1714 at Kensington Palace, London and buried within Westminster Abbey), the younger sister of Mary II, wife of William III, whom she succeeded in 1702. Anne was married (July 28, 1683at the Chapel Royal, St James’s Palace, London) to Prince GEORGE of Denmark (born April 2, 1653 at Copenhagen – Died Oct 28, 1708 at Kensington Palace, London), the son of Frederik III, King of Denmark, by his wife Sophia Amalia of Brunswick-Luneburg, the sister of Ernst Augustus, Elector of Hanover, father of the future King George I, and the daughter of George, Duke of Brunswick-Luneberg, by his wife Anne Eleonore of Hesse-Darmstadt, the daughter of Louis V, Landgrave of Hesse-Darmstadt. Despite having suffered nineteen pregnancies Queen Anne left no surviving issue.	i don't know
What does a candela measure ?	Candela, Lumen, Lux: the equations Candela, Lumen, Lux: the equations You are here: Home > Articles > Electronics > Candela, Lumen, Lux Navigation: Candela, Lumen, Lux: the equations Light is measured with different techniques, and therefore there is a handful of related, but different, units of measurements. This article gives a brief overview of the most widely used measures and presents a few equations for conversion of one measure into another. For convenience, a table with conversion calculators is at the bottom of this page. Optical radiation covers a broad spectrum, including infrared and ultraviolet light. For the sake of brevity, this article focuses on visible light (the field of photometry). Candela The candela (unit cd) has its origin in the brightness of a "standard candle", but it has received a more precise definition in the International System of Units (SI) —and at that time the unit was also renamed from "candle" to "candela". The candela measures the amount of light emitted in the range of a (three-dimensional) angular span. Since the luminous intensity is described in terms of an angle, the distance at which you measure this intensity is irrelevant. For ease of illustration, in the picture at the right the three dimensions have been flattened to two. In this picture, screen B would catch exactly the same amount of light rays (emitted from the light source) as screen A —provided that screen A were removed to not obscure screen B. This is because screen B covers the same angle as screen A. The angular span for candela is expressed in steradian, a measure without unit (like radian for angles in a two-dimensional space). One steradian on a sphere with a radius of one metre gives a surface of one m2. A full sphere measures $ 4\pi $ steradians. See the section on lux for the relation between candela and lux. Lumen If you look at LEDs, especially high-brightness LEDs, you may notice that the LEDs with a high luminous intensity (in candela or milli-candela, mcd) typically have a narrow apex angle . Similarly, LEDs with a wide apex angle typically have a relatively low luminous intensity. The same is true for halogen spots with reflector: those with a narrow-beam reflector have a higher rating in candela than the "floodlight" spots of the same power. The cause for this relation is the total energy produced by the LED. LEDs of a specific class (for example, "high flux") all produce roughly the same amount of luminous energy. However, when a LED emits its total energy in a beam with a narrow angle, the intensity will be greater (in the direction of that angle) than when the same energy had been emitted over a wide angle. The lumen (unit lm) gives the total luminous flux of a light source by multiplying the intensity (in candela) by the angular span over which the light is emitted. With the symbol $ \Phi_v $ for lumen, $ I_v $ for candela and $ \Omega $ for the angular span in steradian, the relation is: \[ \Phi_v = I_v \cdot \Omega \] If a light source is isotropic (meaning: uniform in all directions), $ \Phi_v = 4\pi\ I_v $. This is because a sphere measures $ 4\pi $ steradians. See the topic on apex angles to get the three-dimensional angular span $ \Omega $ from an opening angle. As a frame of reference, a standard 120V/60W light bulb is rated at 850 lm, and the equivalent 230V/60W light bulb is rated at 700 lm. A low voltage (12V) tungsten halogen lamp of 20W gives approximately 310 lm. Lux Lux (unit lx) is a measure of illumination of a surface. Light meters often measure lux values (or footcandles, but these are directly related: one footcandle is 10.764 lx). Formally, lux is a derived unit from lumen, which is a derived unit from candela. Yet, the concept of lux is more easily compared to candela than to lumen. The difference between lux and candela is that lux measures the illumination of a surface, instead of that of an angle. The net result is that the distance of that surface from the light source becomes an important factor: the more distant that the surface is from the light source, the less it will be illuminated by it. In the picture at the right, screen A has the same size as screen B. One steradian on a sphere with a diameter of one metre gives a surface of one m2 (see the section on candela). From this, it follows that at a measuring distance of 1 metre, the values for candela (lumen per steradian) and lux (lumen per m2) are the same. In general, measurements in lux can be converted to and from candelas if the measurement distance is known. Note that when measuring LEDs, the virtual origin of the light source lies a few millimetres behind the physical point source because of the lens of the LED —this becomes relevant when measuring LEDs at a short distance. Luminance Luminance is a measure for the amount of light emitted from a surface (in a particular direction). The measure of luminance is most appropriate for flat diffuse surfaces that emit light evenly over the entire surface, such as a (computer) display. Luminance is a derived measure, expressed in Candela per square metre ($ cd / m^2 $). An alias for the unit $ cd / m^2 $ (unofficial, but still commonly used) is "Nit". Luminance and illumination ("Lux") are related, in the sense that luminance is typically used for light-emitting surfaces and illumination for surfaces that are being lit. Assuming a perfect diffuse reflecting surface, you can multiply the measure in "Nits" by $ \pi $ to get the equivalent value in Lux. That is, with $ L_v $ for Luminance and $ E_v $ for Lux: \[ E_v = L_v \cdot \pi \] As with Lux, there are several older units for luminance, of which the foot-lambert is probably the most common (because of its 1-to-1 relation with the footcandle on a Lambertian-reflecting surface). These older units are easily converted to candela per square metre by multiplying them with a scale factor. For foot-lambert, the scale factor is 3.425. Apex angle Since the lumen and the candela measures are related through the viewing angle (or apex angle), it is useful to know how this angle is defined. One measures the angle between the axis where the light source gives its highest luminous intensity and the axis where that intensity is reduced to 50%. In the picture at the right, this angle is denoted with $ \theta $. The apex angle is twice that angle (meaning $ 2 \theta $). Observe that the reduction of intensity to 50% is based on a linear scale, but that our perception of brightness is not linear. The CIE has standardized the relation between luminous intensity and perceived brightness as a cubic root; other sources claim that a square root better approximates this relation. See also the page on colour metric . The three-dimensional angular span for an apex angle, using $ \Omega $ for the angular span (in steradian) and $ 2 \theta $ for the apex angle, is: \[ \Omega = 2\pi \left( {1 - \cos {2 \theta \over 2}} \right) \] Lighting efficiency There are ample ways to illuminate a surface or a room: incandescent lamps, fluorescent tubes, LEDs, tungsten-halogen bulbs, electroluminescent sheets, and others. These are often compared in their efficiency of turning electrical energy to luminous energy. The official name for lighting efficiency is "luminous efficacy of a source". This should not be confused with the "luminous efficacy of radiation", which disregards losses due to heat generation and others (and therefore gives significantly higher values). The lighting efficiency is measured in lm/W (lumen per Watt). Lighting efficiency is often expressed as a percentage, based on the theoretical maximum value of lighting efficiency of 683.002 lm/W (at a wavelength of 555 nm). For example, at the time of this writing, a white 1 Watt "lumiled" can reach an efficiency of over 100 lm/W, giving an efficiency of 15%. While this may seem low, LEDs are actually quite efficient in comparison with other lighting methods. Equations The equations in this sections are given without further explanation or derivation. For details, please refer to the technical literature, or Wikipedia . From	Luminous intensity
At his own request, which writer's auto-biography was published in 2010, one hundred years after his death ?	SI Units Explained - The candela Go to the SI Units Explained Page How much brighter is a flashlight (torch) than a candle? Clearly it depends on how powerful the flashlight is, but there are other factors too. For example, the candle spreads its light in all directions whereas the flashlight is highly directional. This makes direct comparisons a little tricky, but not impossible. This is where the SI quantity of luminous intensity is useful. It has the SI unit candela and the symbol cd. The cendela (cd) How many candles are as bright as a flashlight? The next SI Unit is the kilogram (kg) . One of the extraordinary things about the kilogram is that it’s a real object, hidden in a nuclear bomb-proof bunker outside Paris. Other SI units are available from the menus at the top of the page. For much of history the candle was used as a measure of the intensity of light. This made sense in a world without light bulbs or other forms of artificial light, even if each country tended to use a slightly different kind of candle as its "standard". Things started to get complicated not just with the invention of light bulbs, but also with a greater understanding of the different colours of light. For example, the Sun's light is composed of all of the different colours mixed together, but, as seen from space, is faintly yellow in colour, meaning that it shines slightly more brightly in yellow than the other colour components. For these and other reasons a better definition of luminous intensity was needed. The modern SI quantity of luminous intensity takes into account the colour of the light and its direction. It is based on a frequency (light colour) of 540 x 1012 cycles per second ( hertz ), which is roughly yellowish-green and is a colour that the human eye is highly sensitive to. Now the surprisingly easy bit. One candela is almost exactly equivalent to one candlepower (I did say it was easy!). So why is comparing a candle and flashlight tricky? To answer this we need to consider how the light spreads out from its source as well as taking into account a derived quantity called lumens . Candlepower and candela are both measurements of light at source, but neither tells us how powerful the light is some distance away from the source. Instead, we measure the amount of light illuminating a surface area, which is called, naturally enough, the illuminance. The result is measured in lumens, with 1 lumen = 1 candela x steradian. For our purposes here we can think of the the latter term as an area, as the following example illustrates: Imagine a transparent 1 metre radius sphere surrounding a candle. Its surface area will be given by 4 pi r2, so the surface area of our sphere is: Seen from space the Sun is yellow in colour 4 pi 12 = 12.57 m2 The amount of energy passing through 1 square metre of the transparent sphere is 1 lumen, and so it follows that 1 candlepower is 12.57 lumens. Many bulbs are now rated by the amount of illumination given at a distance. In SI units the standard is 1 lumen per square metre and called 1 lux. Now let's return to flashlights, most of which are designed to be highly directional. If we have a 1 candela (i.e. candlepower) flashlight which just happens to have a beam that illuminates 1 square metre from 1 metre distance then that square metre will have an illumination of 12.57 lumens, as compared with 1 lumen for the candle. This is why it's not straightforward to compare the output of a flashlight with a candle. In short, when we want to measure how powerful a light source is we need to consider its nature or purpose - a half candlepower flashlight will be more useful than a candle for finding something in the distance at night. In this case the candle has more candlepower (i.e. a high candela rating) at its source, but the flashlight's light is focused and so more useful. Finally, to put things into perspective, it's worth noting that a full moon on a clear night results in the Earth being illuminated by about a quarter of 1 lux at the Earth's surface. In comparison a typical living room will have an illumination of about 50 lux and direct sunlight results in anything up to about 130,000 lux at the Earth's surface. Seconds in a Day etc. Luminous intensity How much brighter is a flashlight (torch) than a candle? Clearly it depends on how powerful the flashlight is, but there are other factors too. For example, the candle spreads its light in all directions whereas the flashlight is highly directional. This makes direct comparisons a little tricky, but not impossible. This is where the SI quantity of luminous intensity is useful. It has the SI unit candela and the symbol cd. The cendela (cd) How many candles are as bright as a flashlight? The next SI Unit is the kilogram (kg) . One of the extraordinary things about the kilogram is that it’s a real object, hidden in a nuclear bomb-proof bunker outside Paris. Other SI units are available from the menus at the top of the page. For much of history the candle was used as a measure of the intensity of light. This made sense in a world without light bulbs or other forms of artificial light, even if each country tended to use a slightly different kind of candle as its "standard". Things started to get complicated not just with the invention of light bulbs, but also with a greater understanding of the different colours of light. For example, the Sun's light is composed of all of the different colours mixed together, but, as seen from space, is faintly yellow in colour, meaning that it shines slightly more brightly in yellow than the other colour components. For these and other reasons a better definition of luminous intensity was needed. The modern SI quantity of luminous intensity takes into account the colour of the light and its direction. It is based on a frequency (light colour) of 540 x 1012 cycles per second ( hertz ), which is roughly yellowish-green and is a colour that the human eye is highly sensitive to. Now the surprisingly easy bit. One candela is almost exactly equivalent to one candlepower (I did say it was easy!). So why is comparing a candle and flashlight tricky? To answer this we need to consider how the light spreads out from its source as well as taking into account a derived quantity called lumens . Candlepower and candela are both measurements of light at source, but neither tells us how powerful the light is some distance away from the source. Instead, we measure the amount of light illuminating a surface area, which is called, naturally enough, the illuminance. The result is measured in lumens, with 1 lumen = 1 candela x steradian. For our purposes here we can think of the the latter term as an area, as the following example illustrates: Imagine a transparent 1 metre radius sphere surrounding a candle. Its surface area will be given by 4 pi r2, so the surface area of our sphere is: Seen from space the Sun is yellow in colour 4 pi 12 = 12.57 m2 The amount of energy passing through 1 square metre of the transparent sphere is 1 lumen, and so it follows that 1 candlepower is 12.57 lumens. Many bulbs are now rated by the amount of illumination given at a distance. In SI units the standard is 1 lumen per square metre and called 1 lux. Now let's return to flashlights, most of which are designed to be highly directional. If we have a 1 candela (i.e. candlepower) flashlight which just happens to have a beam that illuminates 1 square metre from 1 metre distance then that square metre will have an illumination of 12.57 lumens, as compared with 1 lumen for the candle. This is why it's not straightforward to compare the output of a flashlight with a candle. In short, when we want to measure how powerful a light source is we need to consider its nature or purpose - a half candlepower flashlight will be more useful than a candle for finding something in the distance at night. In this case the candle has more candlepower (i.e. a high candela rating) at its source, but the flashlight's light is focused and so more useful. Finally, to put things into perspective, it's worth noting that a full moon on a clear night results in the Earth being illuminated by about a quarter of 1 lux at the Earth's surface. In comparison a typical living room will have an illumination of about 50 lux and direct sunlight results in anything up to about 130,000 lux at the Earth's surface. Advertisement	i don't know
The Egyptian god Anubis has the head of what type of creature ?	Anubis Anubis by Stephanie Cass Anubis, who the ancient Egyptians called Ienpw (phonetically "Yinepu"), is the mysterious canid funerary deity of ancient Egypt. Even the meaning of his name is unknown -- speculations range from "Royal Child" to having derived from the world for "to putrefy". Both certainly fit the deity, who was at various points in time of Egyptian history known as the lord of the dead before Osiris and, later, became popularly known as the son of Osiris. Just what type of animal Anubis is represented by is unknown as well; definitely canid and most likely a jackal or a wild dog -- or a hybrid of both -- but, as in the case of Seth , with alterations that deliberately smudge the lines of reality. The deep black color Anubis's animal is not reflective of its actual coat but is instead symbolic of his position as a funerary deity. The reason for Anubis's animal being canid is based on what the ancient Egyptians themselves observed of the creature -- dogs and jackals often haunted the edges of the desert, especially the cemeteries where the dead were buried. Anubis is an extremely ancient deity. The oldest mastabas of the Old Kingdom have prayers to him carved into their walls, and he is mentioned in the Pyramid Texts in his most celebrated role as a guardian and protector of the dead. A standard offering formula for the dead in the Old Kingdom began thusly: "An offering which the king gives and Anubis, who is upon his mountain and in the place of embalming, the lord of the necropolis...." As mentioned previously, Anubis began in the position that Osiris would later command. In the earliest period of Egyptian religion Anubis was clearly the lord of the dead and Osiris the embalmed god while Anubis performed the act of embalming. Titles that were invested unto Osiris -- such as Khenty-Imentiu or "Foremost of Westerners" -- were originally Anubis's. As the drama of Osiris's death and vindication unfolded over the centuries, Anubis assumed the role of the guide who holds steady the scales on which their hearts are measured against the feather of ma'at as "He Who Counts the Hearts". Should the heart be light as the feather, the soul would then be lead by Anubis (or, in some cases, Harseisis) to be presented to Osiris. Should the heart be heavy, it is fed to Ammit and the soul destroyed. As Imy-ut, or "He Who is In the Place of Embalming", Anubis is the embalmer who washes the entrails of the dead and guards over their physical bodies as well as the places that house them (the tomb and the necropolis). Priests wearing a mask of Anubis were responsible for the Opening of the Mouth ceremony that reawakened a dead person's senses. In a reflection of the royal seal used on the tombs of the Valley of the Kings depicting pharaoh's victory over the "nine bows" (enemies of Egypt), Anubis is shown recumbent over nine bows meant to be hostile forces of the Underworld who he -- as "Jackal Ruler of the Bows" -- has triumphed over. Anubis's parentage is a mystery -- in one tradition he is the son of Nebt-het ( Nephthys ) and Ra . In yet another, from the Coffin Text period, the cow goddess Hesat is his mother and, from the same source, Bastet is even accounted as his mother (most likely a pun on the ointment jars that comprise her hieroglyphs -- the same jars that were used during the embalming process Anubis was lord of). The Pyramid Texts even supply Anubis with a daughter in the form of the goddess Qeb-hwt ("Cooling Water") -- a celestial serpent or ostrich Who purifies and quenches the monarch. Anubis is depicted most often as a man with the head of a black canid with alert, pointed ears. He is also represented by a full black canid wearing ribbons and holding a flagellum in the crook of its arm. Very rarely is he ever shown fully human, though there are some cases (such as in the temple of Ramesses II of Abydos) of this. Perhaps the most famous representation of Anubis, the gold-gilded wooden canid found in the tomb of Tutankhamen, was doubtlessly placed there as a protector of the dead and guardian of the tomb. Anubis was worshipped throughout Egypt, but the center of his cult was in Cynopolis (Upper Egypt). The name of Anubis in hieroglyphs. Article details:	Jackal (disambiguation)
Henrietta Maria of France was queen consort of which English monarch ?	Cynocephaly and the mythological dog-headed human \| Ancient Origins 17 January, 2015 - 12:22 mrreese Cynocephaly and the mythological dog-headed human (Read the article on one page) The characteristic of Cynocephaly describes the head of a dog upon a human body. This trait is a theme upon which there are several variations, with representations showing up in several cultures and legends. Tales of human forms with a dog-like head have been told from ancient Egypt, to ancient Greek, medieval, and Christian stories. These tales, eliciting both fear and fascination, are like an ancient form of a monster tale, often invoking the idea that cynocephaly is not just a myth or legend, but an actual race of creatures living here on Earth. The appearance of cynocephaly in stories throughout the ages illustrates the ubiquitous nature of the creatures, and the flexibility of an image that continuously reoccurs with a similar appearance, but varying stories. The most basic description of cynocephaly is that it is the image of a human figure that has the head of a dog, or, in some instances, a jackal. This is not to be confused with images of werewolves. Werewolves are a creature where the human forms transforms into a dog-like head and body. Some believe that werewolves and cynocephalic creatures are somehow related, but they are more likely two separate types of creatures that happen to share some dog-like traits. The name cynocephaly sounds much more like an actual disease than a depiction of an image or a human with a dog head shown in prehistoric drawings and renderings. The name is derived from the Greek language, in which cyno- means dog and –cephaly means a disease or condition of the head. Put together, cynocephaly is a disease or condition where the head is in the form of a dog. Man with a dog head. Nuremberg Chronical (Schedel'sche Weltchronik), page XIIr, 1493 AD. ( Wikimedia Commons ) Images depicting cynocephaly date as far back as ancient Egyptian times. Ancient Egyptian gods Hapi and Anubis were both depicted in the cynocephaly form, with a human body and a dog head, or in the case of Anubis, a jackal. These images were depicted standing and wearing clothing, giving the appearance that in spite of the dog head, these gods are, in essence, humans. It is unknown why these figures are depicted with the head of a dog, but their presence in Egyptian drawings certainly spread to later cultures that followed. Marble statue of Anubis, Vatican Museum ( Wikimedia Commons ) Greek physician Ctesias wrote of a dog-headed figure called Indici in India in the 5 th century BC. Later, the Greek Megasthenes returned from travels to India with tales of a race of cynocephaly living in the mountains of India. This dog-headed race of people would hunt in the mountains while wearing animal skins, and would communicate through barking sounds. Such stories of sub-human creatures would likely invoke many emotions, including fear, fascination, intrigue, and terror. Cynocephaly continued far beyond ancient Egyptian and Greek times, also appearing in some works of medieval literature. Their existence and origin were questioned in City of God, Book XVI, Chapter 8, written by Augustine of Hippo. The Christians had the story of the "Abominable" who had the face of a dog and lived in a city of cannibals. Once baptized, the doglike features disappeared. The Eastern Orthodox Church viewed Saint Christopher as having the head of a dog, which may have been the result of a misinterpretation of the word Cananeus to say canineus, or canine. Later, German bishop and poet Walter of Speyer wrote of Saint Christopher as a large cynocephalic figure from the Chananeans that barked and consumed human flesh. When the cynocephalic Christopher met Christ, he chose to be baptized, at which point he shed his doglike appearance and began a life devoted to God. This idea that the figure with a doglike appearance would become fully human upon being baptized and accepting god is a story that repeats, illustrating that to the Christians, the doglike appearance was a negative feature, a punishment of sorts that could only be eliminated by choosing to follow a certain set of religious beliefs. Saint Christopher with the head of a dog ( Wikimedia Commons ) Images of cynocephaly continued through medieval culture in a book called Historia gentis Langobardorum, written by Paul the Deacon. Again, the doglike appearance was considered un-Christian as it was applied to the Norse at the court of Charlemagne. The Nowell Codex, which is the script that contains the story of Beowulf, also contained references to the cynocephalic, with portions referring to "healfhundingas" or "half-dogs." The idea spread into Anglo-Saxon England, where outlaws were referred to as wulfes heafod (“wolf’s head”), again giving the impression that the image of a human body with a dog’s head is an inherently negative trait, meant to refer to an outcast of society. Even the tales of King Arthur refer to cynophaly, as King Arthur’s men fight hundreds of the cynophalic creatures, and the stories morph into tales including werewolves. Pages	i don't know
How many cards are there in a typical tarot pack ?	The Tarot Deck - How Tarot Cards Work \| HowStuffWorks How Tarot Cards Work Photo courtesy Consumer Products There are many varieties of Tarot decks, and there is no standard number of cards across all decks. While the types of cards, the suits and their meanings are the same, the illustrations vary greatly. Decks are based on various themes such as nature, animals, fantasy, dragons, etc. The most common deck in the United States is the Rider-Waite deck, which was created in 1909 by A.E. Waite, a prominent member of the occult group the Hermetic Order of the Golden Dawn , and published by Rider & Company. The artist was Pamela Colman Smith. This 78-card deck was the only readily available deck in the United States for many years, which is why it is considered the "definitive" tarot deck in the United States. According to The Hermitage: A Tarot History Site , however, there is no "definitive" tarot deck. The Tarot deck is made up of the Minor Arcana and the Major Arcana. Like regular playing cards, the Minor Arcana of the Tarot deck includes four suits. Rather than spades, hearts, diamonds and clubs, however, the suits are: Up Next cups circles or pentacles Each suit has meaning regarding a specific approach to life. The cards within these suits are numbered one through 10 and also include the court cards -- the king, queen, knight and page. The Minor Arcana cards represent the more minor, practical daily ups and downs in life. Cards of the Minor Arcana: Aces of wands, swords, cups, and circles and pentacles Photo courtesy Angel Paths The Major Arcana are not associated with the suits. They include the picture cards that represent principles, concepts and ideals. They are numbered one through 21, with the 22nd card (the "Fool") marked as zero. The Major Arcana cards represent strong, long-term energy or big events in some area of life. Cards of the Major Arcana: Temperance, Death, The Fool and The Hanged Man Photo courtesy Angel Paths Seeing a Major Arcana card about a particular subject in one reading and then getting a Minor Arcana card about the same subject in the next reading would mean that this subject is becoming less important in your life. To check out various explanations of specific card meanings, see:	seventy eight
Which lines on a map connect points with equal atmospheric pressure ?	Choosing a First Tarot Deck Choosing a First Tarot Deck Here are some points to consider if you are choosing your first deck: Choose a deck that makes you feel comfortable and secure, but also inspired. Since you will be spending a lot of time with your cards, you don't want to pick a deck that strikes you as odd, unpleasant or boring. Later, you may seek out unusual decks for the challenges and insights they offer, but it's better to start with one that attracts you. If a certain deck calls out to you, go with that one! There is no official tarot deck. Decks come in many different forms, but the "standard" deck has 78 cards with 22 Major Arcana and 56 Minor Arcana cards divided into 4 suits. Most decks are built on this model. You should probably stick with a standard deck to start so that you are familiar with the most common format. Many decks are oriented around a theme. This is especially true of modern decks. Typically, the images, the names of the suits and the court card figures reflect this theme. If you choose a deck with a theme, be sure it is one that suits you and that has lasting appeal. The Rider-Waite is probably the most common deck in the United States, and many tarot decks are based on it as well. Cards in these decks often have the same subject matter as the Rider-Waite, but are drawn with a different style and artwork. The Universal Waite is essentially a copy of the Rider-Waite, but with softer colors and less contrast. The Albano-Waite has bright, unusual coloration. Here's a side-by-side comparison of some cards from the two decks. In some tarot decks, the pip cards, or numbered suit cards, all have unique picture scenes. In other decks, these cards simply show the suit symbol repeated the appropriate number of times (similar to regular playing cards). Some people like these symbolic decks, but for learning and memorization, it is often easier to have the pictures. Some newer tarot decks have been created in the spirit of light-hearted fun. Two examples are the Halloween Tarot and the Silicon Valley Tarot. These decks are amusing, but not the best choices for deeper, more thoughtful tarot work.	i don't know
Which eating disorder is named after the Greek for 'ox hunger' ?	Bulimia \| Define Bulimia at Dictionary.com bulimia [byoo-lim-ee-uh, -lee-mee-uh, boo-, buh-] /byuˈlɪm i ə, -ˈli mi ə, bu-, bə-/ Spell Also called hyperphagia . Pathology. abnormally voracious appetite or unnaturally constant hunger. 2. Also called binge-purge syndrome , bulimia nervosa [nur-voh-suh] /nɜrˈvoʊ sə/ (Show IPA). Psychiatry. a habitual disturbance in eating behavior mostly affecting young women of normal weight, characterized by frequent episodes of grossly excessive food intake followed by self-induced vomiting to avert weight gain. Greek 1350-1400 1350-1400; Middle English < New Latin < Greek boulīmía extreme hunger, equivalent to bou- intensive prefix (derivative of bou-, stem of boûs ox ) + līm(ós) hunger + -ia -ia Dictionary.com Unabridged Examples from the Web for bulimia Expand Contemporary Examples Other risk factors include a history of sexual abuse and bulimia, both of which also affect more women than men. Nina Davuluri Crowned Miss America: The First Miss America of Indian Descent Marlow Stern September 15, 2013 Historical Examples Hence they marched through snow the whole of the following day, and many of the men contracted the bulimia. British Dictionary definitions for bulimia Expand pathologically insatiable hunger, esp when caused by a brain lesion 2. Also called bulimia nervosa. a disorder characterized by compulsive overeating followed by vomiting: sometimes associated with anxiety about gaining weight Derived Forms C17: from New Latin, from Greek boulimia, from bous ox + limos hunger 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 bulimia Expand n. 1976, Modern Latin, from Greek boulimia, "ravenous hunger" as a disease, literally "ox-hunger," from bou-, intensive prefix (originally from bous "ox;" see cow (n.)) + limos "hunger," from PIE root *leie- "to waste away." As a psychological disorder, technically bulemia nervosa. Englished bulimy was used from late 14c. in a medical sense of "ravishing hunger." Online Etymology Dictionary, © 2010 Douglas Harper	Bulimia nervosa
Which Enterprise captain in Star Trek: The Next Generation had the catchphrase 'Make it so' ?	bulimia - definition of bulimia in English \| Oxford Dictionaries Definition of bulimia in English: bulimia (also bulimia nervosa) noun [mass noun] An emotional disorder characterized by a distorted body image and an obsessive desire to lose weight, in which bouts of extreme overeating are followed by fasting or self-induced vomiting or purging. Example sentences ‘These disorders include anorexia nervosa, bulimia nervosa and binge eating disorder.’ ‘Eating disorders, anorexia nervosa, and bulimia nervosa, are characterised by morbid preoccupation with weight and shape and manifest through distorted or chaotic eating behaviour.’ ‘The American Psychiatric Association characterizes anorexia nervosa and bulimia nervosa as biopsychosocial disorders that result in distortions in self-image and self-perception.’ ‘I think if you looked for people with eating disorders with a bulimic component, either bulimic anorexics or bulimia nervosa, then you're looking at a higher rate, something nearer to 50%.’ ‘Currently, 30 percent of Americans are obese, compared with the 4 percent who meet criteria for anorexia nervosa, bulimia nervosa, or binge-eating disorder.’ ‘Childhood obesity is rising (affecting 15% of children at the last estimate in September) but so is the prevalence of the eating disorders anorexia and bulimia nervosa.’ ‘The other main eating disorder is bulimia nervosa, which is characterised by cycles of bingeing and purging (ridding the body of the excess food usually by vomiting or laxatives).’ ‘The eating disorders, anorexia nervosa and bulimia nervosa, have received increased scientific and public interest during the past decade.’ ‘The group developed questions addressing the main features of anorexia nervosa and bulimia nervosa using focus groups of patients with eating disorders and specialists in eating disorders.’ ‘The guidance on eating disorders advocates a holistic approach in caring for people with anorexia nervosa, bulimia nervosa, and less common eating disorders such as binge eating.’ ‘The principal eating disorders are anorexia nervosa, bulimia nervosa, and nonspecified eating disorder.’ ‘Anorexia nervosa, bulimia nervosa, and binge eating disorder are illnesses associated with maladaptive eating regulation responses and are most commonly seen in women.’ ‘This text examines how clinicians in the psychiatry field treat anorexia nervosa, bulimia nervosa and binge-eating disorders.’ ‘Together, these forces can lead to self-sustaining eating disorders, primarily anorexia nervosa and bulimia nervosa.’ ‘It's important to distinguish binge eating disorder from other eating disorders, such as bulimia nervosa and anorexia nervosa.’ ‘Feel disgusted, depressed, or guilty after overeating binge-eating also takes place in another eating disorder called bulimia nervosa.’ ‘The key feature of the major eating disorders, anorexia and bulimia nervosa, is a phobic fear of fatness that leads to self-induced starvation or bingeing and purging.’ ‘Anorexia nervosa and bulimia nervosa are two common eating disorders, and affect women in particular.’ ‘An illness that resembles bulimia nervosa is binge eating disorder.’ ‘Young women from the developed world who restrict their dietary intake are at highest risk of developing bulimia nervosa and other eating disorders.’ Origin Late Middle English (as bolisme, later bulimy): modern Latin, or from medieval Latin bolismos, from Greek boulimia ravenous hunger, from bous ox + limos hunger. Pronunciation Which of the following is correct? I built it with my bare hands I built it with my bear hands Which of the following is correct? bear-chested young men Which of the following is correct? she bares her creative soul she bears her creative soul Which of the following is correct? the right to bare arms the right to bear arms Which of the following is correct? the cupboard was bare Which of the following is correct? he is baring all in the film he is bearing all in the film Which of the following is correct? the costs are not borne by us the costs are not bared by us Which of the following is correct? please bare with me Which of the following is correct? the claim doesn't bear scrutiny the claim doesn't bare scrutiny Which of the following is correct? he laid bear their finances he laid bare their finances You scored /10 practise again? Retry Most popular in the world Australia	i don't know
The Triskelion is used as the symbol for which part of the British Isles ?	8 Things You Might Not Have Known About the Isle of Man 8 Things You Might Not Have Known About the Isle of Man Posted: December 2, 2011 Categories: 8 Things , Isle of Man 1.3k Share on Facebook Share on Twitter Google Pinterest Stumbleupon Hello from the city of Douglas, capital of the Isle of Man! I arrived here today on a short flight from Belfast, Northern Ireland. I’ll be here through the weekend exploring the island an taking photos. Given the unique nature of the island, I thought it would be a good time for another installment of 8 Things You Might Not Know…… 1) The Isle of Man exists. OK, if you live anywhere in the British Isles you are probably well aware of the Isle of Man. Many people might have heard of it, but aren’t really sure where it is. It is located between the island of Ireland and the island of Great Britain in the Irish Sea. There is ferry and air service available from both islands. The island is smaller than Singapore and slightly larger than Guam with a population of about 80,000 people. It is also referred to simply as Mann with 2 n’s. 2) The Isle of Man is NOT part of the United Kingdom. This is going to take some explaining. The Isle of Man is a Crown Dependency , which means that it is technically a possession of the crown directly, not of the UK. It is also not a territory of the UK like Bermuda or the Falkland Islands. The British didn’t technically conquer Mann in the same way they did Ireland or other countries in the empire. The Lord of Mann was the titular ruler of the island until 1765 when the feudal rights were purchased by the crown and the title was transferred to George I. Today, the Queen still has the title of Lord of Mann (even though she is a woman, she is still known as Lord, not Lady). When doing the Loyal Toast on the Isle of Man, they toast the Lord of Mann, not the Queen or King. They do use the British Pound and the UK does have the responsibility of the defense of the island. They are not members of the European Union. Because it is not part of the UK, it is often used as a tax haven for the British. 3) The original language on Mann was called Manx. Manx is a Gaelic language similar to some types of Irish Gaelic. The last native speaker of Manx, Ned Maddrell , died in 1974. There are attempts to revive Manx although only 2% of the population have any knowledge of the language. 4) The symbol on the Isle of Man flag is the triskelion. While it looks like something someone with a bunch of spare doll parts might have put together, the triskelion is actually an ancient symbol. On Mann it is known as the Three Legs of Mann or Tree Cassyn Vannin in Manx. 5) Mann has the oldest continuous parliament in the world. Several countries lay claim to this title. The Manx parliament has been standing ever since 979 with no break. The parliament in Iceland has been around since 930 but it was suspended from 1800 to 1845. San Marino claims to have been a republic since 301, but it hasn’t been the same legislative body ruling it. 6) Manx cats have no tail. The Manx cat is a breed of cat which comes from the Isle of Man which is known for being tailless. The breed also exhibits very large hind legs and a rounded head. There is also a breed of sheep from the island called the Manx Loaghtan which is known for sometimes having 4 or 6 horns. 7) Mann is the motorcycle racing capital of the world. The International Isle of Man TT (Tourist Trophy) Race has been conducted on the island since 1907. In 1907 the Manx parliament passed a law allowing the roads on Mann to be closed and used for the race. It is considered the most prestigious motorcycle race in the world. I drove past the grandstand and paddock area today, which is just a normal street when not in use for the race. 8) The Bee Gees are from the Isle of Man. Thought they were Australian did you? Nope. They are Manx. Maurice, Robin and Barry were all born on the Isle of Man. Get My FREE 100 Page Travel Photography eBook! 43 Responses to "8 Things You Might Not Have Known About the Isle of Man" By David(Greg)Holland December 12, 2016 - 7:05 pm Tom Holland, actor and the current Spider Man, is the grandson of Anthony Holland who is a manxman. Born and reared in Onchan. He left the Island to further his career in education as a lecturer in languages. He lives in London with his extended family. His son Dominic, who is Toms father is a writer and stand up comic. By Geoffrey Smithson October 10, 2016 - 4:17 pm tell me more about the visa. I live in Adelaide South Australia. when I was a boy in in 1962 I went with the school for two weeks holiday and we stayed in a school in a town called Ramsey. trying to plan my next winter holidays which will be your summer. do I need a visor. Reply By Faith Leanne Sutton October 5, 2016 - 4:22 pm I Love In the Isle Of Man So I looked Here What Other People Had To Say About Us :D By FaithSutton October 5, 2016 - 4:24 pm *Iive By Dave October 19, 2016 - 6:24 pm ‘Facts’ 6 and 7 are incorrect. The IoM claims to be The Motorcycle Road Racing Capitol of the world, NOT Motorcycle Racing Capitol of the World, a slight difference. e.g. Rossi does not race on the IoM. The Manx Cat is NOT a breed like the Loaghtin Sheep. The ‘Manx Cat’ is a cat with a genetic defect similar to Spina Bifida in humans and can not be pure bred. After very few generations of crossing tail-less cats, the defect causes excessive loss of vertebrae at the tail end if the spine resulting in fecal incontinence and reduced rear leg control. The Manx Cat can be Rumpy or Stumpy where there are more retained vertebrae. Also litters can be mixed, Rumpy, Stumpy, i.e. with and without tails! Reply By gracy August 9, 2016 - 10:49 am I’m yet to visit BT will be next year April.just wondering aw much it will cost.I’m a student n I don’t want much expenses Reply By Christine Warren July 20, 2016 - 6:34 am Im researching my family history and my mothers side is from the Isle of Man. The name is cubbon. Im planning a trip there in april / may next year and so excited to see where my family originated. Hoping to obtain heaps of information while im there. By Dave October 19, 2016 - 6:08 pm Contact the MANX Family History Society or MANX National Heritage for MANX family history. Reply By Priscilla June 25, 2016 - 6:37 pm thank you for this tidbit of info! always been intrigued by this beautiful place. it is def a bucket item for me cause i love castles and the beautiful language Reply By Colin Harwood June 3, 2016 - 1:15 pm Wrong the Isle of Man is a associated member of EU through the UK as it comes under UK Treasury and EU laws and Procedure’s can be enforced on the Isle of Man. The Isle of Man is British/Manx and owned HM Queen Lord of Mann and travel is classed as local travel to any where in the UK. We are the oldest member of Commonwealth and have the oldest government and govern ourselves to certain extent but the UK Treasury can enforce laws from EU on the Island through England. So I would advise who wrote this blog to do there research and learn our history before writing flash statements By Gary June 7, 2016 - 10:07 am I did. Here is the list of associated EU member states from the EU website: http://ec.europa.eu/research/participants/data/ref/h2020/grants_manual/hi/3cpart/h2020-hi-list-ac_en.pdf You will notice that the Isle of Man is not listed. They are not members of the EU. To the extent that the UK may choose to enforce EU policy on the Isle of Man is a decision of the UK, not the EU. They may just as easily choose to NOT enforce EU policy, and there EU couldn’t do anything about it because the Isle of Man isn’t part of the EU. Wikipedia states is very clearly: “As with Jersey and Guernsey, the Isle of Man is not part of the United Kingdom or a direct member of the European Community and its relationship with the EU is defined under Article 355(5)(c) of the Treaty on the Functioning of the European Union (former Article 299 of the EC Treaty) and Protocol 3 of the Act of Accession, annexed to the Treaty of Accession 1972, by which the United Kingdom became a member of the European Economic Community.” By Bobby June 1, 2016 - 11:04 pm I first heard about Isle of Man when my son played Manx TT Superbike on computer. I used to think it must be an imaginary place, even the graphics were so beautiful. Reply By Bobby June 1, 2016 - 10:25 pm I first heard of isle of Mann when my used to play a video game called “Manx TT superbike” I always thought it was an imaginary place. By Dorina April 4, 2016 - 10:49 am I am from the USA is a passport to the Isle of Man enough to travel there? Has anyone vacationed there on this site…and if so, recommendations for accommodations? Thank you. Reply By Matthew Moore May 14, 2016 - 11:55 am You will need a british visa to travel to the Isle of Man. Once here there is lots of accommodations. I personally would recommend the Park Hotel in Ramsey (North of the Island). If you need help with anything once over please feel free to email me at [email protected] . Reply By Kitt June 11, 2016 - 10:55 am I too am an American citizen. I was in London last year and flew to Mann. I think I showed my passport but it was not stamped. I was there for three days. The word beautiful doesn’t even begin to describe this island. I traveled part of the island by the steam train, what a treat. I visited Peel and of course the castle. I also went to Rushon, I think that’s what it’s called, castle. I was there when the TT races were coming into town, so I was able to see them setting up. Was able to talk to a few people involved in the race and grabbed a photo sitting on one of the bikes. I stayed on Douglas, can’t remember the hotel but my room overlooked the breathtaking Irish Sea. Can’t even remember which promenade. I have lovely pictures. Visiting Mann was a beautiful experience. By Andy July 10, 2016 - 11:59 am The Town House in Douglas is a wonderful spot with a beautiful view of the ocean. Reply By Fred Crebbin March 12, 2016 - 8:37 am My Grandfathers were cousins of Ned Madrell and came from the same area of the Isle of Man. I remember my father and Great Grandfather speaking to each other in the Man Language. My family is from Cregneash were it is said that the Manx language was last spoken and is part of the Manx Museum. Reply By Hilary Morgan {nee Kinley} September 26, 2016 - 2:59 pm It is commonly given that Ned was the last native Manx speaker. My Auntie Jessie Mylchreest was a fluent native Manx speaker and would teach me some basic Manx. She lived in Glen Maye. I moved away from the Island, but she was very much alive and kicking in 1979 when my mum went to the Island for the 1000th Parliament By Wase January 4, 2016 - 12:24 am Hi I am holding British passport Well do I need to get a visa to travel to Isle of Man ! My guess is not but still I need to be sure and can I get my car over there by a ferry and use my car over there ? Regard Reply By Janet February 27, 2016 - 5:19 pm You don’t need a visa to travel to the isle of man if you have a British passport. Enjoy your trip Reply By Matthew Moore May 14, 2016 - 11:48 am You do not need a visa to travel to the Isle of Man. And when traveling by ferry you do not even need your passport (So long as it is a British one), however I would recommend still bringing it. You can bring your car, however it does dramatically increase the price of the ferry ticket. The Island has a very good bus service that travels all round the Island. If you do bring your car the island is fully accessible by road. Reply By Paula Crebbin August 29, 2015 - 11:40 pm Ned was my Great Grandfather. We were told that he was the last person to speck Manx as a first language, but certainly did not expect to hear his voice on that recording. Amazing! Reply By paula August 29, 2015 - 11:37 pm Ned was my Great Grandfather. We were told that he was the last person to speak !Manx as a first language, but certainly did not expect to hear his voice on this recording. Amazing! Reply By paula August 29, 2015 - 11:33 pm Ned was my Great Grandfather. We were told that he was the last man to speak Manx as a first language, nowhere, did not expect to hear his voice on the recording. Amazing! Reply By paula August 29, 2015 - 11:31 pm Ned was my Greatgrandfather. We were told about him and that he was the last person to speak Manx as his first language, but did not expect to hear his voice on the recording. Amazing! Reply By David Christian June 29, 2015 - 1:13 pm I have traced my ancestors to Isle of Mann. I would love to visit. I am a citizen of USA in state of North Carolina. By David March 3, 2016 - 12:19 pm Hi David, Mine are as well. 1845-1849 they came to US because of the potatoe famine we were told. David Withers dallas texas Reply By Joan March 31, 2015 - 2:37 am If the isle of mann is not a member of the EU do they not have to do what the eu parliament says the rest of europe has to By sam October 12, 2014 - 5:14 am hi i am bangladeshi how to get tourist visa of Isle of Man, Reply By Sandgrown'n October 3, 2014 - 4:15 pm In my youth just after the war I had so much pleasure going to the Isle of Mann with my parents. Staying on Christian Rd in Douglas sometimes we had a ride on the horsetram and sometimes I had a race against it. There was also a man with an organ which must be used with a handle for the wind, but for me most interesting was the little monkey standing on his instrument. We sailed on the boat ” King Orry ” sailing from Fleetwood. Boy oh! Boy those were the days. Living in Balackpool and going to the Isle was a real treat. Reply By EMMANUEL O. UZOECHI October 2, 2014 - 3:32 am If the island is not part of UK and EU, does it have it’s own visa requirements etc? Do you need a special visa for it, or having UK visa will do? Reply By Hannah March 2, 2014 - 10:01 am This is awesome! I’m american and I’ve always wondered about the isle of Mann because I have. Ancestors from there. Reply By Abigail Swain January 7, 2014 - 7:11 pm Regarding the first comment about it saying “European Union” and “British Isles” on the passports. It says “British Isles” because that is where it is. Just like Canada is in North America, Kenya is in Africa or Albania is in the Balkans. The British Isles is just a geographical desciptor and unrelated to the term ‘UK’. All islands surrounding the UK (including Ireland) are part of the British Isles although many people would prefer a better geographical description. As for the ‘European Union’ part I think that is added to make clear that Manx people are British citizens and so have the right to free travel in the EU (free travel but not the right to employment and benefits from other EU countries). Very complicated but hopefully there will be a proper independent Isle of Man in the years to come. Reply By Larissa July 21, 2012 - 6:43 am Was wondering the same thing as Abhijit as far as restrictions for traveling/working in the EU so I Googled it. Interesting that “European Union” and “British Isles” are both written on the front of the Manx passport even though it is not part of the EU or UK. Regardless of who or what the territory belongs, Isle of Man citizens are still full British and European Union citizens. There are some exceptions – Manxman who were born or naturalised on the island and have no UK born descendents or connection through residency. Technically those guys/gals don’t have the right to work or seek benefits from the European community, but it is up to each member state to decide. Seems damn confusing but probably also what makes this such a unique place. Really want to go now! Reply By Corbett March 25, 2012 - 10:56 pm The triskelion has been spotted by several friends of mine and I in Charleston SC on King St. In the Downtown part of town across from the bike shop. It is located street view in cast iron on park of some gates. I can provide photo’s, but as to why this symbol is located in this area I am confused about. Maybe some more insight by a local will help. Thank you for your time. Reply By Ersan December 14, 2011 - 6:54 am How nice to hear from fresh news about the globe. I appreciate your travel ambition. I wish I could travel like you, but I know, I will definetly fall behind of you. So, I only envy your travel adventure. you are very lucky guy. I respect , you are my role model. Greetings from Turkey… Reply By Zoë Dawes December 3, 2011 - 12:47 pm You’ve clearly fallen for this lovely, quirky place Gary :-) It’s one of my fav islands around the British Isles – def has its own unique atmosphere. You may like this article I wrote after a trip there earlier this year Reply By Ed Helvey December 3, 2011 - 10:01 am Verrrrrrrrry Interesting! I’m always learning something new when I read your posts, Gary. Thanks for making the world a much more interesting place for me and your other followers. By Erik December 2, 2011 - 4:24 pm Just when I thought I knew everything about the Bee Gees! Reply By Natasha @ wandering Kiwi December 2, 2011 - 2:40 pm My great grandfather came from the isle of mann and I jad a great time exploring there back in 2000. Castles, the laxey wheel, the train, lovely green countryside, enjoy! Reply By Patricia GW December 2, 2011 - 1:34 pm I live on the Isle of Man for a time, and your “8 Things” really brought me back. Perhaps a 9th would be that the horse-drawn tram has been running every summer since 1927 along the Douglas promenade. The triskelion is on Sicily’s flag as well. Reply By Abhijit December 2, 2011 - 1:15 pm Interesting! I knew a bit, but not a lot about the Isle. If it’s not part of UK, EU, does it have it’s own visa requirements etc? Do you need a special visa for it, or having UK visa will do?	Isle of Man
Every January , the inhabitants of Lerwick on the Shetland Islands burn a full-size replica of what ?	Capital Celtic Network - Celtic Nations - History EIRE (Ireland) THE GREEN FLAG A gold harp on a green field was the traditional Green Flag of Ireland before the tricolour became popular. The evolution of the heraldic harp can be traced in Irish coinage. The harp first appeared on coins in the reign of Henry VIII. From the reign of Henry VIII to that of Elizabeth I the forepillar of the harp was plain. In the coinages of James I and Charles I it had an animal head. The naked female torso first appeared in the coinage of Charles II (appropriately enough perhaps) and was a permanent feature from then until 1822 when the Irish currency was abolished. The harp adopted as the state emblem on the formation of the Irish Free State is a medieval instrument, the Brian Boru harp, which is preserved in Trinity College Dublin. Use of this particular harp is reserved to the state so all private bodies are obliged to use harps of other designs. THE IRISH TRICOLOR The oldest known reference to the use of the three colours (green, white and orange) as a nationalist emblem dates from September 1830 when tricolour cockades were worn at a meeting held to celebrate the French revolution of that year - a revolution which restored the use of the French tricolour. The colours were also used in the same period for rosettes and badges, and on the banners of trade guilds. There is also one reference to the use of a flag 'striped with orange and green alternately'. However, the earliest attested use of a tricolour flag was in 1848 when it was adopted by the Young Ireland movement under the influence of another French revolution. Speeches made at that time by the Young Ireland leader Thomas Francis Meagher suggest that it was regarded as an innovation and not as the revival of an older flag. SCOTLAND Origin of the Royal Banner of Scotland William, who succeeded his father, Malcolm IV in 1165, was known as William the Lion, but there is no positive evidence that the lion rampant had become "the Arms of Dominion of Scotland" before 1222, when it appeared in the seal of his son, Alexander II. Fox-Davies in A Complete Guide to Heraldry confirms both statements and later quotes Chalmers' "Caledonia" saying, "the lion may possibly have been derived from the arms of the old Earls of Northumberland and Huntingdon, from whom some of the Scottish kings were descended". Fox-Davies also mentions a legendary explanation by Nisbet according to which, "the lion has been carried on the armorial ensign of Scotland since the first founding of the monarchy by King Fergus I -- a very mythical personage (...) about 300 B.C.". William the Lion (1143-1214) is generally credited with adopting this symbol, although records of this are uncertain. It was referred to as the "Lion of Justice" and the "Lion of Bravery". 1222: first known use under Alexander II, on a seal. It also appears on a seal of Alexander III. The design was surprisingly complex for its time - possibly the double tressure fleury counter fleury is related to the French fleur de lys, although that is not known until 1223 in France. Before this time, the Scottish royal standard bore a dragon (known in 1138). Nisbet quotes the use of the lion rampant by Fergus I in 300 BC, although there is no extant evidence for this. James VI quartered the arms of the United Kingdom after the Union of the Crowns (1605), using the lion rampant, the three English lions, fleur de lys and harp. The lion rampant is much used in the arms of nobles in Scotland (e.g., Lord Lyon). 1998: Queen Elizabeth began to use a Scottish Royal standard in Scotland. The Scottish Saltaire (St. Andrew's Flag) One legend, (very much a story but of interest nonetheless), concerns the fact that it is believed by generations of Scotsmen that our national flag, the white saltire on a blue ground, the oldest flag in the British Commonwealth, originated in a battle fought, a little more than a mile from present day Markle, in the Parish of Prestonkirk in East Lothian, in the Dark Ages between the Picts and Scots on one side and the Angles of Northumbria on the other. There are various versions of the tale but it is generally agreed around the time of the 8th century, an army of Picts and Scots under King Hungus found themselves surrounded by a force of Angles under their leader Athelstan. King Hungus prayed earnestly for deliverance to God and the saints and that night St Andrew appeared to the King and promised them victory. Next day, when battle was joined, the vision of the white saltire (the diagonal cross on which the Apostle had been martyred) was seen by all in the blue sky. This so encouraged the Picts and Scots and affrighted their adversaries that a victory was won. King Athelstan was slain at the crossing of the burn, still known to this day as Athelstaneford. The story continues that this all was seen as a 'Miracle' and may have been the origin of the name "Markle"! In the nearby East Lothian village of Athelstaneford, a flag heritage centre commemorates and discusses the development of the legendary white cross on the blue background. ISLE of MAN The national flag of Man is a plain red field with the "trinacria" emblem in the centre. This is a banner of the arms which date back to the 13th century and are believed to be connected with Sicily, where a similar device was used in the Norman period. Traditionally, the symbol is associated with the Legend of the Three Magic Legs. [ http://www.isle-of-man.com/manxnotebook/history/legs.htm ] Origin of the Triskelion According to the World Encyclopedia of Flags, by A. Znamierovski, 1999: 'The triskelion (from the Greek "three-legged") is one of the oldest symbols known to mankind. The earliest representations of it were found in prehistoric rock carvings in northern Italy. It also appears on Greek vases and coins from the 6th and 8th centuries BC., and was revered by Norse and Sicilian peoples. The Sicilian version has a representation of the head of Medusa in the center. The Manx people believe that the triskelion came from Scandinavia. According to Norse mythology, the triskelion was a symbol of the movement of the sun through the heavens.' In "Emblemes et symboles des Bretons et des Celtes" (Coop Breizh, 1998), Divy Kervella explores in depth the possible meaning of the triskell. It is the symbol of triplicity in unity, one of the basis of the Celtic religion, and probably originally a solar symbol. Triplicity in the Celtic civilisation is exemplified by: the staff of the Celtic pantheon: Lugh, Daghda (Taran), and Ogme ; the unique goddess who has three aspects: daughter, wife, and mother ; the division of the society in three classes: priestly class, ruling and martial class, and productive class (craftsmen, farmers, fishers ...) the philosophical conceptions of the world based on number 3: the three circles of existence, the bardic triads... The triskell is also often said to represent the three dynamics elements: water, air, and fire, or the wave of sea, the breath of wind, and the flame of fire. One of these elements is sometimes replaced by the furrow of the earth. A more complex interpretation says that the centre of the triskell is the static earth, which receives life from the three dynamic elements. The spiral could symbolize life, dynamics and enthusiasm, as opposed to everything straight and spellbound. The representation of the triskell must be dextrogyrous (turning to the right). A senstrogyrous (turning to the left) triskell would have a maleficent, or at least hostile meaning. Traditional Breton dances and processions always turn to the right. The war dances of the ancient Celts started by turning to the left to show hostility, and ended by turning to the right, as a sign of victory. The triskell is close to the hevoud, another Celtic symbol and the Basque lauburu, and is probably of pre-Celtic origin (for instance on the cairn of Bru na Boinne in Ireland). CYMRU (Wales) THE RED DRAGON FLAG Y Ddraig Goch (the red dragon) is the national flag of Wales, and has been officially recognised as such since the 1950s. The white-over-green field is in the livery colours of the Tudors, the Welsh dynasty that once sat on the English throne. Conventional wisdom is that the 'draco' standards of the Romans were adopted by the Britons, probably as a metal (possibly real gold) head with a windsock type of body made of silk. In the mouth was a whistling type device that would make sounds as it was waved with vigor. Supposedly used by King Arthur, certainly used by the Wessex lords in the 700s, the emblem has been used by Britons right up to the present time. Today the dragon is the most prominent Welsh symbol. It is an ancient symbol, already prominent across England and Wales in the years after the departure of the Romans. With the invasions of the Angles and Saxons, the ancient Britons and their dragon symbol was pushed back towards Wales. The dragon has always been a symbol of a people, not an individual. Here is a brief summary of what Perrin in British Flags and Giles-Scott in The Romance of Heraldry have written about the dragon. A dragon was the standard of a Roman cohort which was a tenth of a legion. After the Romans left Britain it was used by both the Britons and the Saxons. A golden dragon was the principal war standard of the Saxons of Wessex, and was carried by them at the battle of Burford in 752. In the eleventh century battles the king positioned himself between his personal standard, which was the rallying point and the dragon standard which was carried by a standard bearer chosen for his strength and prowess. After the battle of Hastings the dragon standard was adopted by the Normans. No record of its use in Scotland after the battle of the Standard in 1138,where it was borne as the Scottish royal standard. A dragon standard was taken on the Third Crusade by Richard I in 1191. A dragon was borne by the English army at the battle of Lewes in 1216 and later Henry III had a dragon standard made to be placed in the re-built Abbey at Westminster. Used by Edward I, Edward III at the battle of Crï¿½cy 1346, Henry V at the battle of Agincourt 1415, and at the battle of Bosworth in 1485, after which it was carried in state to St Paul's Cathedral. Henry VII displayed the red dragon of Cadwallader, from whom he claimed descent, on the Tudor colours of white and green. Until this time it was probably golden. The supporters of the English royal arms were a lion and a dragon, but the latter was replaced by a unicorn for Scotland by the Stuarts. The dragon reappeared briefly as a supporter of the arms of the Commonwealth under Cromwell. CORNWALL THE ST. PIRAN FLAG The black flag with the white cross is the banner of Saint Piran, and is now recognized as the 'national flag' of Cornwall. Saint Piran is the patron saint of tin-miners. Tin was formerly the most important element in the economy of Cornwall. Is is said that Saint Piran derived his colours from his discovery of tin, a white metal in the black ashes of his fire. Another story tells that the colours stand for the ore and the metal, although Cornwall was of course famous for tin long before the beginning of the Christian era. An article in Encyclopï¿½dia Britannica tells that the flag was carried by the Cornish contigent at the Battle of Agincourt (1415). In a history of 1837 Saint Piran's flag was described as the "standard of Cornwall", and another of 1880 which said that: "The white cross of St. Piran was the ancient banner of the Cornish people." Source: Heraldry Society Flag Section Newsletter, Autumn 1969 BRITTANY The Gwenn-Ha-Du The flag is called the Gwenn-ha-du which means "white and black". The Bretons say that it is the only flag in the world which doesn't have any colours, but surely it is the only flag in the world which in a parade is carried at arm's length over head. The dimensions are not really fixed. They vary from 9:14 cm to 8:12 m. The flag is not only used by cultural associations or autonomists but really by everybody, and this quite often: you can even see it on town halls in the region. Because of the absence of legislation concerning regional flags in France the flag is also flown on sail and fishing boats. This is tolerated, but the French flag must also be flown. The design of the ermine spots can vary but the most frequently seen is that on the above drawings. Over the years, the authorities considered the flag as separatist but things have now changed and the flag can appear everywhere, even on public buildings along with the French flag. It no longer has any political connotations. The Gwenn-ha-du is now the flag of the Region Bretagne. It is also used in the department of Loire-Atlantique, although this belongs to the Region Pays de la Loire, because the territory of Loire-Atlantique is historically part of the province of Brittany. Nantes (Naoned), its prefecture, was once one of the two capital cities of Brittany. The design seems to have been inspired by the American Stars and Stripes. Interestingly, the arms of the Irish Marshall clan are very similar to Marchal's design. GALICIA Galicia or Galiza is the least well-known of the Seven Celtic Nations. Its destiny through the last five centuries under Spain's dominion has condemned it to the oblivion of the world, but its actual Celtic spirit has survived and it's yet alive. Located in the Northwest Corner of the Iberian Peninsula of Spain, this is the land, according to the history, that King Milesius and his people traveled from to arrive and settle in Ireland. Galicia is green, hilly and rainy, most reminiscent of the British Isles. Like the landscape, the peopleï¿½s culture and music are distinctly Celtic in flavor. Galicia is fresh and verdant, it has gushing rivers and a coastline more reminiscent of Scotland than Spain. The weather is cool often misty and the land is impregnated with an age-old magical atmosphere, which travelers can share in cathedrals, castles, Dolmens & Hill-forts. You may even hear Galician bagpipes (Gaitas) droning across the pasture. Galicia is the most forgotten of the seven Celtic nations. Even so, it has some of the oldest Celtic traditions, going back more that 2000 years. Travelling in Galicia, one can sense this Celtic feeling coming back from the ancient times. One does not see the calm magic of Galicia, one breathes it in: in the genuine hospitality of the people; in the popular festas and carnivals. In the fruits which land and sea share out generously to locals and strangers: seafood, meat, fish and wine. Also in the restful pleasure of the parador hotels, or experience the rural beauty in accommodation's like Monasteries, Castles, Convents, Manor Houses (Pazos) and Country B&Bï¿½s converted into beautiful rural inns all with there own distinct character. That is the magic of Galicia. Always attractive. Always... UNFORGETTABLE. "...Galicia, a green and hilly region in the northwest corner of Spain. With an economy historically based on fishing and farming, it has traditionally been one of the poorest regions in Europe. Galicians speak their own language. The culture, particularly the music, has more in common with those of Brittany, Wales, Scotland and Ireland than Castille or Andalusia. Galicia was once described as the world's most undiscovered Celtic country... the traditional pilgrims route to the enchanted cathedral of Santiago de Compostela, Christians hold the site sacred and believe it to be the final resting place of St James the Apostle. Older legends dating back to ancient Celtic times speak of another pilgrimate that followed the stars to the Milky Way to Land's End [Fisterra]. Trascending its own mysterious origins, the pilgrimate continues to draw countless thousands from around the world to this faraway land." -- PADDY MOLONEY July,1996 About the Galician Coat of Arms: When Heraldry became widespread through Western Europe, the ancient kingdom of Galicia was then already part of the Leonese monarchy, and its kings used to use quite simply the talking lion. That dependence was the reason why Galicia lacked an heraldic symbol from the 12th to the 14th Century the need to use a figure that represented Galicia provoked the use of a eucharistic symbol in the coat of arms by way of a covered goblet during the 15th Century, or a chalice with a host on top in the 16th Century, and by the monstrance starting from the 17th Century. This figure appeared due to an ancient privilege existent in the Cathedral of Lugo be the constant exhibition of the Holy Sacrament to the faithful. In the Renaissance the goblet lost its expressive character and in order to insist on the message, the eucharistic bread became patented and the chalice replaced the goblet. The appearance of the crosses in the Galician coat of arms came from years back coming out of the need to fill the empty space. The crosses were chosen fundamentally for religious reasons, the first ones being made up by several smaller crosses. There were six of them throughout the whole of the 17th century but the one which finished off the monstrance ended up becoming independent and the resulting seven crosses were identified by the heads of the old Kingdom of Galicia. Nowadays it is characterised by its simplicity. The background colour of the coat of arms has been blue since the 15th Century and today the crosses are preferably silver. The chalice appears in gold joined to the silver host. Amongst the exterior ornaments, special attention needs to be paid to the crown and to the cross of Santiago. They did not appear until the 17th Century as their use was reserved solely for Knights of the order. Nowadays only the crown remains. It was in 1972 when the Royal Academy of Galicia in a plenary session adopted the definitive model of this symbol which today is considered official.	i don't know
In which country was Manchester United's new 18-year old signing Adrian Januzaj born ?	Manchester United Need This 21 Year-old Austrian, 18 year-old Belgian, 25 Year-old Argentine By This Summer \| SoccerSouls Home / Article / Manchester United Need This 21 Year-old Austrian, 18 year-old Belgian, 25 Year-old Argentine By This Summer Manchester United Need This 21 Year-old Austrian, 18 year-old Belgian, 25 Year-old Argentine By This Summer By admin on October 8, 2013 Can anything thing else go wrong for Manchester United? After a devastating, wait, there has to be a better word to describe the disgrace dealings suffered during the summer transfer window. Horrendous, no, horrendous is the best word used to describe their start to the season. Appalling, yes, appalling is just the word I was looking for. Manchester United was treated like that scrawny, geeky looking kid with the tape used to hold together his larger than normal eyeglasses that nobody wanted to pick. While new chief executive, Ed Woodward, was busy tying up sponsorship deal, United were the laughing stock of the footballing world. With most, no, with all their main summer targets either leaving them stranded at the alter or continuously denying been linked to the club, this was not a good beginning for both David Moyes and Ed Woodward, who replaced retiring Sir Alex Ferguson and David Gill. Kevin Strootman and Thiago Alcantara, who were believed to have accepted a contract offer from Manchester United, now play for Roma and Bayern Munchen respectively. With numerous failed attempts to land Barcelona midfielder Cesc Fabregas, and the player adamant on staying with the Catalan club, United finally gave up on the ex-Arsenal captain. The transfer woes took quite a strange turn when United approached Atletico Bilbao midfielder, Ander Herrera, a player I myself had only seen play twice was the next on the list. This one was strange because during the final hours of the window, it was said imposters posing as Manchester United officials were in Spain to discuss a final bid for the creative midfielder after numerous failed tries. At the end of this entire calamity, David Moyes was reunited with former Everton player, Marouane Fellaini, as his sole transfer transaction. Oh yeah, they bought him at a higher price than they would have got him for prior to the transfer deadline. Thanks a lot, Ed Woodward. The disastrous row of the transfer window has long been forgotten due to a lacklustre start to the season. Manchester United are experiencing their worst start since the 2008/2009 season. With just 10 points after seven games, and out of the loving arms of Europe, it is too soon to panic, but worry you must. With the lack of transactions throughout the summer, there is much to look forward to come January. New manager David Moyes has said United needs 5 or 6 world class players to compete in the Champions League, and with the humiliation of the summer window, there will be players sold paving way for new arrivals. The late acquisition of Marouane Fellaini has provided cover for a position the Red Devils were in dire need of. Though the Belgian, in the early season, has looked out of place with his new club, he will be that force United needs in the middle third. The most noticeable positions in need of reinforcement are; the defence and the left-flank, oh, and a couple more quality players in the middle wouldn’t hurt. With that said, here are a handful of players that should be targeted in next year’s transfer window that could provide cover, and hopefully save Uniteds season. DEFENCE 34, 32, and 31, no those aren’t kit numbers – those are the ages of Rio Ferdinand, Patrice Evra and Captain Nemanja Vidic. I get the whole notion that you need experience in your back four, but when your back four, well three, are constantly being outplayed, outpaced and are causing more harm than good, then it’s time for a change. The once dominant tandem of Ferdinand and Vidic is now a distant memory. It is clear to see the two giants have lost their ways. Manchester United possesses a bunch of quality young centre-backs whom would be suitable replacements for both players. Phil Jones, to say the least, has been a breath of fresh air coming into this season. Chris Smalling had an injury plagued 2012/2013 season but has returned fresh and in form. The versatile back, who can also be deployed in the number 2 spot has had a great start to the season. He has been a pillar at the back in both Champions League clashes with Bayer Leverkusen and Shakhtar Donetsk. David Alaba A left-back cover is well needed in the upcoming transfer window. Patrice Evra has been a shadow of his old prevailing form. The 4-1 thrashing in the Manchester Derby displayed just how defensively inapt the France international has been in recent years. His propensity to venture far into the attacking third left United uncovered during Manchester City counters on the right-flank. Jesus Navas was virtually unmarked at times, forcing Vidic out of position. Bayern Munchen first choice left-back, David Alaba, is the one person that comes to mind to replace the ageing Patrice Evra. Touted as one of the best, if not the best at his position, the 21 year-old Austrian international would be a solid choice. Though, it may be realistically unfeasible to seize him from the Bavarian club, this is a player Manchester United should look to solidify the squad. David Alaba is as opposing running rabid attacking down the left as he is defending. With his great pace and keen attacking prowess, he provides an immense outlet charging forward. His confidence to take on defenders is a quality that has made him the player he is. Off the ball, he moves intelligently to get into position where he can utilize his quality crossing ability. Not only is he a good passer of the ball, he can also put it in the net. He possesses a rather ferocious shot, and a great dead ball technique. Though somewhat a tad raw defensively, he is slowly progressing, but is already a formidable opponent for opposing widemen. http://www.youtube.com/watch?v=QGkWYOzlA2Y	Belgium
Which American singer was known as 'The Big O' ?	Live: Old Trafford hosts Wayne Rooney testimonial :: Jenkers Live: Old Trafford hosts Wayne Rooney testimonial Old Trafford is tonight hosting a testimonial for Manchester United star Wayne Rooney against his boyhood club Everton. He has gone on to score 245 goals for the Red Devils, putting him only four behind Sir Bobby Charlton's all-time record haul for the club, and helped them secure plenty of silverware, including five Premier League titles and the 2007-08 Champions League. To see this post on Facebook, click here. It is the first time Jose Mounrinho will manage United at Old Trafford, and both teams are feilding strong sides for the friendly encounter. On Saturday a 5-2 friendly win for United over Galatasaray saw Rooney score twice and Zlatan Ibrahimovic once, and the latter says he can see "only success" if the two play alongside each other in attack. The 34-year-old Swede, recruited this summer on a free transfer after leaving Paris St Germain, told MUTV: "I think every big player can work with other big players. That's not a problem. "We are 11 players not two players on the pitch. It's up to the coach what he wants but, with him, I see no problems. Only success. "I said many years ago the perfect partner for a striker is Wayne Rooney. He works not only for himself but for the striker and the whole team. I'm absolutely happy to be one of the guys beside him." Jose Mourinho fields extremely exciting Man United side for Wayne Rooney's testimonial against Everton United have played just three pre seasons games and, as such, with the Premier League opener against Bournemouth looming, Mourinho cannot afford to pass up any opportunity to hone his players sharpness. After 12 gilded years at Old Trafford, Rooney, aged just 30, will line out for his testimonial against boyhood club Everton. Rooney has been selected alongside Zlatan Ibrahimovi , Anthony Martial and Jesse Lingard in the final third. Ander Herrera and Michael Carrick are in midfield, in front of a back four of Antonio Valencia, Eric Bailly, Daley Blind and Luke Shaw. David de Gea will take his place between the posts. Online Editors David Moyes wasnt mistreated at Manchester United and heres why Everybody knew that whoever was handed the Manchester United job after Sir Alex Ferguson was being handed a poisoned chalice. After almost three decades of success, it was obvious that the man tasked with filling the Scots boots would struggle. Opposite the dugout at Old Trafford is the Sir Alex Ferguson Stand, looming large, reminding the current incumbent of the success that came before them. Whether thats David Moyes, Louis van Gaal or Jose Mourinho, all who stand on that touchline have huge expectations to meet regardless of the glory their CV may or may not boast. Fergies fault Ferguson helped make the decision to appoint compatriot Moyes without so much as an interview, having the misguided belief that they were cut from the same cloth. But while Fergie enjoyed success at Aberdeen, overthrowing the usual order of power of Celtic and Rangers in Scotland, as well as beating Real Madrid to win the European Cup Winners Cup, Moyes had lifted nothing. Moyes had been in management for 15 years, without a trophy to his name, before Ferguson chose him. In Fergusons first 15 years of his career hed won three league titles, five domestic trophies and two European trophies. To claim that these two men are alike is lazy. They were both born in Glasgow, but thats where the similarities end. Still, Ferguson urged the fans to get behind the new manager, and while a lot of supporters believed that Mourinho was a more suitable choice, they were loyal to their legendary former manager, so did what he said. Come on David Moyes, play like Fergies boys the Old Trafford crowd would sing every week, to the Slade anthem. The football was awful, the results were even worse particularly against Uniteds hated rivals yet still the fans stuck with their new manager. The atmosphere for the 3-0 home defeats against Manchester City and Liverpool were up there with the noisiest crowds Old Trafford has seen in recent years. Shoes too big Yet, despite the lack of booing and jeering, youd be hard pressed to find a United fan who wasnt relieved when, following the 2-0 defeat away to Everton, Moyes was sacked. There were factors that worked against him, like the expectations from the Ferguson years and incompetence of Ed Woodward in the transfer market, but the simple truth was that Moyes lacked the experience of managing world-class players and was never qualified for such a job. Maybe Fergusons ego meant he didnt want to see Mourinho come in and outshine him not that it would have been possible or maybe he genuinely thought that Moyes needed this platform to prove his capabilities. Whatever happened to allow Moyes to be Uniteds manager, time proved what we all expected anyway that this role was too big for the former Everton boss. Some United fans hated Moyes and even paid for a plane to fly over Old Trafford demanding his dismissal. Other supporters felt sorry for him, knowing hed been given a very difficult job. Where I should be However, Moyes comments since his sacking have begun to grate on large sections of the fanbase. At his unveiling as Sunderland manager, he claimed it was unjust that United let him go after 10 months having been given a six-year contract. There were mitigating circumstances, he said. And I think there are maybe things that have gone on since then that would actually justify that even more so. Managing Manchester United gave me an unbelievable idea of what its like at the top. I believe thats where I can work and thats where I should be working. My level is that, because that is what I saw when I was there. Its true, United gave him a lengthy contract to prove they were committed to Fergusons successor. Had he taken the champions to fourth the following season, after the 70 million investment in the transfer window, he would have been forgiven. Despite the fact United hadnt finished lower than third since 1991, there would have been some understanding given the task at hand. Fergusons final squad was past its best and any manager would have struggled to retain the title, including Ferguson himself. But the fact United finished seventh, below Moyess former club Everton, meant he didnt have a leg to stand on. If one season saw United fall from first to seventh, theres no way they could have allowed Moyes to experiment at the top for a second season. Who knows how far United would have drifted if he had been allowed to keep his job. Read More When you also consider that Moyes brought Evertons top scorer Marouane Fellaini with him to Old Trafford, his reign is still leaving a bitter taste. Roberto Martinez had just seen Wigan relegated, and in his second and third seasons Everton finished 11th. Moyes wasnt competing against a world-class manager with a generous budget, yet still Martinez managed to show him up, despite having an inferior squad. Too much, too soon The decision for Moyes to substitute Uniteds title-winning backroom staff with coaches from Preston, Everton and Newcastle bit him on the backside. Presumably, when Ferguson made the decision to appoint Moyes, he didnt believe his replacement would be so bold to think he knew better. Moyes needed one season to steady the ship, continuing with the successful coaching that was already in place, and if in his second he saw areas for improvement, so be it. Yet there was no acknowledgement of his own failings when he left. It was really difficult when I lost the job initially because I didnt really see it coming, even though I had been losing games, he told the BBC. I knew that it could be difficult but I joined a club that I felt stood behind their managers, made sure they supported them in difficult times Sir Alex had difficult times when he first took over. What Moyes failed to mention was that Ferguson took charge when United were in the relegation zone, while he became manager when the team were champions. To expect to be given a few years to show what he could do, because of what happened to Ferguson, was ridiculous. Something to show The past three years have been embarrassing for United and in three years time they may find themselves in the same position, given Mourinhos history of short-term success. But while Van Gaals football was dreadful, he at least had an FA Cup to show for his two seasons, as well as giving the fans reasons to cheer when United played their rivals. More often than not, United picked up good results against the likes of Manchester City, Liverpool and Arsenal. However, its difficult to think of even one positive to Moyes tenure at Old Trafford. Even securing Wayne Rooneys future at the club, which was billed as a success at the time, has proven to be a bad move given how quickly the captains form has deteriorated since then. Moyes has delusions of grandeur. Even now at Sunderland, following his failed stints at United and Real Sociedad, Moyes believes hes above them. He was an unmitigated failure at Old Trafford and the fact he still cant admit any of his numerous mistakes is worrying for him. New features every day on FFT.comMore Man United Wayne Rooney Testimonial: Manchester United vs Everton live streaming in India After 12 seasons, which saw 245 goals in 520 competitive fixtures and 10 major honours including five Premier League titles and the UEFA Champions League, there’s no denying that Wayne Rooney has had one of the most storied careers in English football. It’s hard to forget Wayne Rooney’s smashing introduction to the Premier League. It was 2002 and Everton were drawing 1-1 against Arsenal when a 16-year-old lad smashed a ball into the underside of erstwhile England keeper David Seaman’s goalpost which sent the commentator berserk: “Remember the name… Wayne Rooney”. He told Manchester United’s official website: "I'm excited - I think it'll be a good game but also a good pre-season game, which we need going into the new season. I'm grateful to the club for granting me this testimonial and hopefully we'll raise a lot of money for charity. I think before the game and at the end I might get a bit emotional, but come kick-off it'll be a normal game and it'll act as good preparation for me and the other players, as we'll get more minutes under our belts going into the new campaign." When asked about the opposition he said: "Yes, it was. I'm grateful to Everton for the time I spent there - I was there from the age of nine to 18 - and they helped me to progress to become a senior footballer. So I felt it was right to ask Everton and they have been very supportive of the game, so I'd like to thank them as well." Fixture: Manchester United v/s Everton Match Timing: 12:30 AM IST Where to watch live: While the match won’t be shown live in India, you can still follow on a live stream which will be hosted onManchester United'sorWayne Rooney's official Facebook pageto live stream the match. Paul Pogba to Man United: Five other lengthy transfer sagas 1) Convincing Cristiano Cristiano Ronaldo signed for Real Madrid in the summer of 2009, but the deal was confirmed a year after the speculation initially started. The Portuguese wizard was heavily chased by the Spanish giants throughout the summer of 2008, with United doing everything they could to persuade him to stay for another year. In the end Sir Alex Ferguson intervened - convincing Ronaldo to remain a Red Devil for another 12 months - only for his golden boy to jump ship to Spain a year later. 2) Buying Berbatov Tottenham chairman Daniel Levy has always been a difficult negotiator, but United finally wore him down when they swooped for Dimitar Berbatov in 2009. The Bulgarian was wanted by Ferguson to help United retain their Champions League title - despite already having Louis Saha, Carlos Tevez and Wayne Rooney at their disposal. Manchester City actually had a bid for Berbatov accepted before United on Transfer Deadline Day, but Ferguson pounced to bring him to Old Trafford and finally get his man. Adnan Januzaj Used in Manchester United Summer Sale Promotional Blunder After securing a number of key targets ahead of the new season, Manchester United manager Jose Mourinho is reportedly set to show the door to nine of his other first-team squad members. One of those linked with a move away from Old Trafford is winger Adnan Januzaj. The Portuguese boss, however, probably didn't have an advertisement like this in mind when deciding who was surplus to requirements. The Red Devils' official website inadvertently suffered from a gaffe of its own making after putting up an image of Januzaj, promoting its summer sale, with the caption 'Summer Sale. Minus 25% off'. The 21-year-old has been linked with a summer switch to Sunderland in recent days.New Black Cats boss David Moyes worked with Januzaj during his seven month ill-fated spell in charge of United, and is a known admirer of the Belgian's talents. FBL-ENG-PR-SUNDERLAND-MOYES More Reports in Wednesday's media state that Januzaj would be available for a fee of around 10m. The lingering question remains whether that 10m figure is before or after this supposed 25% reduction, or whether Moyes would need to input a discount code such as "United25" at the checkout... Zlatan Ibrahimovic lauds Wayne Rooney as a 'striker's perfect partner' Rooney has dropped into in a midfield role for United and England of late but new Red Devils boss Jose Mourinho has indicated he wants to utilise the 30-year-old further forward. On Saturday a 5-2 friendly win for United over Galatasaray saw Rooney score twice and Ibrahimovic once, and the latter says he can see "only success" if the two play alongside each other in attack. The 34-year-old Swede, recruited this summer on a free transfer after leaving Paris St Germain, told MUTV: "I think every big player can work with other big players. That's not a problem. "We are 11 players not two players on the pitch. It's up to the coach what he wants but, with him, I see no problems. Only success. "I said many years ago the perfect partner for a striker is Wayne Rooney. He works not only for himself but for the striker and the whole team. I'm absolutely happy to be one of the guys beside him." Wednesday sees Old Trafford host a testimonial for Rooney against Everton - the club he United from in 2004. He has gone on to score 245 goals for the Red Devils, putting him only four behind Sir Bobby Charlton's all-time record haul for the club, and helped them secure plenty of silverware, including five Premier League titles and the 2007-08 Champions League. Ibrahimovic added of Rooney: "I think he's had a fantastic career. "It's not easy to be in top clubs for so many years. Players come and go. Top players are coming and going but he is still staying. "He has performed at the top every year. I think he is a perfect example for young players to look at and take after. He's been playing such a long time for a top club and giving results year after year. "Not everybody can succeed with that but he is one of them. I'm very happy I'm in his team and will do my best to help him win." Press Association Zlatan Ibrahimovic full of praise for Wayne Rooney ahead of his testimonial New Manchester United frontman Zlatan Ibrahimovic has described club captain Wayne Rooney as the "perfect partner for a striker". Rooney has dropped into in a midfield role for United and England of late but new Red Devils boss Jose Mourinho has indicated he wants to utilise the 30-year-old further forward. On Saturday a 5-2 friendly win for United over Galatasaray saw Rooney score twice and Ibrahimovic once, a nd the latter says he can see "only success" if the two play alongside each other in attack. The 34-year-old Swede, recruited this summer on a free transfer after leaving Paris St Germain, told MUTV: "I think every big player can work with other big players. That's not a problem. "We are 11 players not two players on the pitch. It's up to the coach what he wants but, with him, I see no problems. Only success. "I said many years ago the perfect partner for a striker is Wayne Rooney. He works not only for himself but for the striker and the whole team. I'm absolutely happy to be one of the guys beside him." Wednesday sees Old Trafford host a testimonial for Rooney against Everton - the club he United from in 2004. He has gone on to score 245 goals for the Red Devils, putting him only four behind Sir Bobby Charlton's all-time record haul for the club, and helped them secure plenty of silverware, including five Premier League titles and the 2007-08 Champions League. Ibrahimovic added of Rooney: "I think he's had a fantastic career. "It's not easy to be in top clubs for so many years. Players come and go. Top players are coming and going but he is still staying. "He has performed at the top every year. I think he is a perfect example for young players to look at and take after. He's been playing such a long time for a top club and giving results year after year. "Not everybody can succeed with that but he is one of them. I'm very happy I'm in his team and will do my best to help him win." Manchester United news: Matteo Darmian ready to fight for Old Trafford future amid Roma speculation Matteo Darmian says he is prepared to fight for his place in the Manchester United starting line-up despite Jose Mourinhos arrival casting his Old Trafford future in doubt. The Italian full-back was linked with a move to Roma before making his first pre-season appearance of the summer during the 5-2 friendly success against Galatasaray last weekend. Despite reports suggesting he has fallen down the pecking order since Mourinho's appointment, Darmian, 26, told ManUtd.com: I think it's good to have such competition within the squad because there are a lot of good players for every position in a big team. You just have to be ready for when the manager gives you a chance. I think he's a great manager, he's very hungry and his victories and successes speak volumes for him. We want to improve this week to be ready for the first game of the season. Meanwhile, Bastian Schweinsteiger has delivered a message to his fans amid reports that he is being forced out of the club, thanking them for their support and saying he hopes to see them soon ahead of the new season. The German is one of the players who have been told they can leave as United look for extra revenue to finance the world-record 100m transfer of Paul Pogba from Juventus, prompting his brother to post no respect on social media this week. Schweinsteiger, 32, announced his retirement from international football last month and had hoped to focus solely on his Old Trafford career as Mourinho prepares for his first season in charge since replacing predecessor Louis van Gaal in May. Wearing Uniteds official training kit, Schweinsteiger said on a video posted to Twitter: Hi guys, thank you very much for the birthday wishes and the positive comments I received about the national team career, I feel very honoured. I hope we're going to see each other soon. Bye. Reuse content Wayne Rooney testimonial: How to watch Manchester United vs Everton on Facebook for free Wayne RooneysManchester United testimonial against Everton will be streamed on Facebook for free. The game, the first between two Premier League sides to be broadcasted by the social network, will be free-to-air for all of Facebooks 1.7bn users. So, how do you go about watching Rooneys testimonial on Facebook? Where can I watch it? The match will be shown on Wayne Rooney and Manchester Uniteds respective Facebook pages. It will also be broadcasted live on BT Sport 1 from 7.15pm BST. A full repeat shown on MUTV from midnight. You can also follow the action onThe Independentslive blog from 7.00pm. What time is kick-off? The match begins at 8.00pm. Anything else? It is thought that both sides will be playing full-strength sqauds which means no cameos from the Class of 92. All proceeds from the match will be distributed via The Wayne Rooney Foundation to four chosen charity partners - NSPCC, Claire House Childrens Hospice, Alder Hey Childrens Hospital and the Manchester United Foundation. Rooney, who has made 597 appearances and scored 262 goals for United to date, joined the club from Everton for 27m in 2004. Reuse content Ibrahimovic lauds Rooney as perfect partner “I said many years ago the perfect partner for a striker is Wayne Rooney,” Ibrahimovic told Manchester United TV on Wednesday. “He works not only for himself but for the striker and the whole team. I'm absolutely happy to be one of the guys beside him.” Ibrahimovic also praised Rooney's longevity at Old Trafford, a sentiment echoed by former United manager Alex Ferguson, who has paid his own tribute to the forward in the official programme for Wednesday's match. “(Wayne's) gone on to play for Manchester United for 12 years, which is very difficult in the present day,” said Ferguson. “I always think that great players can play in any era. Bobby Charlton would have been a great player today and Wayne Rooney would have been a great player back then.” It remains to be seen what role Rooney will play under new coach Jose Mourinho this season, with the forward having been increasingly used as a midfielder under previous boss Louis van Gaal. Henrikh Mkhitaryan, signed from Borussia Dortmund in the close season, is a natural candidate for a role behind the striker, while United's reported pursuit of Juventus midfielder Paul Pogba threatens to add further competition in the middle of the pitch. Ibrahimovic, however, is confident that Mourinho will find a way of getting the best from United's talented options. “I think every big player can work with other big players,” Ibrahimovic continued. “That's not a problem. “We are 11 players not two players on the pitch. It's up to the coach what he wants but, with him, I see no problems, only success.” – Reuters Visit IOL Sport on Facebook Ibrahimovic praises 'perfect partner' Rooney REUTERS: Zlatan Ibrahimovic says he is excited by the prospect of playing alongside Wayne Rooney at Manchester United and described his new team mate as the "perfect partner for a striker". The new pairing could make their Old Trafford debut together in Rooney's testimonial against his former club Everton on Wednesday, having linked up to good effect in Uniteds 5-2 friendly victory over Galatasaray in Gothenburg on Saturday. "I said many years ago the perfect partner for a striker is Wayne Rooney," Ibrahimovic told Manchester United TV on Wednesday. "He works not only for himself but for the striker and the whole team. I'm absolutely happy to be one of the guys beside him." Ibrahimovic also praised Rooney's longevity at Old Trafford, a sentiment echoed by former United manager Alex Ferguson, who has paid his own tribute to the forward in the official programme for Wednesday's match. "(Wayne's) gone on to play for Manchester United for 12 years, which is very difficult in the present day," said Ferguson. "I always think that great players can play in any era. Bobby Charlton would have been a great player today and Wayne Rooney would have been a great player back then." It remains to be seen what role Rooney will play under new coach Jose Mourinho this season, with the forward having been increasingly used as a midfielder under previous boss Louis van Gaal. Henrikh Mkhitaryan, signed from Borussia Dortmund in the close season, is a natural candidate for a role behind the striker, while United's reported pursuit of Juventus midfielder Paul Pogba threatens to add further competition in the middle of the pitch. Ibrahimovic, however, is confident that Mourinho will find a way of getting the best from United's talented options. "I think every big player can work with other big players," Ibrahimovic continued. "That's not a problem. "We are 11 players not two players on the pitch. It's up to the coach what he wants but, with him, I see no problems, only success." (Reporting by Ed Dove; Editing by Toby Davis) Man Uniteds target Paul Pogba says he is staying at Juventus New York: Following media reports that Paul Pogba was just “a matter of hours” away from joining Manchester United, the Juventus midfielder instead told Italian Football on Wednesday TV that “yeah”, he would be staying with the Old Lady of Turin. Manchester United have been chasing the midfielder all summer, with a 100 million pound (Dh486.4 million) move back to Old Trafford widely expected, the Daily Mirror reported. However, Pogba has dramatically dampened speculation he could be on his way to Jose Mourinho’s men. The 23-year-old, who is on holiday in the US after Euro 2016, has said he will remain with the Serie A champions instead. Supporters from the IFTV channel waited for Pogba outside his hotel, where he was asked if he will stay at Juventus. The Frenchman, who signed a Juventus ball, replied: “Yeah.” Pogba is keeping up his fitness in New York as speculation continues over his future. He arrived in the Big Apple on Tuesday on what is the final stop in his summer vacation. His presence in New York led to speculation Real Madrid could be about to gazump the Red Devils. Zinedine Zidane’s side play Bayern Munich at the MetLife Stadium on Wednesday. Pogba uploaded a video to his Instagram account on Tuesday as he maintained his fitness levels with some combat sports. The midfielder’s post was captioned: “Afternoon sweat #newyork #combat.” Earlier this week, Pogba responded with the words “We’ll see” to a Sky Sports News reporter when asked about the probable move to Manchester United. Pogba, then 19, departed United in 2012 for next to nothing after refusing the offer of a new contract because he had grown frustrated by a lack of first-team opportunities at the club. In the years since, the midfielder has matured into one of the most wanted players in world football. He has helped the Bianconeri to four successive Serie A titles, while also being named Best Young Player at the 2014 World Cup. United received just 800,000 pounds in compensation for Pogba, who spent three years with the club after signing from French club Le Havre. In his book ‘Leading,’ Sir Alex Ferguson, the former United boss revealed why he couldn’t keep hold of Pogba – placing the blame firmly at the feet of his agent, Mino Raiola. “There are one or two football agents I simply do not like, and Mino Raiola, Paul Pogba’s agent is one of them,” said Ferguson who wrote the book with Michael Moritz. “I distrusted him from the moment I met him. He became Zlatan Ibrahimovic’s agent while he was playing for Ajax, and eventually he would end up representing Pogba, who was only 18-years-old at the time. “We had Paul under a three-year contract, and it had a one-year renewal option, which we were eager to sign. But Raiola suddenly appeared on the scene and our first meeting was a fiasco. “He and I were like oil and water. From then on, our goose was cooked because Raiola had been able to ingratiate himself with Paul and his family and the player signed with Juventus.” Wayne Rooney testimonial: Manchester United striker's career in pictures Wayne Rooney's testimonial between Manchester United and Everton this evening is likely to be an emotional occasion for the England striker. Rooney's United will face his only other professional club at Old Trafford on Wednesday as he prepares to start his 13th season at Old Trafford. The game, which will also be Jose Mourinho's first as United manager at home, is raising funds for the Wayne Rooney Foundation which will distribute money to the NSPCC, Claire House Hospice, Alder Hey Childrens Hospital and the Manchester United Foundation. The 30-year-old has won five Premier League titles in the north west since a 25m move in 2004 during a career littered with triumph and controversy. Despite also winning the Champions League in 2008, helping defeat Chelsea in the final in Moscow, Rooney's legacy at United causes debate among supporters. Successes on the pitch are placed alongside off-field strife, including a host of unpopular contract negotiations under Sir Alex Ferguson. See above for a gallery of Rooney's key career moments, including breaking records for club and country but also featuring a few of his more unsavoury moments too. Reuse content Watch Paul Pogba cast doubt on Manchester United move as he holidays in US Paul Pogba has been keeping up his fitness in New York as uncertainty continues to surround his future. Manchester United are reportedly ready to pay a world-record fee to bring Pogba back to the club from Juventus this summer. The 23-year-old France midfielder has been on holiday in the United States following his involvement in Euro 2016, and a video posted on his Instagram account late on Tuesday showed him doing a Muay Thai workout, aiming kicks and punches at the pads of a trainer. An accompanying message read: "Afternoon sweat #newyork #combat #muaythai" Reports have suggested a move to United for around 100million could be sealed in the next few days, although another video to have emerged seems to have added some doubt to the situation. In footage from YouTube channel ItalianFootballTV, Pogba appears to say "yes" when he is asked, as he signs a football outside a New York hotel, if he is staying at Juve. Jump to the one minute mark to see the actual footage of Pogba.. That comes after Pogba's agent Mino Raiola last Friday tweeted: "Journalist = parrots. No deal done between clubs. It's a game between Italy press and UK press who announce it first and who is worse." United declined to comment on Pogba when contacted on Wednesday morning. Ferguson: Rooney Premier League's best Wayne Rooney has been named the best Premier League player ever by his boyhood hero Duncan Ferguson - whom he played with at Everton. Rooney would later sign for Manchester United in 2004, where he plays and captains to this day, and ahead of his testimonial on Wednesday, Ferguson has named him the Premier League's best. The former Everton forward has won five Premier League titles at United and scored 193 league goals - placing him behind only Alan Shearer in the all-time list - one of which was voted the best goal of the era when he scored a bicycle kick against Manchester City in 2011. Rooney is also second in United's all-time goalscoring list, just four goals behind Bobby Charlton, ahead of the new season and Ferguson believes his consistency makes him the best the league has seen. "Wayne Rooney is a lovely man, a family man," Ferguson told the Mirror. "He's a totally trustworthy man, a great professional and, for me, he's been the best player we've ever had in the Premier League." And Ferguson said Rooney displayed that potential even as a 16-year-old, who would stay behind after training to watch play in under-18 fixtures. "I stayed behind after training one day to have a look," he said. "Wayne was a substitute and came on and within 10 minutes he had scored two goals. "I knew straight away there was something special about him. He had a great desire to get on the ball, he had great feet and he could nish. "He also had the physicality and, of course, the talent. He was also fast and powerful so even at that age you could see he had everything you need to be a top, top player. "He was the best 16-year-old footballer I had ever seen and still is, by the way. He would just get on the ball and run past people for fun. "He was a tough kid from a tough area, but with a great sense of community. He had natural toughness and aggression and was made for the big stage." Paul Pogba: Manchester United target tells Juventus fans he is staying with Serie A club Paul Pogba has told two Juventus fans in New York that he will stay at Juventus for the forthcoming season, despite the expectation that he will sign for Manchester United in the coming days. The 23-year-old midfielder was questioned about the move by Marco Messina and MichaelKantarisof YouTube channel ItalianFootballTV while autographing merchandise. When asked by Messina whether he would stay with the Serie A champions this summer, Pogba responded: Yes. When asked to clarify whether he would be remaining with Juventus, Pogba again said: Yeah. Despite Pogba answering in the affirmative, Messina later admitted that he did not feel the midfielders answer was sincere.Kantaris, however, believed Pogba's response. Pogba is widely expected to complete his return to United in the coming days, having reportedly agreed a world-record transfer of approximately 100m. The France international, who has been on holiday in the United States for the past three weeks following defeat in the European Championships final, left Old Trafford for Italy four years ago. Manchester United's best XI with Paul Pogba Juventus paid just 800,000 in compensation for Pogba, who has since developed into one of world footballs leading midfielders. Pogba will become the fourth signing of Jose Mourinhos reign at Manchester United following his appointment in May. Eric Bailly, Zlatan Ibrahimovic and Henrikh Mkhitaryan have also arrived through the door at Old Trafford this summer. Reuse content Man Utd Transfer News: Pogba will complete deal, Sunderland odds-on, Jose chase confirmed Paul Pogba's return to Manchester United is purely a case of time. Express Sport understands his transfer back from Juventus is finally nearing a conclusion. France international Pogba is entering the final stages of his holiday in USA, with only a medical and a signature left to be sorted in the world-record deal. The 23-year-old midfielder will cost United £112million and a contract has been agreed worth a whopping £275,000 a week. Pogba is expected in Manchester by the weekend and could watch United's Community Shield clash with Leicester on Sunday (4pm). GETTYPaul Pogba says he'll remain at Juventus this summer Meanwhile, bookmakers BetStars have priced Sunderland as 10/11 favourites to sign United outcast Adnan Januzaj, who has previously worked with new Black Cats boss David Moyes. “Following a typically brutal statement by Jose Mourinho at the weekend, the odds suggest Adnan Januzaj is set for the Old Trafford exit door,” said a BetStars spokesman. “Sunderland have emerged as odds-on favourites at 10/11 to sign Januzaj, which would see the Belgian re-united with former boss David Moyes." And finally, Galatasaray winger Bruma has confirmed that Mourinho is going to monitor his progress this season. The 21-year-old played a starring roles in his Galatasaray's friendly defeat against the Red Devils over the weekend, in which Mourinho's side came back to win 5-2. Speaking after the pre-season game in Gothenburg, Bruma said: "He [Mourinho] congratulated me for the performance and said he was impressed with me. “He promised to closely monitor my work and said I could play for the national team soon. "Of course it was amazing to hear this from Mourinho and he said he will keep an eye on how I do this season." Related articles Juventus' Paul Pogba casts doubt on Manchester United move as he holidays in US Paul Pogba has been keeping up his fitness in New York as uncertainty continues to surround his future. Manchester United are reportedly ready to pay a world-record fee to bring Pogba back to the club from Juventus this summer. The 23-year-old France midfielder has been on holiday in the United States following his involvement in Euro 2016, and a video posted on his Instagram account late on Tuesday showed him doing a Muay Thai workout, aiming kicks and punches at the pads of a trainer. An accompanying message read: "Afternoon sweat #newyork #combat #muaythai" Reports have suggested a move to United for around 100million could be sealed in the next few days, although another video to have emerged seems to have added some doubt to the situation. In footage from YouTube channel ItalianFootballTV, Pogba appears to say "yes" when he is asked, as he signs a football outside a New York hotel, if he is staying at Juve. That comes after Pogba's agent Mino Raiola last Friday tweeted: "Journalist = parrots. No deal done between clubs. It's a game between Italy press and UK press who announce it first and who is worse." United declined to comment on Pogba when contacted by Press Association Sport on Wednesday morning. Wayne Rooney picture special: As Manchester United star prepares for testimonial against Everton, here are the best pictures from his great Old Trafford career so far Wayne Rooney will celebrate his trophy-laden 12 years at Manchester United with a testimonial match against his boyhood club Everton at Old Trafford on Wednesday night. After arriving from the Goodison Park outfit for 27million in 2004, the England captain has enjoyed great success in Manchester and has helped the club secure five Premier League titles, a Champions League triumph and victory in last season's FA Cup final. Here,Sportsmaillooks back at the Manchester United captain's best moments at the Premier League giants. An 18-year-old Wayne Rooney poses with the Manchester United No 8 shirt after putting pen to paper on a six-year contract He showed his worth to the Old Trafford faithful by scoring a debut hat-trick in the Champions League against Fenerbahce Goalscorer Rooney roars with delight after helping United end Arsenal's unbeaten league run on 49 games in October 2004 Rooney is mobbed by Cristiano Ronaldo as he mocks the Liverpool supporters after scoring the winner in January 2005 The striker stunned Newcastle in April 2005 after scoring an exceptional long-range volley against the Magpies Rooney and Steven Gerrard pictured after winning the young player of the year and player of the year awards respectively The former Everton striker celebrates with joy after lifting his first Premier League title with Manchester United in 2007 Rooney controversially kisses the Manchester United badge during a match against former side Everton at Goodison Park Rooney (pictured with Rio Ferdinand) poses with the Premier League title after winning the competition for a second time Rooney celebrates after United follow up the Premier League triumph with a win over Chelsea in the Champions League final United are beaten by Barcelona in the Champions League final the season after their Moscow triumph with Rooney dejected One of Rooney's most iconic goals came against arch-rivals Manchester City during a Premier League fixture in February 2011 Rooney suffers heartbreak again after Manchester United lose another Champions League final against Barcelona in 2011 Rooney is congratulated by Sir Alex Ferguson after United won the Premier League title for one last time under the club icon Rooney teamed up with David Moyes once again after the Scotsman replaced Ferguson as Manchester United manager The Manchester United striker scores from near the halfway line during his side's match against West Ham in March 2014 Rooney mocks a report in the press after a video emerged of him being knocked down after a pretend fight with Phil Bardsley The striker celebrates after lifting his first FA Cup trophy following the victory over Crystal Palace at Wembley last season Manchester United's new manager Jose Mourinho (left) embraces skipper Rooney during pre-season training in Shanghai	i don't know
In computing , for what does the acronym LAN stand ?	What does LAN stand for? # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z NEW RANDOM What does LAN stand for? What does LAN mean? This page is about the various possible meanings of the acronym, abbreviation, shorthand or slang term: LAN. We've found a total of 32 definitions for LAN: Filter by: What does LAN mean? local area network, LAN(noun) a local computer network for communication between computers; especially a network connecting computers and word processors and other electronic office equipment to create a communication system between offices Couldn't find the full form or full meaning of LAN? Maybe you were looking for one of these abbreviations: Discuss these LAN abbreviations with the community: Know what is LAN ? Got another good explanation for LAN ? Don't keep it to yourself! Add it HERE! Still can't find the acronym definition you were looking for? Use our Power Search technology to look for more unique definitions from across the web! Search the web	Local area network
From which plant is the Mexican drink tequila distilled ?	Computer Terms: Acronyms & Abbreviations Acronyms & Abbreviations :-) This is a smiley'. Lets people know you're joking. ;-) A wink. As in I'm really kidding. :-> Devilish grin [:-) User is wearing a walkman %-) User's been staring at the screen too long AFAIK: As Far As I Know AKA: Also Known As ASAP: As Soon As Possible BTW: By The Way FWIW: For What It's Worth FUBAR: F'd Up Beyond All Recognition GD&R: Grinning, Ducking and Running (After snide remark) IANAL: I Am Not A Lawyer (But...) IDK: I don't know IHTFP: I have truly found paradise (or: I hate this f'n place) IMHO: In My Humble Opinion IMO: In My Opinion IYKWIM: If You Know What I Mean IYKWIMAITYD: If You Know What I Mean And I Think You Do JM2C: Just My 2 Cents LOL: Laughing Out Loud OK: abbreviation of oll korrect, alteration of all correct OTOH: On The Other Hand PITA: Pain In The Ass PMFJI: Pardon Me For Jumping In (a polite way to get into a discussion PMJI: Pardon My Jumping In (another polite way to get into a discussion). PS: Post Script ROTFL: Rolling On The Floor Laughing RTFM: Read The F'N Manual SOHF: Sense Of Humor Failure SWAG: Scientific Wild Ass Guess SWALK: Sealed With A Loving Kiss SNAFU: Situation Normal - All F'd Up! SPAM: Stupid Persons' AdvertiseMent TARFU: Things Are Really F'd Up! TIA: Thanks In Advance TPTB: The Powers That Be TTFN: Ta Ta For Now TWIMC: To Whom It May Concern WRT: With Respect To WYSIWYG: What You See Is What You Get. Pronouced wizzy-wig YMMV: Your Mileage May Vary (You may not have the same luck I did) YWIA: You're welcome in advance IO: Input Output As in file IO. LAN: Local Area Network NNTP: Network News Transfer Protocol MDA: Mail Delivery Agent MIME: Multi-purpose Internet Mail Extensions MOSFET: Metal Oxide Semiconductor Field Effect Transistor MUD: Multiple User Dungeon an interactive multiuser game. OSF: Open Software Foundation PERL: Pratical Extraction & Reporting Language or Pathologically Eclectic Rubbish Lister PPP: Point-to-Point Protocol PINE: Pine Is Not Elm RARP: Reverse Address Resolution Protocol RFC: Request For Comments TCP/IP: Transmissions Control Protocol/Internet Protocol TIA: The Internet Adaptor SLIP: Serial Line Internet Protocol SMTP: Simple Mail Transfer Protocol SGML: Standard Generalized Markup Language SWISH: Simple Web Indexing System for Humans WAN: Wide Area Networks WAIS: Wide Area Information Server WWW or 3W: World Wide Web URL: Uniform Resource Locator Elm: Electronic Mail for UNIX Fcc: : File Carbon Copy O.K.: abbreviation of oll korrect, alteration of all correct : all right. .(sp?): abbreviation of spelling? Often placed after a word the author is unsure of the spelling and dosen't want to run a spell checker. Example: I went to thier (sp?) house for dinner. P.S. : Post Script PovRay: Persistence of Vision Ray Tracer Re: : Regarding. Often used in mail software. Req: : Request. First Level International Domain Abbreviations For Internet Addresses: Sort Order by Domain Abbreviation for Country For example, this address - www.name.ca - indicates the site is in Canada whereas, this address - www.name.no - indicates the site is in Norway. If you use the below terms as defined, you know you're a redneck . . . Backup: What you do when you run across a skunk in the woods. Bar Code: Them's the fight'n rules down at the local tavern. Bug: The reason you give for calling in sick. Byte: What black flies do. Cache: Needed when you run out of food stamps. CD ROM: Place at the bank where they sell investmints. Chips: What to munch on. Crash: When you go to Junior's party uninvited. Digital: The art of counting on your fingers. Disk Operating System: The equipment the Doc uses when you have a floppy disk. Diskette: Female Disco dancer. Dot Matrix: John Matrix's wife. Download: Gettin' the firewood off the pickup. Enter: C'mon in! Floppy Disk: Whatcha get from pilin' too much firewood. Hacker: aka: a smoker. Hard Copy: Picture looked at when selecting tattoos. Hard Drive: Gettin' home in mud season. Internet: Where cafeteria workers put their hair. Keyboard: Where you hang your keys. Lap Top: Where little kids feel comfy. Log On: Makin' the wood stove hotter. Log Off: Makin' the wood stove cooler. Mac: Big Bubba's favorite fast food. Main Frame: The part of the barn that holds the roof up. Mega Hertz: Whatcha get when yer not careful downloadin'. Micro Chips: What's left in the bag when the chips are gone. Modem: What you did to the hay fields. Monitor: Keep an eye on the wood stove. Mouse: What eats the horses' grain in the barn. Mouse Pad: Where Mickey and Minnie live. Network: Scoop'n up a big fish before it breaks the line. Online: Where to stay when taking the sobriety test. Prompt: What you wish the mail was in mud season. Port: Fancy wine.	i don't know
In mythology , which bird can be reborn from its own ashes ?	Phoenix \| Mythology Wiki \| Fandom powered by Wikia This article is about the mythological bird. For the Phoenician king, see Phoenix (King) . The phoenix depicted in the Aberdeen Bestiary (ca. 12thC). The Phoenix (Ancient Greek: Φοῖνιξ, phoínix, Persian: ققنوس, Arabic: العنقاء) is a mythical, sacred firebird that can be found in the mythologies of the Egyptians, Greeks, Persians, Romans, Chinese, Japanese and (according to Sanchuniathon) Phoenicians, Hindu and other cultures. In Mythology Edit The phoenix is a mythical bird that is the true spirit of fire with a colorful plumage and a tail of gold or yellow and red. It was said to have eyes as blue as sapphires. It was said to be the spirit of Ra himself because its fire was so fierce. It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of incense and sacred materials that it then ignites; the bird burned fiercely then was reduced to ashes, from which the new, young phoenix arises, reborn anew to live a better life than the previous one. The new phoenix is destined to live as long as its previous incarnation. In some stories, the new phoenix embalms the ashes of its old self in an egg made of myrrh and deposits it in the Egyptian city of The phoenix looked like a giant fiery eagle with a flame trail behind it wherever it flew Heliopolis (literally "sun-city" in Greek). It is said that the bird's cry is that of a beautiful song. The Phoenix's ability to be reborn from its own ashes makes it essentially immortal. In very few stories, they are able to change into people and other birds. There is only ever one phoenix at a time. The tears of the phoenix have ability to heal any wound or infection and raise the dead. The phoenix's size is not definite since it can change size, but its regular size is the size of a house. Trivia	Phoenix
Who chairs the Radio 4 programme Round Britain Quiz ?	Fire Magic Folklore, Legends and Myths By Patti Wigington Updated April 12, 2016. Each of the four cardinal elements - earth, air, fire and water - can be incorporated into magical practice and ritual. Depending on your needs and intent, you may find yourself drawn to one of these elements more so that the others. Connected to the South, Fire is a purifying, masculine energy, and connected to strong will and energy. Fire both creates and destroys, and symbolizes the fertility of the God. Fire can heal or harm, and can bring about new life or destroy the old and worn. In Tarot, Fire is connected to the Wand suit (although in some interpretations, it is associated with Swords ). For color correspondences, use red and orange for Fire associations. Let’s look at some of the many magical myths and legends surrounding fire: Fire Spirits & Elemental Beings: In many magical traditions, fire is associated with various spirits and elemental beings. For instance, the salamander is an elemental entity connected with the power of fire - and this isn’t your basic garden lizard, but a magical, fantastical creature. Other fire-associated beings include the phoenix - the bird that burns itself to death and then is reborn from its own ashes - and dragons, known in many cultures as fire-breathing destroyers. The Magic of Fire: Fire has been important to mankind since the beginning of time. It was not only a method of cooking one’s food, but it could mean the difference between life and death on a frigid winter night. To keep a fire burning in the hearth was to ensure that one’s family might survive another day. Fire is typically seen as a bit of a magical paradox, because in addition to its role as destroyer, it can also create and regenerate. The ability to control fire - to not only harness it, but use it to suit our own needs - is one of the things that separates humans from animals. However, according to ancient myths, this has not always been the case. Fire appears in legends going back to the classical period. The Greeks told the story of Prometheus , who stole fire from the gods in order to give it to man - thus leading to the advancement and development of civilization itself. This theme, of the theft of fire, appears in a number of myths from different culture. A Cherokee legend tells of Grandmother Spider , who stole fire from the sun, hid it in a clay pot, and gave it to the People so they could see in the darkness. A Hindu text known as the Rig Veda related the story of Mātariśvan, the hero who stole fire that had been hidden away from the eyes of man. Fire is sometimes associated with deities of trickery and chaos - probably because while we may think we have domination over it, ultimately it is the fire itself that is in control. Fire is often connected with Loki, the Norse god of chaos , and the Greek Hephaestus (who appears in Roman legend as Vulcan ) the god of metalworking, who demonstrates no small amount of deceit. Fire and Folktales: Fire appears in a number of folktales from around the world, many of which have to do with magical superstitions. In parts of England, the shape of cinders which jumped out of the hearth often foretold a major event - a birth, a death, or the arrival of an important visitor. In parts of the Pacific Islands, hearths were guarded by small statues of old women. The old woman, or hearth mother, protected the fire and prevented it from burning out. The Devil himself appears in some fire-related folktales. In parts of Europe, it is believed that if a fire won’t draw properly, it’s because the Devil is lurking nearby. In other areas, people are warned not to toss bread crusts into the fireplace, because it will attract the Devil (although there’s no clear explanation of what the Devil might want with burnt bread crusts). Japanese children are told that if they play with fire, they will become chronic bed-wetters - a perfect way to prevent pyromania! A German folktale claims that fire should never be given away from the house of a woman within the first six weeks after childbirth. Another tale says that if a maid is starting a fire from tinder, she should use strips from mens’ shirts as tinder - cloth from women’s garments will never catch a flame.	i don't know
What is the longest river in Italy ?	What is the longest river in Italy? \| Reference.com What is the longest river in Italy? A: Quick Answer The longest river in Italy is the Po River, which flows over 405 miles from its source in the Val Po of the northern Italian Cottian Alps to its outflow in the Adriatic Sea near Venice. It begins at 6,900 feet above sea level and discharges at sea level. Full Answer The Po River flows through the cities of Ferrara, Turin and Piacenza. It is surrounded by the Po Valley, which extends to parts of Switzerland and France. The valley is frequently subject to heavy flooding from the Po River. At its widest point, the river has an expanse of 1,650 feet. The second-largest river in Italy is the Adige River.	Po
How is the plant monstera deliciosa better known ?	Po River \| river, Italy \| Britannica.com Po River Alternative Titles: Bodencus, Bodincus, Padus Related Topics list of cities and towns in Italy Po River, Latin Padus, longest river in Italy , rising in the Monte Viso group of the Cottian Alps on Italy’s western frontier and emptying into the Adriatic Sea in the east after a course of 405 miles (652 km). Its drainage basin covers 27,062 square miles (70,091 square km), forming Italy’s widest and most fertile plain. Views of the Po River, Italy, and its fertile valley. Encyclopædia Britannica, Inc. Flowing eastward in its upper course, the Po is rapid and precipitous, descending about 5,500 feet (1,700 m) in its first 22 miles (35 km). Just west of Saluzzo the Po turns sharply northward, flows through Turin and skirts the Monferrato upland, then turns east at Chivasso and continues in a generally easterly course to its delta on the Adriatic. The Po forms the boundary between the regions of Lombardy and Emilia-Romagna (south) and Veneto (north). It receives the waters of the Dora Riparia and the Dora Baltea below Turin; other principal tributaries are the Sesia, Ticino, Adda, Oglio, and Mincio from the north. Among the many streams that drain into the Po from the south, the Tanaro (from the Maritime Alps) and the Scrivia and Trebbia (from the Apennines) are important; but many of the others are rain-fed and torrential and carry little water through much of the year. Throughout its middle and lower courses the Po describes many meanders, which have left oxbows (circular lakes). Its delta is among the most complex of any European river, with at least 14 mouths, usually arranged in five groups (from north to south): the Po di Levante, Po di Maestra, Po della Pila, Po delle Tolle, and Po di Goro e di Gnocca. Of these mouths, the Po della Pila carries the greatest volume of water and is the only navigable one. Similar Topics River Thames The Po is navigable from its mouth to Pavia. At Pontelagoscuro, 60 miles (96 km) from the sea, the Po’s average discharge is 48,400 cubic feet (1,370 cubic m) per second, with variations from 910 to 340,000 cubic feet (26 to 9,630 cubic m), although in the great flood of 1951 the discharge was estimated at 424,000 cubic feet (12,000 cubic m) per second. The most devastating floods have been those of 589, 1150, 1438, 1882, 1917, 1926, 1951, 1957, and 1966, all in the autumn. The sediment load carried by the Po is considerable, and the extension of the delta is estimated at 200 acres (80 hectares) per year. Certain ancient ports south of the delta, such as Ravenna , are now as much as 6 miles (10 km) from the sea as a result of silt from the Po carried down by currents in the Adriatic. The floods of the river and the silt load carried by it have long challenged hydraulic engineers. The Venetian Republic built dikes to control floods and canals to divert silt, and in the area between Ferrara and the Adriatic numerous undertakings have reclaimed thousands of acres during the past three centuries. The project undertaken in 1953 by the Italian Land Reform was devoted to soil improvements, reclamation of marshy areas such as the Valli di Comacchio, and the creation of small peasant farms in the delta area, or polesine, which, nevertheless, suffered enormously in the great floods of 1951 and 1966. During the Paleolithic and Neolithic periods the lower valley of the Po was occupied by people who built houses on piles along the swampy banks. The river regulation works originated in pre-Roman times. The reclamation and protection of the riparian lands went on rapidly under the Romans, and in several places their rectangular divisions of the ground are still visible. During the barbarian invasions much of the protective system decayed, but the later Middle Ages saw the works resumed so that the present arrangement existed in the main by the end of the 15th century. Po River - Student Encyclopedia (Ages 11 and up) The longest river in Italy is the Po. Its headwaters are on the slopes of Mount Viso in the Cottian Alps, near the French border. Here Italy’s principal river begins its long course across the northern portion of the country. The river flows 405 miles (652 kilometers) to empty into the Adriatic Sea on the east coast of Italy. The Po forms a lowland plain of rich soil that has a climate suited to farming. The plain, which is irrigated by the Po, is the widest and most fertile in the country. Its agricultural output supports a large part of the Italian population. Article History	i don't know
What was the host city of the 1984 Summer Olympics ?	How L.A.'s 1984 Summer Olympics Became the Most Successful Games Ever How L.A.'s 1984 Summer Olympics Became the Most Successful Games Ever Go to permalink It's almost showtime for Sochi, which may or may not have its shit together by the time the opening ceremonies start. While it's too late for Sochi to change its trajectory, perhaps the 2016 host city could jot down a few tips from what are widely considered to be the most successful Olympics ever: L.A., 1984. Can Sochi Get Its Shit Together? Can Sochi Get Its Shit Together? Can Sochi Get Its Shit Together? By all accounts—except maybe Vladimir Putin's—the small Russian resort town of Sochi… Read more Read more In the late 1970s, hosting the Olympics was not a very desirable thing for a city to do. The games were seen as financially risky: Montreal's debt from the 1976 Summer Games totaled $1.5 billion dollars, which wasn't paid off until 2006. Denver was actually awarded the 1976 Winter Games but its voters did not approve public funding, so it went to Innsbruck, Austria. Plus, tensions were high when it came to international athletic competitions. Munich had suffered a deadly hostage crisis in 1972 and the Cold War was brewing. The 1980 games in Moscow were boycotted by the U.S. and other countries, and the U.S.S.R. and many other Eastern European boycotted the 1984 games. An early front-runner, Tehran, pulled out from the 1984 bidding process at the last minute due to social unrest. Advertisement Advertisement In the end, only two cities officially bid to host the 1984 Summer Games: New York City and Los Angeles. Since the U.S. could only recommend one city for the international bid, when they decided on L.A. to represent the U.S., it became the winning city by default. Preparing for challenges The Olympics are essentially a high-profile opportunity for civic rebranding: A chance for a smaller city to put itself on the map or for a larger one to reinvent itself. While L.A. was by no means a tiny hamlet looking for validation, the city was certainly hoping to turn around its reputation as a smoggy, sprawling megalopolis lacking a center or any real civic pride. Detractors were quick to judge the choice of L.A. as too big, too unprepared, and too financially strapped. Plus, L.A. had already hosted the Summer Olympics once, back in 1932. But L.A. did have one real handicap: The 1984 Summer Olympics were the first in history not to be sponsored by the government, as they still are in many countries and had previously been in the U.S. Sponsored This called for a budget-conscious Olympics, headed by local businessman Peter Ueberroth. He organized a committee that functioned more like a corporation, dubbing it LA84 and creating a board consisting of entrepreneurs and other financially savvy leaders. Accordingly, the games would be funded by unprecedented corporate sponsorships, impressive private fundraising, and, for the first time on U.S. soil, television deals. The committee sold the television rights to the broadcast to ABC for $225 million, raising a large amount of money far in advance of the games. Leave it up to the entertainment capital of the world to strike such a smart deal. Ueberroth was named Time's Man of the Year. Budget-minded development L.A.'s fiscally responsible philosophy extended to its innovative architectural strategy. The building frenzy that accompanies a winning bid is often followed by a devastating post-Olympics blow, where the city is left with rotting stadiums and empty transit systems. This is most infamously illustrated in Athens, Greece; there, not only are most of the city's 2004 venues now empty and dilapidated, but it has been theorized that the egregious expenses may have actually contributed to Greece's ongoing financial crisis. Nagano, Japan, also fell into a recession after their 1998 Winter Olympics. Much of this is illustrated in The Olympic City , where Gary Hustwit and Jon Pack traveled to hosting cities to document what happens after the games leave. Advertisement Advertisement Also, as we've seen in Sochi—which is building entire towns, not to mention a whole new highway and tunnel to access them—the infrastructural additions are often so ambitious that they aren't ready in time. Olympic cities rarely are. In Montreal in 1976, their Olympic stadium was not finished when the games began due to construction issues and labor strikes. Not finished, meaning: It was supposed to have roof, and it didn't—for 11 years. Los Angeles's committee decided it would not allow any new sporting structures to be built. Instead they modified and upgraded existing venues. The opening ceremonies and track & field events were held in the Coliseum, which was built in 1932. Apartment villages for visiting athletes were repurposed as dorm rooms for nearby schools. The only new sporting venues were heavily financed by corporate sponsors and are still in use today: A velodrome built in nearby Carson; and an aquatic center in Exposition Park. (Corrections: The 1984 velodrome was actually replaced with another velodrome in 2007; the aquatic center was built on the USC campus.) Great design saves the day Back then, committees only had about five years from the awarding of the games to the opening ceremonies—today's host cities get almost ten years of strategizing. A design team was quickly assembled that included leadership from two prominent design firms, Jerde Partnership and Sussman/Prejza , as well as many other firms and designers , who worked together at a studio on 8th Street in downtown Los Angeles. L.A. graphic artist Robert Miles Runyan was tapped to create the ''Stars in Motion'' logo: five stars which looked as if they were racing forward. For the rest of the branding, the team looked west. A palette and kit-of-parts was inspired by the textures and patterns of Pacific Rim countries, drawing colors and shapes from Mexican, Indonesian, and Japanese cultures. This featured a signature magenta shade, plus other bright colors like aqua, red, yellow and purple, which deviated boldly from the expected red, white and blue, and gave the design a truly international look. Faced with a minuscule budget of $10 million and a ticking clock, the designers quickly realized they would have to use materials which were affordable and plentiful to design thousands of pieces from programs to signage to temporary buildings. Inspired again by the Pacific Rim, the team looked at the temporary tents and altars which were built for festivals. Advertisement Instead of hulking sculptures and tall towers which had been erected in many other cities, the team used inflatables and modified scaffolding to build simple, colorful landmarks. Signage and wayfinding was made from painted wood and Sonotubes—pretty much giant cardboard tubes like you'd find in the center of a roll of gift wrap— with a vinyl striping system. The structures were effective, inexpensive, and completely ephemeral. Shining TV moment As part of the lucrative TV deal that helped finance the games, LA84 would be the first games to truly become a global television event. Although many games had parts televised in some form before 1984, this broadcast would run 180 hours and be seen by the largest audience in history—not to mention very enthusiastic American fans. Knowing this, the designers focused on elements that would translate well on the small screen, with bright colors and big graphic impact. Tiny metal reflectors, like you see at car dealerships, were employed to add sparkle to buildings. Design also helped to make Southern California's 88 cities and multiple counties—many with their own identities—feel like they were part of the same small town. With 42 venues sprinkled throughout a 305 square-mile region—some venues were 100 miles away from each other!—there was no real sense of continuity between locations (except maybe the presence of palm trees?). The branding, which was repeated in elements across the landscape, helped to knit together an incredibly large area and create an identifiable sense of place. To global audience watching from home, this was, and will always be, L.A. But the world was also watching for another reason: To see if L.A.'s famously suburban landscape could handle it. It was by far the most spatially dispersed summer games of all time. Residents fretted about L.A.'s normally horrible traffic becoming paralyzing (remember, although there was a bus network, the games happened when L.A. was "between" rail systems—today's subways were a decade away). But the apocalyptic gridlock never happened. "Olympic fever" took hold. People stayed home, carpooled and used shuttles, and the city was miraculously navigable. A lasting legacy In 1979, the L.A. organizing committee had made a deal. If the games saw any profits, LA84 would give 60 percent back to the U.S. Olympic Committee and keep 40 percent for Southern California. At the end of the games, the total expenditures came in at a respectable $546 million, but even more impressive was the profit: A surplus of $232.5 million, meaning $93 million would stay in the region. This was huge. The only other games at the time which could claim to be financially successful at all were the other L.A. Olympics: The ones held in the city in 1932. The profits were used to create an endowment called the LA84 Foundation , which funds youth sporting events, resources, and facilities throughout the area. With smart management, the endowment has grown over the years, and over $214 million has helped an estimated three million children and 1,100 organizations in Southern California. Recently, the LA84 Foundation helped raise money to pay coaches and buy equipment at LAUSD high schools after budget cuts decimated their programs. Advertisement Advertisement What Los Angeles was able to do was bring some foresight to the hosting of the games by looking at what will be left for the city after the athletes, press, and spectators have gone home. Not every city to host the games since has learned this lesson, of course. But Los Angeles became a model for cities like Barcelona (1992) and Atlanta (1996), which orchestrated both successful games and positive development which revitalized their urban cores, and not at the expense of residents. Although other Olympic cities have been profitable, it remains the most financially successful Olympic games—by far. L.A. also helped make the Olympics something for a city to be proud of again. Striking, innovative design that captured the imagination of both its residents and a global audience made the city feel visually united. Los Angeles itself was made smaller by the experience, seeing itself not just as a city but as a region, with far-flung communities that for the first time felt like they were part of this growing swell of Southern California pride. If it could happen in L.A., it could happen anywhere. Los Angeles is reportedly planning to bid for the 2024 games , which would make for a nice 40th anniversary celebration of its most shining moment. The bidding process begins in 2015. Advertisement	Los Angeles
How many bells signify the end of a nautical watch ?	1984 Los Angeles Summer Games \| Olympics at Sports-Reference.com 1984 Los Angeles Summer Games Host City: Los Angeles, United States (July 29, 1984 to August 12, 1984) Opening Ceremony: July 28, 1984 (opened by President Ronald Reagan) Lighter of the Olympic Flame: Rafer Johnson Taker of the Olympic Oath: Edwin Moses (athlete) Closing Ceremony: August 12, 1984 Events: 221 in 26 sports Participants: 6,798 (5,224 men and 1,567 women) from 140 countries Youngest Participant: Philippe Cuelenaere (12 years, 334 days) Oldest Participant: Luis del Cerro (60 years, 54 days) Most Medals (Athlete): United States (174 medals) Overview After 52 years, the Summer Olympic returned to the United States in 1984, and once again, the Games came to Los Angeles. Looking for respite after the previous three difficult Olympics, the IOC would not find it in Los Angeles. » Click to show/hide rest of overview In May 1984, the Soviet Union announced that it would not attend the Olympics in Los Angeles, citing concerns over the safety of its athletes because of the "anti-Soviet and anti-Communist activities" in the Los Angeles area. Most people considered the boycott one of retribution for the United States' refusal to compete in Moscow. Most of the Eastern European countries joined in the Soviet-bloc boycott, notably East Germany (GDR), and they were joined by Cuba. Although only 14 invited countries did not compete in Los Angeles, the absence of the U.S.S.R., Cuba, and the GDR made many of the events mere shadows of what was anticipated. Still, more countries and athletes competed at Los Angeles than in any previous Olympics. However, what the 1984 boycott lacked in numbers relative to the 1980 boycott, it made up for it in its impact on the competition. Boxing, weightlifting, wrestling, gymnastics, and track & field would have been dominated by the boycotting nations. The nations which did not compete were: Afghanistan, Bulgaria, Cuba, Czechoslovakia, Ethiopia, German Democratic Republic, Hungary, Laos, Mongolia, North Korea, Poland, South Yemen, Vietnam, and the U.S.S.R. Bravely, Romania defied the boycott and competed at the Olympics, receiving an ovation at the opening ceremonies second only to that of the host country. Yugoslavia, not Soviet dominated, was the only other country from Eastern Europe to compete. After all that, the Olympics were very well run, although the Europeans had numerous complaints, mostly about customary American methods of doing business. American television concentrated on U.S. athletes, which infuriated the Europeans. Notably, decathlon champion [Daley Thompson] (GBR) appeared at the closing ceremonies wearing a T-shirt saying )Thanks, America, for a great Games), on the front, and )But what about the television coverage?) on the back. For the first time ever, the Games were managed in an entrepreneurial fashion. Organizing committee President Peter Ueberroth insisted that the Olympics be designed to break even or even provide a profit. Again, the Europeans, used to the simon-pure idealistic image of the Olympics for the Olympics' sake, rebelled against this philosophy. But Ueberroth was determined not to have another white elephant like Montréal and he succeeded admirably in that regard. So admirably, in fact, that when the final tally came in, the organizing committee had made several hundred million dollars. It should be pointed out, however, that Ueberroth's marketing methods, though decried by the Europeans, have since been copied by all organizing committees and even the IOC itself. Much of the profit was given to the U.S. Olympic Committee, some to support youth sports programs in the U.S., and some was given back to the participating nations to help pay their expenses for participating. Still, it left a sour taste in many people's mouths, especially since the Organizing Committee was maintaining until the very end that it would not make a profit, but only come out approximately even. As to the sports themselves, the competition was good, though diluted in many ways because of the boycott. [Carl Lewis] emerged as the American men's star, equalling [Jesse Owens]' 1936 feat of winning four gold medals in track & field. But Lewis did not have Owens' appeal to the American public and his image, almost obsequiously nurtured by his manager, failed to live up to his deeds on the track. Failing Lewis, the American public reached instead to [Mary Lou Retton], an American gymnast who won the all-around individual gold for the first time in history. To win she needed a perfect ten on her last event, the horse vault. Given two vaults, she achieved the 10, not once, but twice. After the debacles of Munich and Montréal, Los Angeles had been the only bidder for the Games of 1984. But Los Angeles, despite its problems, revitalized the Olympic Movement to some degree. Having shown that the Olympics did not need to be a "loss-leader" and could, in fact, produce an operating profit, many cities now were interested in hosting the Olympics. Shortly after the 1984 Olympics, six cities would bid to host the 1992 Games. And the IOC reached out to a strange bedfellow, Seoul, Korea, to provide a bit of solace to its troubled Movement in 1988. Country Medal Leaders A Sports Reference Site : About SR/Olympics \| Privacy Statement \| Conditions & Terms of Service \| Use of Data Data provided by OlyMADMen , led by Hilary Evans, Arild Gjerde, Jeroen Heijmans, and Bill Mallon. Members: David Foster, Martin Frank, Jørn Jensen, Carl-Johan Johansson, Taavi Kalju, Martin Kellner, George Masin, Stein Opdahl, Wolf Reinhardt, Ralf Regnitter, Paul Tchir, Magne Teigen, Christian Tugnoli, Morten Aarlia Torp, and Ralf Schlüter. Sports Reference LLC and www.sports-reference.com are not sponsored by or affiliated with the Olympics, the United States Olympic Committee or the International Olympic Committee. Trademarks featured or referred to on this website are the property of their respective trademark holders and not Sports Reference LLC or www.sports-reference.com . Part of the	i don't know
In which of London's Royal Parks is Speakers' Corner located ?	Speakers Corner Speakers' Corner Sitemap Speakers' Corner "We walked through Hyde Park looking for Speakers’ Corner, which – especially for us as East Germans – was legendary, the very symbol of free speech. I hope that is not an insult to you, the members of the British Parliament." Speech by Federal Chancellor Angela Merkel in London to both Houses of the British Parliament 27 Feb 2014 Culture Secretary and Speakers' Corner Speakers Speakers' Corner Movement PRESS RELEASE SAVE SPEAKERS' CORNER Speakers' Corner is the most famous location for free speech in the world. It symbolises popular struggles in Britain for the right to vote, speak and assemble. It exists since the 1872 Parks and Gardens Act. We believe that the redesign of Speakers' Corner by the Royal Parks which they will officially launch at a press conference at Speakers' Corner at 8.30am on June 19th undermines Speakers' Corner. The Royal Parks' claim that their change to the layout enhances Speakers' Corner; in fact it appears designed to destroy it, because: 1. The area has been significantly reduced in size 2. The redesign is structured around then needs of pop concerts not public oratory 3. No consultation took place with anyone from Speakers' Corner 4. The toilet facilities in Marble Arch have been taken away and no new facilities provided 5. In this way, the overall redesign of both Marble Arch and Speakers' Corner takes no account of the needs or feelings of its users Sadly, the planning and implementation of the redesign was imposed by the Royal Parks and it completely excluded the Speakers' Corner community from participation. The redesign fundamentally undermines the traditional Speakers' Corner as a place of free speech and significantly reduces the size of the area. Over the last two decades the Royal Parks have, by intent or incompetence, systematically undermined Speakers' Corner. First, they installed a merry-go-round, which resulted in a campaign of civil disobedience. Then they increasingly used the land designated by statute, as the "Speakers' Area" for commercial events; consequently, "Speakers' Corner" is frequently drowned out by the incredible noise levels generated. The toilets in Marble Arch were closed a couple of years ago, so the nearest public toilet is now 500 meters away. This means that the area is used a public toilet by homeless people and the smell of faeces can be overpowering. The refreshment cafe charges extortionate prices. This excludes the less well off, many of who have been regulars at Speakers' Corner for decades, from being able to afford a tea of coffee. Despite increasing tension and violence there are no longer any uniformed police at Speakers' Corner. Only a few years ago, the police used to reduce the incidences of violent outbreaks and encourage tolerance and both the speakers and the Speakers’ Corner community knew them. This is no longer the case. The Speakers' Corner redesign, which is to be officially opened on Thursday 19th June 2014 at 8.30am will be opposed because: rather than protect the area from sound pollution it significantly reduces the speakers area; and is it specifically designed for vast commercial projects, like pop concerts. This directly conflict with Speakers' Corners' statutory role and spiritual and heritage role as the world's oldest and most famous area specifically designated for free speech. We demand that the Royal Parks 1. Not an inch from Speakers Corner! Restore the traditional Speakers' Corner area to its size in 2013! 2. We are not cattle! Remove the new gates! 3. We want tolerance! At least one uniformed police officer should be present during peak times at Speakers' Corner on Sunday afternoons 4. Reopen free public toilets within 200 meters of Speakers' Corner Any enquiries about the campaign can be directed to Heiko Khoo the issues will be debated on a regular basis at Speakers' Corner every Sunday. Heiko Khoo is a Speakers' Corner speaker who has spoken at Speakers' Corner since 1986. He produces the Speakers' Corner radio show for London's arts radio station Resonance 104.4 fm broadcast weekly since 2003. The Speakers' Corner Movement was set up in 1997 to defend Speakers' Corner and to promote free speech around the world. Its original signatories included Tony Benn and Lord Soper. Speakers Corner Articles Freedom of the Park By George Orwell A few weeks ago, five people who were selling papers outside Hyde Park were arrested by the police for obstruction. When taken before the magistartes, they were ... Posted 5 May 2010, 05:35 by heiko khoo Hunger Marches and Hyde Park By Bob Edwards M.P. Foreword by Leslie Jones Bob Edwards went on an I.L.P. Guild of Youth Delegation to Russia and travelled extensively in the Soviet Union ... Posted 5 May 2010, 05:33 by heiko khoo William Morris and Hyde Park by Leslie Jones In the summer of 1884 William Morris was speaking regularly in Hyde Park, Regents Park, and Victoria Park in the East End, together with H.M. Hyndman ... Posted 4 May 2010, 14:59 by heiko khoo Hyde Park and Free Speech A pamphlet by Leslie Jones, with a forward by F.A. Ridley. Foreword Visitors to London's world famous Hyde Park, and such visitors come from all over the globe ... Posted 4 May 2010, 14:56 by heiko khoo Showing posts 1 - 4 of 7. View more » www.speakerscorner.net is the website of the speakers' corner community: we speak in the park, archive its voices, images and sounds. We produce the weekly Speakers' Corner Radio show for resonance FM and offer training in public speaking and consultancy about films, performance and research on Speakers' Corner. You can contact [email protected] or [email protected] tel 07722523629	Hyde Park
In Shakespeare's Richard III, the Duke of Clarence is famously drowned in a vat of what type of wine ?	Speakers' Corner (London, England): Top Tips Before You Go - TripAdvisor “A collection of weirdos, great fun” Reviewed November 8, 2016 Hyde park is beautiful and worth a visit on its own, but is especially worthwhile to visit on Sundays when they have the Speaker's Corner. When we were there it was mostly a weird assortment of people preaching their religious beliefs in loud tones. You can interact with the oddballs and if you like, you can even stand up and... More Helpful?	i don't know
Swanhilde is the lead role in which ballet ?	Misty Copeland: A trailblazing ballerina makes the judge's table - LA Times Misty Copeland: A trailblazing ballerina makes the judge's table Misty Copeland Carolyn Cole / Los Angeles Times Prima ballerina Misty Copeland will make history as the first African American woman to dance the lead role of Swanilda in the famous ballet "Coppelia." She will also be a guest judge on "So You Think You Can Dance." Prima ballerina Misty Copeland will make history as the first African American woman to dance the lead role of Swanilda in the famous ballet "Coppelia." She will also be a guest judge on "So You Think You Can Dance." (Carolyn Cole / Los Angeles Times) Jevon Phillips Contact Reporter Ballerina Misty Copeland's judging theory on 'SYTYCD': 'If there's not a balance, then there's just no point." Misty Copeland has her feet in a bucket of ice water. It's symbolic of the hard work it's taken to become not only a prima ballerina in the American Ballet Theater, but also the first African American ballerina in that venerable company to be featured as the lead in "Coppélia." Copeland's ability to continually transcend the dance world will be on display in tonight's episode, and more upcoming ones, of Fox's "So You Think You Can Dance" -- where she will be a guest judge. From the custody battles fought for her as she became a well-known teen dance prodigy, to her ascension as the popular Firebird in a reimagining of the 1910 Stravinsky classic "The Firebird," Copeland's rise to the top of the ballet world has been well-documented. A broader opportunity awaits for her and ballet as she joins the popular dance program now in its 11th season. But first, the ice. What do you do on your Sundays off? When I'm in rehearsal season, for some reason it doesn't feel as grueling. There's something extra that we all just attribute to going onstage. We're in performance mode at the Metropolitan, and I'm dead. So Sundays, I just chill out. I'm probably going to get dragged around by my boyfriend to shop for the apartment. Otherwise, I'm icing my body and taking care of myself. What are you working on right now? I'll be performing [in a ballet] that was choreographed by George Balanchine called "Duo Concertant." It's a pretty beautiful piece; it's just me and a partner with a violinist and a pianist on stage. Then I will also dance in George Balanchine's "Themes and Variations" and another old old ballet called "Gaîté Parisienne." That's a fun one. It's got cancan dancers and it's set in Paris and it's really uplifting and exciting. And then it changes every week! Do you enjoy that switching from week to week or would you rather settle into something? It definitely makes it more exciting that you don't get complacent in the role that you're performing because you constantly have to think about what you're doing to transform into different characters for the different parts. I think the worst part is that when you want to be thinking about the performance that you're doing that night, you're rehearsing all day for the ballet you'll be doing next week. You body is just exhausted. You're going to be the first African American ballerina to dance the lead in "Coppélia." How does it feel to not only get the lead, but be a "first"? Misty Copeland Misty Copeland performs. Misty Copeland performs. (Gene Schiavone) It's very exciting. I work so hard every day. When I'm given an opportunity like this, performing Swanilda, I really don't step back and look at the picture thinking "Oh, I'm the first." I get into this little bubble and just try to do my best and completely do all the research I can on the role. It usually doesn't hit me until I've performed the part and I'm looking back on things. That kind of happened when I performed the role of Firebird (in "The Firebird") ... I was so completely immersed in becoming this character and being the best I could be that none of those things were on my mind. So, I'm just excited. I actually premiered the role in "Coppélia" in Abu Dhabi in April. It was nice to be able to have an opportunity to view it one time outside of New York City because New York City has, I think, the hardest critics. So it's good to give newer dancers or roles a chance to do it outside of our city first. I'm excited to share it with New York now. Speaking of critics, you're going to be one -- a judge on "So You Think You Can Dance." What led to that decision? They were interested in having me on the show. Nigel [Lythgoe] has always been a huge supporter of American Ballet Theater, and to have him acknowledge the importance of ballet in the dance world is really big. To bring it to a commercial level where it is socially acceptable on a program like "So You Think You Can Dance" ... Well, I think it's about time that we introduce the world to what classical ballet is, and to do it in a fun way. To do it in a way that's not intimidating; to not have an old Russian woman on [the show] who has her nose up at the dancers. Someone that I think they can connect with and relate to. So, I'm happy to be a representative of ballet. For people to be able to turn on the TV in the smallest towns in middle America and learn about classical ballet through that show is pretty awesome. What kind of judge do you think you're going to be? I think it's really important to have a good balance of things. Dancers are completely used to having criticism -- that's why you take classes, to improve and get critiques from teachers. But it's also still important to get nurtured and get positive feedback. If there's not a balance, then there's just no point in being a part of it and it's no longer fun. I really think that I will find a balance of really trying to help and guide them without putting them down in a negative way. I had an opportunity to get my feet wet in Philadelphia when I did one of the auditions. It was a lot more fun than I anticipated, and it was also really cool to connect with these young dancers and to give them real advice that could help them. Your base of dance, and your past in general, may have helped you develop a thick skin for criticism. That's helped in your career, right? On a personal level, growing up in the situation I did, constantly struggling and having a single mother with six children, I think all of those things gave me qualities that helped me as a dancer. Thick skin and perseverance to keep striving definitely helped me. It's just a hard existence and some people aren't built for it. They may have all the talent in the world but just not have what it takes to make it and be able to cheer yourself on as well as allow others to come in and guide and mentor you. You've already written your memoir, and now you have a children's book coming, too? The children's book came about before the memoir. It just happened that the memoir went really quickly and the children's book took a little time, but it's with Christopher Myers -- author and illustator. We really clicked and spent hours talking and bonding over our experiences as African Americans and artists. We just felt it out. So, hanging out with me and one of my mentors, Raven Wilkinson, who's a former ballerina in the Ballet Russe, he decided that was what the story was going to be about. A similar relationship to the one that I have with Raven, that mentor-mentee relationship, except that I would be the mentor and it would be a young brown girl who's looking up to me. It's a really sweet story called "The Firebird." With the book, you're embracing being a role model ... It's always been something that's been easy and natural to me. I was never sat down and told "You should think about being a mentor." It just happens that way. I felt a lot of young, especially African American, dancers migrating towards me. It's human nature -- you want to go towards something that is similar to you and that feels comfortable to get guidance. And I felt really comfortable giving advice, and it expanded to receiving so many letters and giving advice to young dancers and having personal mentees that I really stay close to and have hands-on experience giving them guidance. Do you have a favorite dance or character that you've been? It changes. I think that when I'm working on something in that moment, it usually tends to be my favorite. So, right now, I'm gearing up to play the role of Gamzatti. She's an exotic woman from India who is wealthy and powerful and is dealing with a young water girl who has no money, who has nothing and is trying to steal her man, so that's what I'm focused on right now. Do you have a favorite dancer or performer that you've seen come through "SYTYCD?" I have to say Danny Tidwell. Danny Tidwell was one of my closest friends, actually. He came up through ABT and we were extremely close. Again, being in a company as prestigious as ABT you have about 80 dancers; it's very rare that you see an African American dancer come through, get into the company, and are extremely gifted, and Danny was one of them. It was incredible for the world to be able to see his gifts. Do you have a favorite judge, or one whose style you could emulate? First, I love Mary [Murphy]. It was really awesome ... I met her on the set, but I didn't know what to expect. She's got this bubbly personality and she's over-the-top, and I didn't know if that was something that just happened in front of the cameras. But she was always that way. She was very warm and sweet and is exactly how she appears on the show. Follow Jevon Phillips: @storiz	Coppelia
Biltong is a cured meat from which country ?	Misty Copeland: A trailblazing ballerina makes the judge's table - LA Times Misty Copeland: A trailblazing ballerina makes the judge's table Misty Copeland Carolyn Cole / Los Angeles Times Prima ballerina Misty Copeland will make history as the first African American woman to dance the lead role of Swanilda in the famous ballet "Coppelia." She will also be a guest judge on "So You Think You Can Dance." Prima ballerina Misty Copeland will make history as the first African American woman to dance the lead role of Swanilda in the famous ballet "Coppelia." She will also be a guest judge on "So You Think You Can Dance." (Carolyn Cole / Los Angeles Times) Jevon Phillips Contact Reporter Ballerina Misty Copeland's judging theory on 'SYTYCD': 'If there's not a balance, then there's just no point." Misty Copeland has her feet in a bucket of ice water. It's symbolic of the hard work it's taken to become not only a prima ballerina in the American Ballet Theater, but also the first African American ballerina in that venerable company to be featured as the lead in "Coppélia." Copeland's ability to continually transcend the dance world will be on display in tonight's episode, and more upcoming ones, of Fox's "So You Think You Can Dance" -- where she will be a guest judge. From the custody battles fought for her as she became a well-known teen dance prodigy, to her ascension as the popular Firebird in a reimagining of the 1910 Stravinsky classic "The Firebird," Copeland's rise to the top of the ballet world has been well-documented. A broader opportunity awaits for her and ballet as she joins the popular dance program now in its 11th season. But first, the ice. What do you do on your Sundays off? When I'm in rehearsal season, for some reason it doesn't feel as grueling. There's something extra that we all just attribute to going onstage. We're in performance mode at the Metropolitan, and I'm dead. So Sundays, I just chill out. I'm probably going to get dragged around by my boyfriend to shop for the apartment. Otherwise, I'm icing my body and taking care of myself. What are you working on right now? I'll be performing [in a ballet] that was choreographed by George Balanchine called "Duo Concertant." It's a pretty beautiful piece; it's just me and a partner with a violinist and a pianist on stage. Then I will also dance in George Balanchine's "Themes and Variations" and another old old ballet called "Gaîté Parisienne." That's a fun one. It's got cancan dancers and it's set in Paris and it's really uplifting and exciting. And then it changes every week! Do you enjoy that switching from week to week or would you rather settle into something? It definitely makes it more exciting that you don't get complacent in the role that you're performing because you constantly have to think about what you're doing to transform into different characters for the different parts. I think the worst part is that when you want to be thinking about the performance that you're doing that night, you're rehearsing all day for the ballet you'll be doing next week. You body is just exhausted. You're going to be the first African American ballerina to dance the lead in "Coppélia." How does it feel to not only get the lead, but be a "first"? Misty Copeland Misty Copeland performs. Misty Copeland performs. (Gene Schiavone) It's very exciting. I work so hard every day. When I'm given an opportunity like this, performing Swanilda, I really don't step back and look at the picture thinking "Oh, I'm the first." I get into this little bubble and just try to do my best and completely do all the research I can on the role. It usually doesn't hit me until I've performed the part and I'm looking back on things. That kind of happened when I performed the role of Firebird (in "The Firebird") ... I was so completely immersed in becoming this character and being the best I could be that none of those things were on my mind. So, I'm just excited. I actually premiered the role in "Coppélia" in Abu Dhabi in April. It was nice to be able to have an opportunity to view it one time outside of New York City because New York City has, I think, the hardest critics. So it's good to give newer dancers or roles a chance to do it outside of our city first. I'm excited to share it with New York now. Speaking of critics, you're going to be one -- a judge on "So You Think You Can Dance." What led to that decision? They were interested in having me on the show. Nigel [Lythgoe] has always been a huge supporter of American Ballet Theater, and to have him acknowledge the importance of ballet in the dance world is really big. To bring it to a commercial level where it is socially acceptable on a program like "So You Think You Can Dance" ... Well, I think it's about time that we introduce the world to what classical ballet is, and to do it in a fun way. To do it in a way that's not intimidating; to not have an old Russian woman on [the show] who has her nose up at the dancers. Someone that I think they can connect with and relate to. So, I'm happy to be a representative of ballet. For people to be able to turn on the TV in the smallest towns in middle America and learn about classical ballet through that show is pretty awesome. What kind of judge do you think you're going to be? I think it's really important to have a good balance of things. Dancers are completely used to having criticism -- that's why you take classes, to improve and get critiques from teachers. But it's also still important to get nurtured and get positive feedback. If there's not a balance, then there's just no point in being a part of it and it's no longer fun. I really think that I will find a balance of really trying to help and guide them without putting them down in a negative way. I had an opportunity to get my feet wet in Philadelphia when I did one of the auditions. It was a lot more fun than I anticipated, and it was also really cool to connect with these young dancers and to give them real advice that could help them. Your base of dance, and your past in general, may have helped you develop a thick skin for criticism. That's helped in your career, right? On a personal level, growing up in the situation I did, constantly struggling and having a single mother with six children, I think all of those things gave me qualities that helped me as a dancer. Thick skin and perseverance to keep striving definitely helped me. It's just a hard existence and some people aren't built for it. They may have all the talent in the world but just not have what it takes to make it and be able to cheer yourself on as well as allow others to come in and guide and mentor you. You've already written your memoir, and now you have a children's book coming, too? The children's book came about before the memoir. It just happened that the memoir went really quickly and the children's book took a little time, but it's with Christopher Myers -- author and illustator. We really clicked and spent hours talking and bonding over our experiences as African Americans and artists. We just felt it out. So, hanging out with me and one of my mentors, Raven Wilkinson, who's a former ballerina in the Ballet Russe, he decided that was what the story was going to be about. A similar relationship to the one that I have with Raven, that mentor-mentee relationship, except that I would be the mentor and it would be a young brown girl who's looking up to me. It's a really sweet story called "The Firebird." With the book, you're embracing being a role model ... It's always been something that's been easy and natural to me. I was never sat down and told "You should think about being a mentor." It just happens that way. I felt a lot of young, especially African American, dancers migrating towards me. It's human nature -- you want to go towards something that is similar to you and that feels comfortable to get guidance. And I felt really comfortable giving advice, and it expanded to receiving so many letters and giving advice to young dancers and having personal mentees that I really stay close to and have hands-on experience giving them guidance. Do you have a favorite dance or character that you've been? It changes. I think that when I'm working on something in that moment, it usually tends to be my favorite. So, right now, I'm gearing up to play the role of Gamzatti. She's an exotic woman from India who is wealthy and powerful and is dealing with a young water girl who has no money, who has nothing and is trying to steal her man, so that's what I'm focused on right now. Do you have a favorite dancer or performer that you've seen come through "SYTYCD?" I have to say Danny Tidwell. Danny Tidwell was one of my closest friends, actually. He came up through ABT and we were extremely close. Again, being in a company as prestigious as ABT you have about 80 dancers; it's very rare that you see an African American dancer come through, get into the company, and are extremely gifted, and Danny was one of them. It was incredible for the world to be able to see his gifts. Do you have a favorite judge, or one whose style you could emulate? First, I love Mary [Murphy]. It was really awesome ... I met her on the set, but I didn't know what to expect. She's got this bubbly personality and she's over-the-top, and I didn't know if that was something that just happened in front of the cameras. But she was always that way. She was very warm and sweet and is exactly how she appears on the show. Follow Jevon Phillips: @storiz	i don't know
Before entering government, Neville Chamberlain was lord mayor of which city ?	Neville Chamberlain - Prime Minister, Government Official, Mayor - Biography.com Neville Chamberlain Neville Chamberlain was the British prime minister as Great Britain entered World War II. He is known for his policy of "appeasement" toward Adolf Hitler's Nazi Germany. IN THESE GROUPS “I believe it is peace for our time ... peace with honour.” Neville Chamberlain Synopsis Neville Chamberlain was born on March 18, 1869, in Birmingham, England. He served as British prime minister from 1937 to 1940, and is best known for his policy of "appeasement" toward Adolf Hitler's Germany. He signed the Munich Agreement in 1938, relinquishing a region of Czechoslovakia to the Nazis. In 1939, Britain declared war on Germany. Chamberlain, who had lost political support, resigned in 1940 and died a few months later. Early Life Born in Birmingham, England, on March 18, 1869, Arthur Neville Chamberlain served as his country's leader in the years leading up to World War II and the early days of the war itself, and is best remembered for his policy of appeasement with Nazi Germany. His father, Joseph Chamberlain, was a successful businessman who held several government posts, including as mayor of Birmingham for a time. Neville Chamberlain had three sisters, Ethel, Ida and Hilda, as well as two older half-siblings, Beatrice and Austen, from his father's first marriage. He attended the Rugby School and then Mason College (now University of Birmingham). At the age of 21, Chamberlain went to the Bahamas to manage an estate there for several years. That business venture ultimately failed, but he had proven himself as a talented manager and businessman. Chamberlain found success in business after returning to England. Leading Political Figure In 1911, Neville Chamberlain won election to the Birmingham City Council—his first political post. He married Anne Vere Cole that same year, and the couple eventually had two children together, Dorothy and Francis. Chamberlain became Birmingham's lord mayor in 1915. Before long, he became a figure on the national political scene. Chamberlain won election to the House of Commons in 1918 as a member of the Conservative Party. He went on to serve as postmaster general and minister of health. In the mid-1920s, Chamberlain and his half-brother, Austen, both served on Prime Minister Stanley Baldwin's cabinet. In 1930, during a period of infighting among members of the Conservative Party, Chamberlain briefly became party chairman, until Stanley Baldwin regained control. He then used his talents for economics and business matters as chancellor of the exchequer. For six years, Chamberlain oversaw the country's financial policies. British Prime Minister Chamberlain became Britain's prime minister in 1937. Some of his early efforts focused on improving the lives of workers. The Factories Act of 1937 restricted the number of hours that children and women worked. The following year, Chamberlain supported the Holiday with Pay Act, which gave workers a week off with pay. However, his work on the domestic front was quickly overshadowed by growing foreign relations issues. Rather than challenge acts of aggression by Nazi Germany, Chamberlain sought ways to pacify Adolf Hitler. Chamberlain signed the Munich Pact in 1938, which gave parts of Czechoslovakia to Germany. Some have speculated that his desire to keep the peace was somewhat driven by Britain being outmatched by Germany's military at the time. Chamberlain seemed to have underestimated Hitler's ambitions. In March 1939, Hitler violated the Munich Pact by invading Czechoslovakia. Britain and France agreed to protect Poland later that month. After Hitler's forces entered Poland that September, Chamberlain officially declared war on Germany; this declaration came shortly after the invasion, but his slight delay in making this announcement negatively impacted Chamberlain's popularity. While he saw Britain through the early days of the war, Chamberlain found himself on the political decline. He resigned on May 10, 1940, and was succeeded by Winston Churchill as prime minister. Still Chamberlain remained a member of Churchill's cabinet. By that October, however, he was too ill with cancer to continue his work. Chamberlain died on November 9, 1940, in Heckfield (near Reading), Hampshire, England. Fact Check We strive for accuracy and fairness. If you see something that doesn't look right, contact us ! Citation Information	Birmingham
Which noises did Spanish censors remove from the film Blazing Saddles ?	Neville Chamberlain - History Learning Site Neville Chamberlain Citation: C N Trueman "Neville Chamberlain" historylearningsite.co.uk. The History Learning Site, 26 May 2015. 16 Aug 2016. Neville Chamberlain was Prime Minister of Great Britain in September 1939 as Europe descended into World War Two after the failure of appeasement in the late 1930’s. Chamberlain paid a political price for the failure of Britain in Norway in the spring of 1940 and resigned as Prime Minister to be succeeded by Winston Churchill . He died shortly afterwards. Neville Chamberlain was born into a famous political family. He was the son of Joseph Chamberlain and his half-brother was Austen. All three were to make their mark in politics, one way or another. Neville Chamberlain was born in 1869. He was educated at Rugby School and after this, he managed his father’s sisal plantation in the Bahamas for seven years. On his return to Britain in 1897, Chamberlain became involved in local politics and in 1915 he was elected Lord Mayor of Birmingham, arguably England’s second city. In 1916, he was appointed director-general of National Service but was dismissed from this position by David Lloyd-George in 1917 who did not understand or appreciate Chamberlain’s method of working – this involved a detailed understanding of the problem at hand which usually led to a solution occurring later than Lloyd-George was used to. In 1918, Chamberlain became the Member of Parliament for Ladywood in Birmingham. He held this constituency until 1929 when he was elected MP for Edgbaston – also in Birmingham. Chamberlain was MP for Edgbaston until his death in 1940 . Chamberlain gained a reputation for thoroughness in his duties as a MP and from 1924 to 1929, he served as Minister for Health under Stanley Baldwin and and he was appointed Chancellor of the Exchequer in the National Government of Ramsey Macdonald. Chamberlain held this position from November 1931 to May 1937. In this position, he enhanced his reputation as an efficient administrator and it surprised very few when he became Prime Minister on May 28th, 1937. Chamberlain was suddenly thrust into a position which required him to be involved in European politics. He had no experience in foreign affairs and frequently took the advice of one of his advisors, Sir Horace Wilson, as opposed to the advice of the Foreign Office. In the late 1930’s, Chamberlain is most associated with the policy of appeasement. Polls from the time show that many people in Britain supported what Chamberlain was trying to achieve. It was only after the failure of appeasement that Chamberlain’s decisions and career acquired a more negative image. Two schools of thought exist as to why Chamberlain pursued appeasement. One is that he honestly thought that he could address the grievances that he believed Germany rightly held after the Treaty of Versailles . Chamberlain believed that if was seen as being fair to German concerns, then he could achieve success and stop Europe from declining into war. Another theory is that Chamberlain believed that appeasement was worth trying but that war was inevitable. He also realised that Britain was not well prepared for war and that he needed to buy time to improve Britain’s military position. In particular, it is said that Chamberlain knew that our air defences were weak and that the more time he could gain, the stronger they would become. It is possible that a combination of the two – a desire for peace matched with a desire to ensure Britain was able to defend itself – determined what Chamberlain attempted to do. In March 1939 , Germany’s army swallowed up the rest of Czechoslovakia and destroyed whatever meaning the Munich Agreement ever had. Chamberlain swiftly offered a guarantee to Poland and when Poland was attacked in September 1939, Chamberlain had little choice but to declare war on Germany. Perceived wisdom would have people believe that Chamberlain let down the British people when war was declared. In fact, in September 1939 , his popularity rating was 55% and by Christmas 1939 in the era of the Phoney War , this had increased to 68%. It was the abject failure of the British military in Norway that ended Chamberlain’s time as Prime Minister. Many in Parliament saw that he would not be an inspirational war leader and many politicians refused to serve in his proposed National Government. “It is not a question of who are the Prime Minister’s friends. It is a far bigger issue. He has appealed for sacrifice. The nation is prepared for every sacrifice as long as it has leadership, so long as the government show clearly what they are aiming at, and so long as the nation is confident that those who are leading it are doing their best. I say solemnly that the Prime Minister should give an example of sacrifice, because there is nothing which can contribute more to victory than that he should sacrifice the seals of office.”David Lloyd George He resigned on May 10th 1940 and was replaced as Prime Minister by Winston Churchill . Chamberlain served as Lord President of the Council in Churchill’s government. In October 1940, ill health forced him to resign this position and on November 9th, 1940, Neville Chamberlain died.	i don't know
In which country did wafu salad dressing originate ?	The Food Timeline: history notes--salad Food historians tell us salads (generally defined as mixed greens with dressing) were enjoyed by ancient Romans and Greeks. As time progressed, salads became more complicated. Recipes varied according to place and time. Dinner salads, as we know them today, were popular with Renaissance folks. Composed salads assembled with layers of ingredients were enjoyed in the 18th century. They were called Salmagundi . Today they are called chef's salad. Why do we call it salad? The basis for the word salad is 'sal', meaning salt. This was chosen because in ancient times, salt was often an ingredient in the dressing. Notes here: "Salad, a term derived from the Latin sal (salt), which yielded the form salata, 'salted things' such as the raw vegetables eaen in classical times with a dressing of oil, vinegar or salt. The word turns up in Old French as salade and then in late 14th century English as salad or sallet." ---Oxford Companion to Food, Alan Davidson [Oxford Univeristy Press:Oxford] 2nd edition, 2006 (p. 682) "Etymologically, the key ingredient of salad, and the reason for its getting its name, is the dressing. The Romans were enthusiastic eaters of salads, many of their differing hardly at all from present-day ones--a simple selection of raw vegetables...--and they always used a dressing of some sort: oil, vinegar, and often brine. And hence the name salad, which comes from Vulgar Latin Herba salata, literally 'salted herb'." ---An A-Z of Food and Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 294) Etymological notes & historic uses, Oxford English Dictionary: "Salad [a. OF. salade (14th c.), a. Pr. salada = OIt. salata, Pg. salada (cf. It. insalata, Sp. ensalada): ta, f. *sal and cf. quot. 1687 s.v. SALADING. c1390 Forme of Cury (1780) 41 Salat. Take persel, sawge, garlec [etc.]..waische hem clene..and myng hem wel with rawe oile, lay on vyneger and salt, and serue it forth." "Although the ancient Greeks and Romans did not use the world "salad," they enjoyed a variety of dishes with raw vegetables dressed with vinegar, oil, and herbs...The medical practitioners Hippocrates and Galen belived that raw vegetables easily slipped through the system and did not create obstructions for what followed, therefore they should be served first. Others reported that the vinegar in the dressing destroyed the taste of the wine, therefore they should be served last. This debate has continued ever since...With the fall of Rome, salads were less important in western Europe, although raw vegetables and fruit were eaten on fast days and as medicinal correctives...The term salade derived from the Vulgar Roman herba salata, literally 'salted herb'. It remained a feature of Byzantine cookery and reentered the European menu via medieval Spain and Renaissance Italy. At first "salad" referred to various kinds of greens pickled in vinegar or salt. The word salade later referred to fresh-cooked greens of raw vegetables prepared in the Roman manner." ---Encyclopedia of Food and Culture, Solomon H. Katz, editor and William Woys Weaver, associate editor [Charles Scribner's Sons:New York] 2003, Volume 3 (p. 224-5) [NOTE: This book contains far more information than can be paraphrased here. Ask your librarian to help you find a copy.] At the tail end of the 19th century (in the United States) the domestic science/home economics movement took hold. Proponnents of this new science were obsessed with control. They considered tossed plates of mixed greens "messy" and eschewed them in favor of "orderly presentations." Salad items were painstakenly separated, organized, and presented. Molded gelatin (Jell-O et al) salads proliferated because they offered maximum control. "Salad greens, which did have to be served raw and crisp, demanded more complicated measures. The object of scientific salad making was to subdue the raw greens until they bore as little resemblance as possible to their natural state. If a plain green salad was called for, the experts tried to avoid simply letting a disorganized pile of leaves drop messily onto the plate...This arduous approach to salad making became an identifying feature of cooking-school cookery and the signature of a refined household...American salads traditionally had been a matter of fresh greens, chicken, or lobster, but during the decades at the turn of the century, when urban and suburban middle class was beginning to define itself, salads proliferated magnificently in number and variety until they incorporated nearly every kind of food except bread and pastry...Salads that were nothing but a heap of raw ingredients in dissaray plainly lacked cultivation, and the cooking experts developed a number of ingenious ways to wrap them up...The tidiest and most thorough way to package a salad was to mold in in gelatin." ---Perfection Salad: Women and Cooking at the Turn of the Century, Laura Shapiro [North Point Press:New York] 1986 (p. 96-99) Culinary evidence confirms salads of all kinds were very popular in America in the 1920s. Entire books were devoted to the topic. Some of the more popular were: The Edgewater Beach Hotel Salad Book, Arnold Shircliffe [Hotel Monthly Press:Evanston] 1926 Bettina's Best Salads and What to Serve With Them, Louise Bennett Weaver & Helen Cowles LeCron [A.L.Burt:New York] 1923 Fancy Salads of the Big Hotels, Henri Kegler [Tri-Arts:New York] 1923 Salads and Sandwiches, Originated and Published in Woman's World Magazine [Woman's World:Chicago] 1924 Eventually, the hold of domestic science relaxed and tossed salads once again found their way on American tables. Tossed salads regained favor. Today, American salads range from the uninspired classic" lettuce wedge, tomato & cucumber doused with bottled dressing to tantalizing creations composed of interesting greens, asian fruits and vegetables, crisp noodles lightly tossed with sesame seed soy sauce. Lettuce-free salads (tomato and fresh mozzerlla) and exotic fruit combinations (kiwi, mango, strawberry) are found in upscale restaurants and suburban supermarket salad bars. Busy home cooks have the option of assembling "salad in a bag" adorned with ready-cut veggies (broccoli, cauliflower), baby carrots, tiny tomatoes, and packaged crunchies (flavored croutons, nuts, mini crackers, onion crisps). No cutting involved. The ingredients and presentation of classic Candle Salad (aka Candlestick, Candlette, Night Cap) suggest it was a dish of the 1920s. That is when creative fruit salads of all sorts were created and pineapples were actively promoted to American cooks. Our survey of historic newspapers confirms does not reveal any specific person/place/company credited for the "invention." If we had to guess? We'd say Dole, manufacturer of both pineapples and bananas, was the driving force behind this item. Think: Pineapple Upside Down Cake . Bananas were widley availble to American cooks from the 1880s forward. Coinicidentally, Maraschino cherries were also introduced in the 1920s. Candle salad, a relatively simple and inexpensive combination, was generally promoted as a festive holiday dish for its unusual presentation. It was recommended for Christmas, Halloween and children's birthday parties. The earliest print reference we find for Candle Salad is dated 1916. It was presented in this socialite menu; no description or recipe included: "Fruit Cocktail, Chicken a la King, Mashed Potatoes, Buttered Peas, Rolls, Olives, Candle Salad, Cheese Straws, Fancy Cakes, Nut Ice Creams, Candies and Nuts, Coffee."---Oelwein Daily Register [IA] April 5, 1916 (p. 4) By the end of the decade, Candle Salad was being promoted as a time-honored tradition on par with Santa and is reindeer. Print evidence fails to substantiate the claim. Notice how the recipes grow more complicated as the decade progresses. [1921] "A decorative Christmas candle salad is made by placing half of a small banana in the center of ring of pineapple. The light on the candle is represented by a piece of red cherry." ---"The How in Houses," Los Angeles Times, December 18, 1921 (p. VIII16) [1923] [1674: Blount...a dish of meat made of cold Turkey and other ingredients.] "Salmagundi. a term dating back from the 17th century...In writing about salads of the 17th century, C. Anne Wilson (1973) explains the term thus: 'Sometimes an egg and herb salad was further enhanced by the addition of cold roast capon, anchovies and other meat or fish delicacies. Late in the 17th century the name of salmagundi was applied to mixtures of this type, and was subsequently corrupted to Solomon Gundy.' Hannah Glasse (1747) has three recipes for Salamongundy, but sums up the essence of this dish at the end of the third recipe: 'but you may always make a Salamagundy of such things as you have, according to your Fancy.'" ---Oxford Companion to Food, Alan Davidson [Oxford University Press:Oxford] 1999 (p. 684-5) [NOTE: Mrs. Glasse's original Salmagundi & modernized version, courtesy of Food History News/Sandra L. Oliver The famous 1926 Edgewater Beach Hotel Salad Book, Arnold Shircliffe (we have a 1955 12th printing copy) contains a salad recipe titled "Chef's Special." (p. 43) It is a far cry from what we know today as chef's salad. It is composed of romaine, endive, grapefruit, pineapple, olives, cream cheese, pimentoes. This book also contains a recipe for Salmagundi (p. 170). Ingredients are lettuce, cabbage, anchovies, chicken, hard-boiled egg yolks, parlsey, green beans. The earliest recipe we have titled "Chef's Salad" in an American cookbook was published in 1936. [1936] Rub a salad bowl with: Garlic 1/2 cup fine grated imported Roquefort cheese 1 cup Brown Derby Old-Fashioned French Dressing Cut finely lettuce, watercress, chicory, and romaine and arrange in salad bowl. Cut tomatoes in half, remove seeds, dice finely, and arrange in a strip across the salad. Dice breasts of chicken and arrange over top of chopped greens. Chop bacon finely and sprinkle over the salad. Cut avocado in small pieces and arrange around the edge of the salad. Decorate the salad by sprinkling over the top the chopped eggs, chopped chives, and grated cheese. Just before serving mix the salad throughouly with French Dressing." ---The Brown Derby Cookook [Doubleday & Company:New York] 1949 (p. 22) "Derby Chef Salad, serves 2 4 cups mixed greens (lettuce, romaine, chiclory, watercress) 1/2 cup diced celery [1845] "Chicken Salad. The fowls for this purpose should be young and fine. You may either boil or roast them. They must be quite cold. Having removed all the skin and fat, and disjointed the fowls cut the meat from the bones into very small pieces, not exceeding an inch. Wash and split two large fine heads of celery, and cut the white part into pieces also about an inch long; and having mixed the chicken and celery together, put them into a deep china dish, cover it and set it away. It is best not to prepare the dressing till just before the salad is to be eaten, that it may be as fresh as possible. Have ready the yolks of eight hard-boiled eggs. Put them into a flat dish, and mash them to a paste with the back of a wooden spooon. Add to the egg a small tea-spoonful of fine salt, the same quantity of cayenne pepper, half a gill of made mustard, a gill or a wine-glass and a half of vinegar, and rather more than two wine-glasses of sweet oil. Mix all these ingredients thoroughly; stirring them a long time till they are quite smooth. The dressing should not be put on till a few minutes before the salad is sent in; as by lying in it the chicken and celery will become tough and hard. After you pour it on, mix the whole well together with a silver fork. Chicken salad should be accompanied with plates of bread and butter, and a plate of crackers. It is a supper dish, and is brought in with terrapin, oysters, &tc. Cold turkey is excellent prepared as above. An inferior salad may be made with cold fillet of veal, instead of chickens. Cold boiled lobster is very fine cut up and drest in this manner, only substituting fore celery, lettuce cut up and mixed with the lobster." ---Directions for Cookery in Its Various Branches, Miss [Eliza] Leslie [Carey & Hart:Philadelphia] (p. 147-8) [1865] "No. 90.--Turkey Salad. Cut some of the meat from a cold boiled or braised turkey in small pieces, and put them into a deep dish with four table-spoonfuls of good salad oil, and one and a half of vinegar, a small onion, a shallot, some parsley, green tarragon, and chervil, all chopped fine, and salt and pepper. Let the pieces of turkey soak in this for four hours, turning them occasionally, and covering the dish closely. Then put some well-dried and shred lettuce on a dish, take the pieces of turkey from the oil and vinegar, and arrange them in the centre of the lettuce. Take two raw yolks of eggs, beat them a little in a basin, and add by slow degrees the oil, vinegar, chopped herbs, etc., from which you have taken the turkey, stirring all the time till the sauce is quite smooth; taste it, and, if necessary, add more salt or pepper; pour this sauce over the turkey and salad; arrange round the edge, or in a pattern in the centre, as you like best, olives and slices of hard-boiled eggs alternately, and serve." ---What to Do with the Cold Mutton [Bunce and Huntington:New York] 1865. (p. 57) [1869] "Chicken Salad. A pair of fowl weighing about six pounds will make a nice dish of salad. The chickens should be well boiled. Take off all the skin (some persons do not use the dark meat; it is quite as tender as the white, and when dressed, does not show the difference); chop the meat very fine (be sure to take out good heads of tennis-ball lettuce into quarters; wash it all clean, and lay it in ice-water for two or three hours, that it may be crisp). If celery is used, split it fine, and put into ice-water as long as you would the lettuce, as it must be brittle to be good." ---Mrs. Putnam's Receipt Book [Sheldon and Company:New York] (p. 240) "Chicken salad. Made by not chopping or cutting the chicken, is very nice. Either boiled or roast chicken may be skinned, then pull the meat off the bone in small pieces, and dress it the same as the other chicken salad. The chicken myst be cooked very tender to pull off in nice pieces. For evening company it is best to cut the lettuce or celery, and mix with the meat or lobster, and serve it in a salad bowl." (Ibid, p. 124) [1877] According to American food historian Sylvia Lovegren, Chinese ingredient-inspired salad/dressing originated in the 1930s. Our survey confirms several 1930s mainstream America recipes titled "Chinese Chicken Salad." They are a far cry from what Anerican diners expect today. Our Chinese food history sources confirm raw salads were not tradtional fare in Asia. So unfolds another delicious page in Chinese-American cuisine. "Salad made with uncooked vegetables was not consumed in traditional China, for raw salads were dangerous and had little appeal to most Chinese; instead, Chinese salads were customarily made of parboiled or stir-fried vegetables and served with hot or cold." ---Food in China: A Cultural and Historial Inquiry, Frederick J. Simoons [CRC Press:Boca Raton FL] 1991 (p. 148) "There are many different types of cold chicken salad in China, although most of them seem to originate in Szechwan. One of the most popular is pong pong (or bong bong) chicken, which is basically shredded chicken and bean sprouts dressed with a peanut butter, red pepper, and garlic sauce. But the Chinese chicken salad that was being consumed in such quantities by the fashionable set--probably among rising young record and film producers on the West Coast--probably orginated in California. This version is a cold mixture of shredded iceberg lettuce, crispy fried noodles, the strips of roasted chicken, all tossed with a slightly sweet sesame oil--tinged dressing made sprightly with flecks of hot red peppers. There is a similar chicken salad, known as so see chicken, made popular at Johnny Kan's restaurant in San Francisco, but Kan's version omits the fried noodles." ---"Exotic Interlude I," Fashionable Food: Seven Decades of Food Fads, Sylvia Lovegren [MacMillan:New York] 1995 (p. 109-110) Who was Johnny Kan ? Predictably, our early 20th century salad cookbooks [1900-1950s] offer several recipes for various "Oriental" Salads. The surprise? None of these recipes are similar to the menu items we expect today. Neither did these books offer anything close to contemporary Asian/Oriental-style (sesame soy ginger) salad dressing. One recipe circa 1923 consisted of diced prunes, dates, figs, chopped nuts, diced pineapple topped with "One cup salad dressing." These salads were generally topped with Vinaigrette or spiced mayonnaises. None of the examples we found included sesame, or ginger. Some did employ soy sauce. Our survey of American newspapers confirms Chinese Chicken Salads were indeed popular in the 1930s. As one might expect, there were several variations for both salad and dressing. Asian salads/dressings , as we know them today, first surfaced in the mid-1960s. Articles confirm the popularity and diversity of this salad/dressing grew in subsequent decades. Asian-style salad dressings were promoted in the 1980s as healthier alternatives to traditional selections. Thai flavors are introduced in the 1990s. Today there are many variations on this ubiquitious recipe. A survey of Chinese Chicken Salad recipes through time [1936] "Chinese Chicken Salad Probably one of the most popular company luncheon salads in is the chicken salad. There is a standard recipe for it and to that one recipe most people cling. Here is a grand new one that really deserves a chance at your next luncheon, accompanied by clear soup, and chocolate ice cream, cake and tea. What better menu could you ask: 1 cup almonds In France, oil & vinegar dressings are called vinaigrette. The term "French dressing" (used to denote vinaigrette and its many variations) became popular in Britain and America in the late 19th century. The tomato-based French dressing we Americans currently purchase in grocery stores probably also began in the twentieth century. Why two names for the same dressing? "Vinaigrette...The word, which originated as a diminutive form of French vinaigre (vinegar), was first used in English as long ago as 1699 (John Evely mentioned it in his book on salads, Acetaria) but it did not really become established until the end of the nineteenth century. French dressing, which originated around 1900, is a widely used synonym in British English. In French, vinaigrette was also applied formerly to a sort of small two-wheeled carriage, from a supposed resemblance to a vinegar-seller's cart." ---A-Z of Food and Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 359) "Vinaigrette. A cold sauce made from a mixture of vinegar oil, pepper, and salt, to which various flavourings may be added...Vinaigrette is used especially for dressing green salads...It is considred to be a typically French sauce and is often called "French dressing" in Britain. It was a French emigre, Chevalier d'Albingac, who started the fashion in London high society for salads dressed in ths way." ---Larousse Gastronomique, Jenifer Harvey Lang [Crown:New York] 1988 (p. 1137) A buffet of "French" dressings through time: [1390] A Forme of Cury [English cook book] [1475] "On Seasoned Lettuce... They say the divine Augustus was preserved in a time of ill health by the use of lettuce, and no wonder, because it aids digestion and generates better blood than other vegetables. It is eaten cooked or raw. You season raw lettuce this way if it does not need washing...put it in a dish, sprinkle with ground salt, pour in a little oil and more vinegar and eat at once. Some add a little mint and parsley to it for seasoning so that it does not seem entirely bland..." ---Platina: On Right Pleasure and Good Health, [Italian:1475, original text in Latin], translated by Mary Ellen Milham [Medieval & Renaissance Texts & Studies:Tempe] 1998 (p. 213) [1669] 1 clove garlic (peeled and sliced in two) Method: 1. Place ingredients in order given in a pint jar; shake thoroughly or beat with spoon until consistency of maple syrup. 2. Keep in cooler and shake or beat well before using. Makes 1 1/2 cups dressing." ---Prudence Penny's Cook Book, Prudence Penny, [Prentice Hall:New York] 1939 (p. 208) Cobb Salad, as we know it today, was introduced by Bob Cobb, owner of the Brown Derby restauarant in Los Angeles California sometime in the late 1920s. An amalgam of interesting greens, meat, cheese, and eggs, this dish descends from 17th century Salmagundi . 1940s Chef's salad may have been inspired by the Cobb. "During the first four years the original Little Hat Derby added only two items to its menu--a salad and a cake . The salad was almost an accident. Bob Cobb, growing weary of the steady hot-dog-hamburger diet, found an avocado in the icebox. He chopped it up, along with some lettuce, celery, and tomatoes, plus a strip of bacon and some salad dresing, and had that for his dinner. Several days later he tried it agian, adding other ingredients which he had purchased on his way to work: breast of chicken, chives, hard-boiled egg, watercress, and a wedge of Roquefort cheese for the dressing. And that's how the Cobb Salad was born. Today, the Cobb Salad, though many restaurants serve it under other names, is a national favorite." ---Brown Derby Cookbook, forward by Robert H. Cobb and introduction by Marjorie Child Husted [Doubleday & Company:Garden City NY] 1949 (p. 6) [NOTE: According to this source, the first Brown Derby restaurant opened February 1926. This timelines the genesis of Cobb Salad between the years 1926 & 1930.] Cobb Salad, Serves 4-6 1/2 cup fine grated imported Roquefort cheese 1 cup Brown Derby Old-Fashioned French Dressing Cut finely lettuce, watercress, chicory, and romaine and arrange insalad bowl. Cut tomatoes in half, remove seeds, dice finely, and arrange in a strip across the salad. Dice breast of chicken and arrange over top of chopped greens. Shop bacon finely and sprinkle over the salad. Cut avocado in small pieces and arrange around the edge of the salad. Decorate the salad by sprinkling over the top the chopped eggs, chopped chives, and grated cheese. Just before serving mix the salad thoroughly with French Dressing." (p. 22) We know from Apicius that Ancient Roman cooks prepared shredded cabbage dressed with vinegar, eggs and spices. Food historians generally agree the term "cole slaw" is of Dutch origin, implying perhaps that the true progenitor of modern coleslaw is most likely a Medieval creation with Roman roots. Mayonnaise is an 18th century invention, meaning the recipe (as we know it today) is only about 200 years old. The origin of the term "cole slaw' holds much interest for food historians. Notes here: "Coleslaw means literally 'cabbage salad'. English borrowed and adapted the word from Dutch koolsla at the end of the eighteenth century, probably from Dutch settlers in the USA, and the first printed example of it shows its outlandishness tamed to cold slaw--a folk-etymological modification often repeated in later years. English does however have its own equivalent to Dutch kool, 'cabbage', namely cole. Like kool, this comes ultimately from Latin caulis, 'cabbage', whose underlying etymological meaning is hollow stem'." ---An A to Z or Food and Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 85) About cole slaw in America "Coleslaw. Also, "cabbage salad," Shredded cabbage, mayonnaise, and seasonings, usually served cold as a side dish. The words are from Dutch koolsla, a combination of kool, "cabbage," and sla, "salad" a dish that was known in America in print by 1785. Because it is usually served cold, some call the dish "cold slaw" in contrast to "hot slaw," but there is no relation to the temperature in the etymology." ---The Encyclopedia of American Food & Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 92) "The earliest European settlers on North America's eastern shores brought cabbage seeds with them, and cabbage was a general favorite throughout the colonies. The Dutch who founded New Netherland (New York State)...grew cabbage extensively along the Hudson River. They served it in their old-country ways, often as koolsla (shredded cabbage salad). This dish became popular throughout the colonies and survives as coleslaw...By the 1880s, cabbage and its cousins had fallen from favor with the upper class because of the strong sulfurous odors these vegetables give off when cooking...But this sturdy and versatile vegetable never disappeared from middle-class kitchens." ---Oxford Encyclopedia of Food and Drink in America, Andrew F. Smith [Oxford University Press:New York] 2004, Volume 1 (p. 147) "Cool sla, cabbage salad, has, of course become cole slaw; in the nineteenth cnetury housewives who had forgotten, or never known, that cool is Dutch fo "cabbage," were already miscalling the dish "cold slaw," which gave illegitimate birth to "warm slaw."" ---Eating in America: A History, Waverley Rood & Richard de Rochemont [William Morrow and Company:New York] 1976 (p. 302-3) Peter G. Rose, New Netherlands foodways historian, states Peter Kalm mentions coleslaw in his Travels in North America; The English Version of 1770 (p. 347): "...he describes how his Dutch landlady served him "an unusual salad," which "tastes better than one can imagine...cabbage... cut in long thin strips" dressed with oil, vinegar, salt, and pepper, well mixed to evenly distribute the oil." Soruce: The Sensible Cook: Dutch Foodways in the Old and New World [Syracuse University Press:Syracuse NY] 1989 (p. 28). Her modernized version of this 18th century salad (based on Mr. Kalm's description) here: "Cabbage Salad. 2 cups green cabbage, cut into thin strips 2 cups red cabbage, cut into thin strips 1/3 cup wine vinegar 1/4 cup vegetable oil or 1/4 cup melted butter Salt and freshly ground pepper Mix the above ingredients well ahead of dinner time so that the flavors can marry." ---ibid (p. 116) About mayonnaise (and its ancient egg, vinegar & spice precursors) If you want to learn more about cabbage we recommend: The Oxford Companion to Food, Alan Davidson The History of Food, Maguelonne Toussaint-Samat The Cambridge World History of Food, Kiple & Orneals Nectar & Ambrosia, Tamra Andrews (cabbages in mythology & folklore!) Raw vegetables in various forms appear in appetizer sections of American cookbooks of the 19th century. These were often stuffed (celery with cream cheese) or presented as garnish (radish florets). A survey of primary sources reveals raw vegetable platters with dip began showing up in the 1940s. At that time they were not called crudites. Our survey of cookbooks, magazines and newspapers articles confirms the use of the term "crudite" in American print at least to the 1960s. These vegetable platters were promoted by women's magazines (easy & portable), gourmet journals (creative and colorful), restaurants (inexpensive & easily assembled), and health professionals (raw vegetables are excellent for fighting cancer and other diseases). What exactly are crudites (pronounced croo-dee-tay)? "Crudites. Raw vegetables or fruits served as an hors d'oeuvre, generally thinly sliced, grated or cut into little sticks and accompanied by cold sauces. Crudites include carrots, celeriac, cucumber, sweet peppers, red cabbage, celery, fennel, fresh broad (fava) beans, cauliflower (in very small florets), tomatoes, mushrooms, radishes, small artichokes, quarters of grapefruit, orange and apple, round slices of banana sprinkled with lemon, slices of avocado and, although it is cooked, beetroot (red beet). The various items are often presented as an assortment, with several sauces. A plate of crudites may also include a hard-boiled (hard-cooked) egg in mayonnaise." ---Larousse Gastronomique, Complete revised and updated [Clarkson Potter:New York] 2001 (p. 381) [NOTE: the original 1938 French edition of Larousse Gastronomique also contains an entry for crudites. There is no entry in the classic 1961 edition.] "In French, crudite literally means 'rawness'. Hence its application, in the plural, to an hors d'oeuvre dish or small pieces of raw vegetable, such as celery, cucumber, carrot, peppers, or cauliflower, served with a dip of mayonnaise or similar cold sauces. Its introduction into English is comparatively recent." ---An A to Z of Food and Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 99) Sample recipes [1942] "Raw-Vegetable Hors D'Oeuvres Among the simplest and most popular hors d'oeuvres are pieces of raw vegetable such as small cauliflower flowerets, carrot strips or curls, cucumber fingers or wedges, strips of green pepper, celery curls and hearts, endive and tomato wedges. These are served without toothpicks. Keep in ice water until ready to serve; drain thoroughly. If desired, serve with a sauce (see Cold Dunking Trays, p. 266). Provide salt for those who may prefer to eat the vegetables without sauce." ---Woman's Home Companion Cook Book, Willa Roberts [P.F. Collier & Son:New York] 1942 (p. 268) [1949] "Raw Vegetables. Several plates of raw vegetables or a plate of various mixed raw vegetables is acceptable in the melange of things served for hors d'oeuvres. They should be the choices the market affords and should be carefully cleaned and crisped in ice water before serving. Radishes: The tiny rosy ones as fresh and crisp as you can find them. If the tops are fresh and green, leave them on for eye appeal. Onions: Tiny green onions, carefully cleaned and freshened in water. Always a pleasant addition. Celery. Celery hearts, strips of celery, or stuffed celery (using any of the canape spreads) are good addition. Fennel: The anise-flavored Italian root is a change. Pepper: Strips or rings of green pepper. Carrot: Strips of tender raw carrot. Watercress: Watercress is a decorative addition as well as a delicious tidbit. Tomatoes: Sliced tomatoes, plain or with French dressing. Stuffed Eggs: Any of the recipes for stuffed eggs are acceptable for this type of service. Or you may serve: Eggs a la Russe. Cut peeled hard-cooked eggs in half. Place them in a serving dish, yolk side down, and cover with Russian dressing. Decorate with capers." ---The Fireside Cook Book, James A. Beard [Simon & Schuster:New York] 1949 (p. 35) [1965] "Crudites. Prepare a mayonnaise and add to it 1 tablespoon Dijon mustard, a dash of Tobasco, and 3 tablespoons chopped parsley. Blend well. Serve as a sauce for the crudites. Arrange a selection of raw vegetables as attractively as possible on individual plates or on one large platter. You might combine cherry tomatoes, scallions, radishes, celery and asparagus. These may be eaten with the fingers. If you choose vegetables such as carrots, or celeriac, which can be cut in julienne strips or shredded, a fork is in order. One three-star restaurant in France serves a 'bouquet of crudites' as a first course in which the vegetables are cut very fine and each is served in a different sauce. It is the most appetizing dish imaginable." ---James Beard's Menus for Entertaining, James Beard [Dell Trade Paperback:New York] 1965 (p. 145) [NOTE: Mr. Beard's Mayonnaise recipe appears on p. 346. Happy to send if you need.] [1966] "Crudites (Raw vegetables)...pack a variety of raw vegetable tidbits in each of 4 plastic sandwich bags. These might include raw cauilflowerettes, celery hearts, radishes, young raw green asparagus." ---"The Fast Gourmet," Poppy Cannon, Chicago Daily Defender, May 24, 1966 (p. 19) [1972] "Crudites. For party-goers or party-givers who want taste without waist, these raw crisp vegetables, called crudites in France, could be a favorite hors d'oeuvre. Prepare them an hour or more before use and refrigerate until party time. Provide individual platters for all with...vegetables weighed in advance...[Suggested vegetables, with instructions for preparation:] beans (green or wax), bean sprouts, broccoli, carrots, cauliflower, celery, celeriac (celery root), Chinese cabbage, Chinese snow peas, cucumbers, fennel, kale, kohlrabi, lettuce, mushrooms, parsley, pimentos, spinach, radishes, scallions, squash (summer), tomatoes, watercress...Suggested dips for individual servings: Pimiento Dressing, Tangy French Dressing, Mock Hollandaise Sauce (recipes included, happy to send.) ---Weight Watchers Program Cookbook, Jean Nidetch [Hearthside Press:Great Neck NY] 1972 (p. 253-254) [NOTE: this recipe includes Weight Watcher "counting" points.] [1995] "Crudites is the kind of dish that's easy to take for granted. There's nothing big deal about crisp and colorful vegetables arranged around a ramekin of tangy dip. Or is there? "It's been on our menu for 16 years," says David Evans, co-owner of The Great Lost Bear, a popular local eatery in Portland, Maine, where checks average about $15. "We could never take it off." That menu at The Bear is certainly big--about 120 items--and written with an eye for humor. The crudites with curry dip--which fetches $3.95 and accounts for more than 1% of the meal mix--is labeled "Some Like it Raw," followed by a brief description. The Bear's version of crudites is simple. The featured vegetables include celery, carrots, zucchini, mushrooms, bell peppers, cauliflower and broccoli, chosen because they are all readily available, consistently priced and don't need any cooking. If par-cooking is not an issue, then potatoes and string beans can be added to the list of vegetable choices. Of course, any of the raw vegetables could be blanched or steamed slightly, Just be sure not to overcook, and to shock them immediately in ice water. Some more unusual or seasonal vegetables also make excellent crudites: snap peas, fennel, assorted radishes, jicama, cherry tomatoes, olives, asparagus, watercress sprigs, cooked artichokes or even boiled broad beans. And don't stop with vegetables. Fruit crudites--with a sweetened yogurt, creme fraiche or sour cream dip--makes a festive breakfast or brunch item. How you cut, hold and present these products will determine how appealing the dish is to customers. Because the vegetables for "Some Like It Raw" at The Great Lost Bear are all used in other menu items, no special prep is involved and there is virtually no waste. According to Evans, everything is cut into convenient large slices except for the mushrooms, which are halved, and the trimmed broccoli and cauliflower florets. Evans' cooks do all the prep This crudites presentation with piquant bagna cauda dip features both raw and par-boiled vegetables ahead of time, and store the vegetables in water in the refrigerator. For service, chosen pieces are blotted and strewn on a big plate. The curry dipping sauce that accompanies The Bear's crudites has not changed in the last 16 years. It's a simple blend based on a combination of mayonnaise and sour cream. The dip has become their signature. Vinaigrettes also make sprightly dips, especially if flavored vinegars or oils are used--although one that is completely emulsified and will not separate is both better tasting and better looking. Bean, legume, or vegetable purees provide reduced-fat alternatives with flavor and body. Consider offering customers a choice of different dips. There's also a resurging popularity in the close cousin of crudites--fondue--where a warm cheese sauce provides the centerpiece for a presentation that can include raw and/or par-cooked vegetables and bread cubes. Another hot dip for cool crudites is bagna cauda, a rustic, anchovy-and-garlic-flavored dipping sauce whose name translates as "warm bath" in Italian." ---"A way with crudites," Kerri Conan, Restaurant Business, June 10, 1995 (p. 98) When did fruit salad originate? The answer depends upon how define the dish. Fruit salads (ie combinations of various fresh, dried, candied [with sugar], stewed and/or fruits with vegetables) since ancient times. The ingredients and recipes depended upon what was available (country, seasons) and socio-cultural attitudes toward the ingredients (was raw fruit considered healthy or not?). Fruit salad, as we know it today [a variety of fresh, often tropical, fruits], surfaces in the mid-19th century. Ambrosia is popular variation featuring coconut. Culinary evidence confirms sometimes fruit salad was mixed with sugar and alcohol, thus the term " fruit cocktail ." Non-alcoholic versions of this recipe were concocted during Prohibition. Also popular in the 1920s were jellied fruit salads. Think: Jell-O molds. During World War II fruit salads were promoted to ensure proper amount of vitamin C were included in the American diet. Both canned and fresh fruits were recommended. Fruit salads in northern Europe (Germany, for example) evolved differently. These recipes used mayonnaise. "Fruit salad, an item which has adorned millions of menus in the western world, was first recognized as a dish in the mid-19th century....It is of course possible to have a 'salad' of dried fruits and nuts, as in the Middle Eastern khoshab; and, further east, Indonesia offers the spicy fruit salad rujak, which is patently different from anything in the western world." ---Oxford Companion to Food, Alan Davidson [Oxford University Press:Oxford] 1999 (p. 323) A sampler of American fruit salad recipes: [1863] "Apricots, Oranges, Peaches, Pears, Strawberries, Raspberries, Blackberries, Currants, and Like Berries in Salad. Dust the bottom of a dish with white sugar, put a layer of slices of apricots, oranges, peaches, or pears, or a layer of the others entire, and dust again; repeat the same till the whole is in, then add over the whole a pinch of grated nutmeg, and French brandy or rum to suit your taste, and serve." ---What to Cook and How to Eat It, Peirre Blot [New York:1863] (p. 202) [1896] Fruit cocktail, a sweetened mix of assorted diced fruits served in a decorative stemmed glass, is generally presented in the appetizer course. Unlike its culinary cousins Ambrosia (dessert) and Fruit Salad (salad), it was also commercialized. Early recipes are variously monikered "fruit cup" or "fruit cocktail." The crossover was sorely noted by domestic scientists. Coincidentally? This period marked the crossover between several late 19th health foods (most notably breakfast cereal & peanut butter)and sweet commercial profits. [1901] "We have fallen so much into the fashion of practicing a 'course luncheon with what are sometimes called 'fruit cocktails' that we have almost lost sight of the value of the fruit cup as a final course of sweets at dinner or luncheon. Our English cousins apply the name 'dessert' to fruits alone. We give it, indiscriminently, to puddings, pies, ices, jellies, custards and fruits whatver may be the name or nature of the dishes following the main business of the dinner. In bringing our present subject to the front, we harmonize wth the nomenclature of both nations. Our fruit cup is especially convenient to the sagacious housemother, now that the changing seasons invite latitude and indifference to foods that have been partaken of freely all winter. The full maturity of the berry is not yet here..." ---"School for Housewives," Marion Harland, Los Angeles Times, May 15, 1910 (p. VIII6) "In these latter days many American cooks make a mixture of fruit, sugar and alcohol, and serve them as "salad." These are not salads; are heavy, rather unwholesome, and will never take the place of a salad. I much prefer to call them fruit cocktails, and serve them as first course at at luncheon or a twelve o'clock breakfast; or a dessert, and serve them with the ices at the close of the meal. Fruits mixed with mayonnaise dressing, and served as a salad are unsightly, unpalatable and little nauseating. One cannot think of anything more out of keeping than white grapes in a thick mayonnaise. The simple so called French dressing is delicate and most worthy of recommendation. Over lettuce, cress or celery it certainly makes a palatable and wholesome dinner salad, and one in which children can be freely indulged. Such fruits as apples, pears, cherries, and pineapples, mixed with celery or lettuce, with French dressing, make an agreeable dinner salad." ---Mrs. Rorer's New Cook Book, Sarah Tyson Rorer [Arnold and Company:Philadelphia] 1902 (p. 439) [1911] "Menu for Independence Day Fruit Cocktail, Olives, Radishes, Lobster Bisque, Crown Roast of Lamb, Mint Sauce, Carrots, Peas, Latticed Potatoes, Artichoke or Tomato Jelly Salad and Cheese Straws, Cherry Pie or Strawberry Ice Cream with Martha Washington Cake, Demi-Tasse, Fruit Punch." ---"Uncle Walt," Los Angeles Times, June 30, 1911 (p. II4) [1924] "Fruit Cocktail For the fruit cocktail mix in a cold bowl equal parts of peeled and diced honey dew melon, peeled and diced oranges, peeled and diced firm ripe peaches, peeled and diced apricots, pitted cherries, and diced pineapple. Set in ice box for three hours before serving. Divide into tall stem glasses and top each glass with a large strawberry dipped in powdered sugar." ---"Pracitcal Recipes," Los Angeles Times, A.L. Wyman, December 8, 1924 (p. A8) "1913...Fruit cocktail is created by a California canner."(p. 79) "1927...Fruit canners agree upon a single "recipe" for fruit cocktail." (p. 161) ---American Century Cookbook, Jean Anderson [Clarkson Potter:New York] 1997 Period cookbooks, old newspapers, and culinary reference books confirm the popularity of iceberg (also known as crisphead) lettuce in the 1920s. They do not, however, reveal claimants (hotels, chefs, restaurants) to the invention of the classic American wedge-type salad served with creamy dressing. The general concensus of current sources squarely places this salad as a ubiquitous menu entry of the 1950s and 1960s. The lettuce wedge lost its place in the 1970s when consumers were intrigued by more interesting salads. Recently, the iceberg wedge salad has resurfaced as a "reinvented" item on trendy menus. The new accompaniments are blue cheese (Maytag, esp.) and nuts. What was Iceberg lettuce ? About Iceberg wedge salad "There once was a time--before the arrival of mesclun , frisee, endive, spring mix, packaged salads, radicchio and arugula--when iceberg lettuce dominated the produce aisle. Quartered, shredded, its leaves pulled off and transformed into cups for canned pears, it knew no rival until the 1970s when Caesar Chavez called for a boycott to protest the working conditions of California lettuce pickers. Tastes changed, too. The wedge of iceberg drowning in a thick dressing was replaced with vinaigrette-tossed leaf lettuces (especially romaine) and smaller, more exotic "designer" greens, all more nutritional and more flavorful than the "neutral" iceberg. Iceberg--a head lettuce, as opposed to a leaf lettuce--is also known as "crisphead" lettuce since one of its chief virtues (some say its only virtue) is that it stays fresher longer than leaf lettuces." ---"Market Watch 6/23: Iceberg Lettuce," Jeanne McManus, The Washington Post, June 23, 1999, Pg. F04 "Take one wedge of iceberg lettuce. Open a bottle of dressing and pour. Garnish with a tomato slice. You've got salad, 1960s-style." ---"Salads with Sizzle; How Do YOu Dress Up a Salad into a Meal? Chefs Offer Their Suggestions," Leslie Kelly, Spokesman Review (Spokane, WA), June 18, 1997 (p. D1) "Short of heating up a TV dinner, there are few more blatantly retro gestures than ordering a wedge of iceberg lettuce covered in a thick, creamy salad dressing. The lettuce itself remains popular in the United States. It still accounts for 70 percent of the lettuce raised in California, but that share is declining (in the mid-1970's it was as high as 80 percent), and anyone dining at fancier restaurants around the United States might wonder if it hadn't disappeared entirely, displaced by frisee, dandelion greens, oak leaf, lollo rosso, exotic cresses, microgreens, sprouts -- anything, in short, that's green, has a leaf, and is not iceberg. But iceberg somehow manages to hang on. Steakhouses refuse to give it up. And in some very unlikely places, it has earned a strange kind of cachet..."It's one of those things that's synonymous with growing up in America," Mr. Otsuka said. "Everybody has a comfort level with it. Served cold, it's very nice on the palate, with a good crunch." Marc Meyer, at Five Points, anoints a wedge of the stuff with a modernized, Europeanized blue cheese dressing made with picon cheese from Spain, toasted almond slices and radishes...Despite its shortcomings, iceberg has always had its fans. James Beard was one. "Many people damn it," he once wrote, "but when broken up, not cut, it adds good flavor and a wonderfully crisp texture to a salad with other greens." It also keeps longer than other lettuces, he pointed out. Flavor? Surely the iceberg stands supreme as the blandest of all greens. Little pieces? Most Americans side with the prim instructions given in the first "Joy of Cooking." "Heads of iceberg lettuce are not separated," the directions read. "They are cut into wedge-shaped pieces, or into crosswise slices." The lettuce is a relative newcomer, and confusingly named. A lettuce that went by the name of iceberg was developed in the 1890's, and somehow the name resurfaced when new varieties of durable, easily shippable crisphead lettuce began emerging in California in the mid-1920's. In 1948, the iceberg we know today was born. Why iceberg? No one seems to know, although one popular theory holds that the name refers to the tons of ice that chilled it in the days before refrigerated rail cars. The big, cold wedge is a cornerstone of American cuisine. It survives, and so do the sludgelike dressings that drape it like heavy velvet curtains -- the great, goopy family that includes blue cheese, green goddess, ranch and Thousand Island. I went for the wedge the other day at Del Frisco Double Eagle Steak House. It arrived under a lavalike green ooze, a creamily high-caloric green goddess dressing lumpy with tender bits of avocado....Michael Jordan's The Steak House...the wedge wore a blue cheese dressing...John Schenk, the chef at Clementine, tuned in to this particular frequency years before tony restaurants began playing with iceberg..." ---"CRITIC'S NOTEBOOK; An Offering to the Green Goddess," William Grimes,The New York Times, June 14, 2000, (p. F1) While icberg lettuce was employed for a variety of salads, the "classic" American restaurant wedge topped with a generous dollop of creamy dressing was sometimes called "Heart of Lettuce." Creamy Roquefort was the traditional dressing. [1916] "Lettuce Salad and Roquefort Dressing Lettuce hearts 3 tablespoonfuls Roquefort cheese 2 hard-cooked eggs Place the lettuce hearts in a salad bowl which has been rubbed over with the cut clove of garlic. Mix together the mustard, salt, paprika, vinegar, and beat in olive oil until thick; then gradually add the cheeese and the hard-cooked yolks of eggs rubbed through a sieve. Pour over the lettuce and serve garnished with the whites of eggs." ---Salads, Sandwiches and Chafing Dish Recipes, Marion Harris Neil [David McKay:Philadelphia] 1916 (p. 214) [1949] "Heart of Lettuce Salad Form cups from better outer leaves of iceberg lettuce. Cut head into 4 to 6 wedge shaped pieces, then arrange a wedge in each cup of lettuce. Make one to two lengthwise, then cross-wise cuts almost through the wedge to make cutting of salad with fork easier. Garnish with strip of pimento, celery curl and carrot strips. Top with favorite dressing." ---"Salads," Chicago Defender, December 10, 1949 (p. 20) [1950] Pasta salad, as we Americans know it today, descends from a long line of dressed macaroni dishes, both hot and cold. Dressings (oil/vinegar, mayonnaise, cream sauces) and additions (vegetables, herbs, spices) varied according to culture and cuisine. In early 20th century we begin to find recipes for macaroni salad in American cookbooks. These were typically dressed with mayonnaise and served in cold molded presentations. Think: perfect domes of chilled macaroni salad served as "sides" in diners & delis. Alternatives? A side of cottage cheese or coleslaw. In the USA, "Macaroni salad" generally denotes a mayonnaise dressed side dish, popular for picnics. "Pasta salad" is generally dressed with vinaigrette . Both are served chilled, can welcome chopped vegetables (celery, onion, olives)and are popular sides in hot weather. Which macaroni shape to use? Elbow macaroni is traditional in the USA. According to a survey of articles published in the New York Times, recipes titled "pasta salad" were published in the early 1960s. They proliferated in the 1980s, when Nouvelle Cuisine delighted in creating dishes with gourmet pastas of various shapes, sizes, and colors. Pasta salad was a trendy way to carbo-load back in the Yuppie era. This simple, economical dish was promoted on two fronts: upscale, affordable cuisine and practical way to use leftovers. Before long? Mainstream American food companies began promoting "pasta salad" box kits. These can still be found in our grocery stores today. [1916] 1/2 pound (58 sticks) macaroni 1 1/2 tablespoonfuls fresh grated horseradish 1 teaspoonful sugar 1 pint (2 cups) whipped cream Crisp lettuce leaves Break the macaroni into small pieces, boil in plenty of boiling salted water until tender, then drain and cool. Mix the horseradish with the sugar, salt, and whipped cream; fold in the macaroni and serve heaped on lettuce leaves. Another Method.--Boil one package of macaroni, then rinse it with cold water and drain. Cut it into short lengths, place one-half of it in a jar of vinegar in which boiled beets have been pickled, and let it remain until colored a pretty pink. Line a salad dish with crisp lettuce leaves and arrange the pink and white macaroni in alternate rings. Garnish with sprigs of parsley and tiny leaves of lettuce. Serve with boiled salad dressing. Spaghetti may be used in the same way." ---Salads, Sandwiches and Chafing Dish Recipes, Marion Harris Neil [David McKay:Philadephia] 1916 (p. 216) [1927] "Elbow Macaroni Salad. A nutritious and Satisfying Summer Dish. Put one package elbow macaroni in three quarts of boiling salted water, cook until tender, which will generally take about ten minutes; stir occasionally,. The place elbow macaroni in colander and shake until thoroughly drained. Never start to cook in cold or merely warm water. Method.--Mix cooked elbow macaroni with one cup mayonnaise, add one onion (grated), two green peppers (chopped)), Serve on lettuce leaf garnish with chopped egg and slices of green pepper." ---"Tested Recipes," Washington Post, July 24, 1927 (p. 12) [1930] Oriental noodle salad Food historians tell us noodles aka (macaroni, pasta) quite likely developed independently in two centers of origin: Asia and Europe. Notes here . Over time, noodle recipes developed according to culture and cuisine. Think cold macaroni salad with mayonnaise, onions & egg [Germany], oil/vinegar dressing & fresh veggies [Mediterranean cuisine], veggie-laden pasta salads. "Chilled noodles," [aka Oriental Noodle Salad, Chinese Noodle Salad] as we American know them today, appears to descend from the Asian tradition of serving noodles for fast meals. Think: noodle bars . Food of the people: delicious, versatile, filling. Hot or cold! American-style Chinese Chicken Salad dates to the 1930s. The dressings (& vegetables, spices, flavors) enjoyed in popular chilled oriental noodle salads of the 1980s/1990s partied harmoniously along this successful culinary theme. WHO among us does not like cold leftover lo-mein (or pizza while we're talking about fridged leftovers?). USA Oriental noodle salad simply, elegantly, intelligently, moved the cold noodle concept to the next level. Special Asian dressings were developed for these new salads. Our survey of historic USA newspapers suggests this cold noodle salad was introduced to American diners in the early 1980s. This coincided with a resurging interest in "new" asian cuisine [apart from standard Chinese-American fare] AND carbo-loading diets. Think: chilled Italian pasta salad featuring small bite colorfully presented veggies & dressing. Cold Far east-inspired followed suit. Both salad types were promoted to savvy lunchers as a healthy, economical, delicious alternative to standard fast, American traditional, or continental fare. As true with many recipes of this type, there are many variations and names. In the case of Oriental noodle salad, recommended noodles range from traditional (soba) to fast food ( ramen ). In a pinch "Italian" pasta products work just fine. The underlying culinary elements are cold noodles dressed oriental-type sauce. Sesame oil and peanuts are common, but not required, elements. [1981] "Karen Lee's Cold Noodles With Spicy Peanut Sauce 8 ounces thin Chinese egg noodles or Japanese buckwheat noodles (soba) 1/4 cup smooth peanut butter or sesame butter 5 tablespoons brewed black tea 1 tablespoon plus 2 teaspoons dark soy sauce 1 to 1 1/2 teaspoons chili oil 2 teaspoons Oriental sesame oil 2 teaspoons wine vinegar 2 teaspoons sugar 1 teaspoon minced garlic 1 scallion, chopped. 1. Boil noodles until tender, drain, rinse in cold water and set aside, covered. 2. Mix peanut butter with tea until peanut butter has dissolved. Add soy sauce, chili oil (more or less depending on how spicy you want the dish), sesame oil, vinegar, sugar and garlic. Pour sauce over noodles and toss. 3. Sprinkle with scallions, toss again and serve. Yield: 4 servings." ---"Being Creative When a Picnic Impulse Hits," Florence Fabricant, The New York Times, May 27, 1981 (P. C1) [1983] "A revolution is under way in American cooking. It has become the primary focus for cooking schools and cookbooks, young chefs and new restaurants...Thousands of words have been written about the revolution, which highlights a mixture of culinary cultures; a return to the rustic, the homespun and the simple; an emphasis on fresh fruits and vegetables, fish and poultry in place of red meats; the use of meat as a condiment rather than the center of the meal, and the disappearance of thick gravies and cream sauces. A look at the combined impact of these elements leads to a somewhat unexpected conclusion, one that the professionals are just beginning to talk about: Nutrition and good food can co-exist... "Cold Chinese Noodle Salad 2/3 c. Cabbage, shredded finely 1 1/2 c. Celery, diced 1/8 c. Sweet red pepper 1. Mix boiling water, vinegar, salt and sugar; heat to boiling point. 2. Soften gelatine in cold water; dissolve in boiling liquid. 3. Add lemon juice; strain, chill, stirring occasionally. 4. When slightly thickened, add vegetables. 5. Turn into moistened moulds; chill. Note.--The jelly mixture of this salad may be used for moulding other vegetables, as asparagus and pimiento, beets and celery, carrots and peas. Vegetable stock may be used as part of the liquid in the jelly." ---The Canadian Cookbook, Nellie Lyle Pattinson, Revised and Enlarged Edition [Ryerson Press:Toronto] 1947 (p. 205) [1962] Potato salad Potatoes (a new world food) were introduced to Europe by Spanish explorers in the 16th century. By the end of the century many countries had adopted this new vegetable and integrated it into their cuisines. Preparation methods and recipes were developed according to local culinary traditions. Arnold Shircliffe, executive chef of Chicago's legendary Edgewater Beach Hotel, traced the origin of the potato salad to the 16th century. These are his notes: "Early potato salad: John Gerrard in 1597 writes about potatoes and their virtues and said that "they are sometimes boiled and sopped in wine, by others boiled with prunes, and likewise others dress them (after roasting them in the ashes) in oil, vinegar and salt, every man according to his own taste. However they be dressed, they comfort, nourish and strengthen the body." This is one of the first potato salads mentioned in any book." ---Edgewater Beach Hotel Salad Book, Arnold Shircliffe [Hotel Monthly Press:Evanston IL] 1928 (p. 231) Potato salad-type recipes were introduced to America by European settlers, who again adapted traditional foods to local ingredients. This accounts for regional potato salad variations in the United States. Potato salad, as we know it today, became popular in the second half of the 19th century. Cold potato salads evolved from British and French recipes. Warm potato salads followed the German preference for hot vinegar and bacon dressings served over vegetables. Print evidence confirms recipes for potato salads were often included in 19th century American cooking texts. These recipes had many different names. The Cassells Dictionary of Cookery [London:1875?] contains three recipes for potato salad, one without notes [presumably British or American], a French recipe and a German recipe.The French recipe is very similar to the first and is also served cold. The German recipe required bacon. Early cold potato salad recipes often called for "French dressing" (Our notes on French dressing here ). Some recipes specifically indicate this is an economy dish, "a good way to dispose of leftover potatoes." During the 1940s mayonnaise began to supplant French dressing as the congealer of choice. It is interesting to note that during both World Wars recipes for German-style potato salad did not bear that country's moniker. They were simply listed as "hot potato salad." This is what the food writers have to say: "Potato salad. A cold or hot side dish made with potatoes, mayonnaise, and seasonings. It became very popular in the second half of the nineteenth century and is a staple of both home and food-store kitchens. Hot potato salad, usually made with bacon, onion, and vinegar dressing, was associated with German immigrants and therefore often called "German potato salad." ---Encyclopedia of American Food and Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 253) "There seems to be no dogma concerning the origins of potato salad, but Germany is a good place to begin. As a country with lots of potatoes and lots of recipes for potatoes, Germany almost certainly was among the first to look at cooked small new potatoes or cut chunks of larger spuds and imagine them blanketed with dressing. The dressing they came up with was a classic. Kin to the heated dressing used to wilt spinach salad, this one thrilled German taste buds, raised as they were on sauerkraut and sauerbraten with vinegar bite. Some versions featured a little coarse mustard, others cut the sour with a little sugar, and most added bacon and even its flavorful drippings. By the time the notion of potato salad reached France, vinegar wasn't quite good enough. The French demanded full-scale vinaigrette, and it was no sweat to satisfy their demands. Whenever you see something called "French potato salad," it's a safe bet you're in for potatoes (and probably other vegetables, too) in a light vinaigrette, with Dijon mustard and sweet tarragon. When potato salad caught on in the United States, in the second half of the 19th century, it was probably by way of German immigrants. To this day, most people who know how to cook, or at least know how to eat, understand that "German potato salad" will be served warm, will feature no mayonnaise, and will be pleasantly tart with vinegar.The American idea of making potato salad with mayonnaise has no recorded history - but then again, neither does the idea of mayonnaise itself. Clearly a sauce created in France using egg yolks, oil and either lemon juice or vinegar, little is clear after that. Virtually every French bible of cuisine explains the name differently, ranging from a link to "Magon," the Carthaginian general who helped his brother Hannibal battle the Romans," to a possible misspelling of "Bayonnaise," hailing from the town of Bayonne in France - and later, less romantically, New Jersey. However it got the name, mayonnaise became the favored dressing for American potato salad for more "There seems to be no dogma concerning the origins of potato salad, but Germany is a good place to begin. As a country with lots of potatoes and lots of recipes for potatoes, Germany almost certainly was among the first to look at cooked small new potatoes or cut chunks of larger spuds and imagine them blanketed with dressing. The dressing they came up with was a classic. Kin to the heated dressing used to wilt spinach salad, this one thrilled German taste buds, raised as they were on sauerkraut and sauerbraten with vinegar bite. Some versions featured a little coarse mustard, others cut the sour with a little sugar, and most added bacon and even its flavorful drippings. By the time the notion of potato salad reached France, vinegar wasn't quite good enough. The French demanded full-scale vinaigrette, and it was no sweat to satisfy their demands. Whenever you see something called "French potato salad," it's a safe bet you're in for potatoes (and probably other vegetables, too) in a light vinaigrette, with Dijon mustard and sweet tarragon. When potato salad caught on in the United States, in the second half of the 19th century, it was probably by way of German immigrants. To this day, most people who know how to cook, or at least know how to eat, understand that "German potato salad" will be served warm, will feature no mayonnaise, and will be pleasantly tart with vinegar.The American idea of making potato salad with mayonnaise has no recorded history - but then again, neither does the idea of mayonnaise itself. Clearly a sauce created in France using egg yolks, oil and either lemon juice or vinegar, little is clear after that. Virtually every French bible of cuisine explains the name differently, ranging from a link to "Magon," the Carthaginian general who helped his brother Hannibal battle the Romans," to a possible misspelling of "Bayonnaise," hailing from the town of Bayonne in France - and later, less romantically, New Jersey. However it got the name, mayonnaise became the favored dressing for American potato salad for more than a century. Its sweet, creamy mouthfeel served up just the right delight when wrapped around solid, dependable American potatoes." ---"A world of potato salads; Labor Day tradition gets global makeover," John DeMers, The Houston Chronicle, August 29, 2001 (Food: p. 1) "Despite its popularity in this country, potato salad is not an all-American creation. Potato salad is said to be of Teutonic origin, prepared when boiled potatoes were tossed with oil, vinegar and seasonings, a dish known now as German potato salad. The French, Norwegians, Swedes, Russians and Italians all have their own versions. Germans make a marvelous warm potato salad to which they add tiny bits of fresh tomato and red and green bell peppers, then toss the whole concoction with a warm bacon and onion dressing. The Greeks also prefer warm potato salad, with garlic, olive oil and lemon. Italian potato salad is apt to have ample amounts of fresh parsley, often chunks of salami and is dressed with an olive oil and vinegar dressing. American potato salad is heavier and heartier than European versions. Some people like lots of additions such as onion, sweet pickles, celery, hard-cooked eggs, pimento, chives, olives and parsley." ---"Potato salad revisited," St. Louis Post-Dispatch, August 28, 1989 (Food p. 1) Sample recipes: ---Herball or General Historie of Plants, John Gerard [London] [1863] "The same [potatoes], in salad Cook them [potatoes] without water in an oven, or hot cinders, if handy; then peel and cut them in thin slices; place them in a salad dish, season with chopped parsley, sweet oil, vinegar, salt, and pepper, and serve. You may used butter instead of oil if you serve warm; you may also add slices of beets, and of pickled cucumbers, according to taste." ---What to Eat and How to Cook It, Pierre Blot [Appleton and Company:New York] (p. 194) [1878] "Potato Salad. When materials for a salad are scarce, this is a good way of disposing of cold potatoes. Slice them, and dress them with oil, vinegar, salt, and pepper, precisely like any other salad; adding a little chives, or an onion, and parsley chopped fine. If oil is not agreeable, use cream or a little melted butter." ---Jennie June's American Cookery Book, Mrs. J. S. Croly [Excelsior Publishing:New York] 1878 (p. 122) Taco salad is a modern variation on the traditional Tex-Mex dish. These recipes begin to show up in American cookbooks/magazines in the 1960s. "Taco Salad. This salad arrived with the Tex-Mex fast-food franchises, which began to pepper the country in the 60s...The man who whetted our appetite for "hot and spicy" was Glen Bell, who opened the first "Taco Bell" in Downey, California. That was 1962. Did Taco Bell originate the Taco Salad? I've been unable to proved it did. Or didn't. The first recipe I could find for Taco Salad appeared in the May 1968 issue of Sunset." ---American Century Cookbook: The Most Popular Recipes of the 20th Century, Jean Anderson [Clarkson Potter:New York] 1997 (p. 305) Here is the recipe from Sunset Magazine, May 1968, p. 167 "Taco Salad 1 lb lean ground beef 1/4 c. finely chopped onion 1/2 tsp salt 1 can (8oz) can tomato sauce 1 medium head iceberg lettuce 1/2 c shredded Cheddar cheese 2 medium sized tomatoes, peeled and cut in wedges 1 avocado, peeled and sliced 1 and 1/2 c. corn chips or tortilla chips Fry meat and onion over medium-high heat; stir until the meat is crumbly and has lost its pinkness and the onion is tender. about 7 minutes. Stir in the salt, chili powder and tomato sauce; keep hot. Shred the lettuce and arrange on individual salad plates. Top each with the meat mixture and sprinkle with cheese. Arrange on each salad tomato wedges and avocado slices, if used. Place corn chips around edges of salads and serve immediately. Makes 4 servings. AR, Alhambra, CA If you like more hotly seasoned Mexican foods, you might add chopped canned green chilis or liquid hot pepper seasoning to taste; stir into the meat mixture with the tomato sauce." Tossed salad When and where did tossed or mixed salad begin? Excellent question. The answer depends (in part) on how you define tossed greens/mixed salad. Food historians tell us rudimentary mixed (several types of greens) salads were known to neolithic peoples. Salads composed of fresh mixed greens dressed in vinegar and spices were enjoyed by Ancient Romans. This culinary tradition survived from European Medieval times to the very end of the 19th century. Some cuisines preferred warm salads, others, cold. In the late 19th century (USA) the domestic science/home economics movement took hold. They considered tossed plates of mixed greens "messy" and eschewed them in favor of "orderly presentations." Salad ingredients were painstakingly separated, organized, and "glued together" with mayonnaise or gelatin. Molded gelatin salads proliferated because they offered maximum control. Enter: tossed salad Our survey of American cookbooks and newspapers confirms mixed, tossed salads regained popularity in the 1930s. Home economists promoted fresh vegetables as important (inexpensive) dietary supplement during the Great Depression. Coincidentally? This is when atrfully crafted large wooden salad bowls were introduced. Overnight? Tossing salad in front of company became trendy. Wooden salad bowls remain popular today. [1934] "A Salad Bowl Salad Don't always hide the secrets of your salad making within the four walls of your kitchen. Sometimes carry all the "fixins" right to the table in a big roomy wooden or china bowl or even a gay kitchen mixing bowl and toss and serve there. To the greens in the salad bowl--a mixture of them is always nice--you may add rosy red radishes, whole or in slices; crisp cucumber, thinly sliced; tender young scallions; asparagus, cooked, chilled and cut in suitable pieces; thin green pepper rings; crisp celery; ripe, green or stuffed olives; or tomatoes, cubed or sliced. A lone strip of cold bacon may be cut in small pieces and added. And toss in that one cold potato, cut in cubes, or the spoonful of peas or string beans, or the one remaining stalk of asparagus. Slices of hard-cooked egg or pieces of cold meat, chicken or fish, contribute to a hearty salad too. And cheese either cubed, sliced or broken in pieces is always a welcome addition to the salad bowl. The mellow flavor of avocado adds much to the fruit salad look especially when raw strawberries, halves of cooked prunes, sections of orange, pineapple or grapefruit, fresh or canned are combined with it! And don't froget the grapes. Such combinations as the above tossed and turned in a well-seasoned French or Mayonnaise dressing make a salad fit for the gods. And don't forget to cut a peeled bud of garlic rubbed on the inside of your salad bowl or dropped into your French dressing for a short time is a favorite seasoning to many." ---Good Housekeeping Cook Book, Dorothy B. Marsh et al [Good Housekeeping:New York] 2nd edition, 1934 (p. 60) Culinary evidence (old cookbooks, menus etc.) confirms meat (ham) and mayonnaise-type salads were popular in America from colonial times present. These were culinary traditions brought to our shores by European (esp. German) settlers. Lobster and chicken salads were most common and extremely popular in the mid-late 19th century. Tuna salad is an early twentieth century recipe. Why? Because canned tuna was first introduced and mass marketed to the American public in 1903. American cookbooks in the 1930s and 1940s offer tuna salad recipes as alternatives to salads made from chicken and turkey. One might conclude this fishy substitution was not immediately embraced on its own merits. "Tuna Salad Popular. In California the tuna is beign introduced generallly in the best restaurants, not only because it is new, but becuase people are beginning to value it for what it is. Tuna salads are getting to be popular. The housekeeper can prepare the fish in a dozen different ways." ---"Tuna Now Popular Fish Food," Christian Science Monitor, February 19, 1913 (p. 11) Here is an early recipe: [1916] 1 hard-cooked egg 2 or 3 stuffed olives. Line a salad dish with shredded lettuce. Break the fish into pieces and place it on top of the lettuce. Mix the salt, red pepper, lemon-juice, and vinegar toghether and pour over the fish. Chill, and when ready to serve, decorate with the capers, slices of hard-cooked egg, and the stuffed olives. Service with mayonnaise dressing. Another method.--Flake one can of Tuna fish with a silver fork, add one and one-half cupful of diced celery and one-half cupful of broken English walnut meats, mix with mayonnaise--or boiled dressing. Serve on crisp lettuce leaves." ---Salads, Sandwiches and Chafing Dish Recipes, Marion H. Neil [1916] (p. 245-6) ---Encyclopedia of American Food and Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 343) "Waldorf salad...Oscar Tschirky...created this salad for a 'society supper' to which 1,500 persons came from Boston, Baltimore, and Philadelphia...For Sheila Hibben, food editor of The New Yorker, his creation was a mixed blessing. She thought his combination of apples and mayonnaise headed American housewives in the wrong direction 'and bred the sorry mixture of sweet salads' that remain very much on the gastronomical scene..." ---American Food: The Gastronomic Story, Evan Jones [Vintage:New York] 1981, 2nd ed. (p. 398) "This American classic first was introduced at the old Waldorf Hotel in New York. Oddly, it was an off-the-cuff creation by the maitre d'hotel, Oscar Tschirky, rather than an inspiration of the chef." ---"Apples fill a variety of culinary needs and are available all year long," Peter Kump, Chicago Tribune, February 15, 1990, 11A The original recipe Waldorf salad Peel two raw apples and cut them into small pieces, say about half and inch square, also cut some celery the same way, and mix it with the apple. Be very careful not to let any seeds of the apples be mixed with it. The salad must be dressed with a good mayonnaise. ---The Cookbook by "Oscar" of the Waldorf, Oscar Tschirky [Saafield Publishing Company:Chicago] 1908 , copyright 1896 (p. 433) California Pistachio Commission "[1901] Dole's company becomes Hawaiian Pineapple Company and is incorporated in this year. James Dole becomes known as "The Pineapple King," because he was able to successfully grow and harvest this crop that had failed so many others. His company puts canned pineapple in every grocery store in the country and makes the name "Hawaiian" almost synonymous with "pineapple." Molded salads combining all sorts of ingredients (especially mini-marshmallows) were all the rage in the 1920s. The history of Jell-0 . Jell-O instant puddings were test marketed in 1950. The oldest recipe we found specifically titled "Watergate Salad" is this: [1975] 1 (20-ounce) can crushed pineapple (undrained) 1 box instant pistachio pudding mix 1 1/2 cups small marshmallows 1 (9-ounce) box whipped topping mix 1 cup or less walnuts or pecans Mix undrained pineapple with pudding by pouring pudding into pineapple. Stir. Add rest of ingredients. Stir by hand. Chill before serving. C.K." ---"Anne's Reader Exchange," Washington Post, November 13, 1975 (p. C17) WATERGATE CAKE "A new Watergate crisis is sweeping the Washington area, but this time only homemakers and a few business men seem to care... The crisis stems from the growing popularity of a recipe for a concoction called "Watergate Cake," which demands large quantities of powdered pistachio pudding mix, both in the layer cake and in its light green icing. Apparently, only one firm, Royal Pudding, a division of Standard Brands, Inc., distributes pistachio pudding in the Washington area. Supermarkets haven't been able to get engouh to cope with the demands, which began around Thanksgiving time and was very heavy at Christmas. Store shelves have been regularly stripped of the mix the same day it is displayed...If the sales spurt is not directly attributable to the popularity of Watergate Cake... "The we don't knoe why this product has suddenly taken off. It's been just phenomenal..." Barry Scher, a spokesman for Giant Foods, placed the blame not only on the recipe, but also on a coincidental shortage of pistachio nuts. "That was about five months abo, the spokesman said, "And as it ended, this recipe began circulating around. We were bombarded. We hate to admit it, but we just can't keep the mix on the shelf. The onset of Watergate cake mania--and the resulting effort to close the supply-demand gap --has tested old friendships and challenged the ingenuity and competitive instincts of many a Washington-area homemaking... No one, meanwhile, seems able to pinpoint the origin of this Watergate, the recipe for which has appeared in a number of newspapers, including the Washington Post. Nor can anyone explain how the cake got its name or why pistachio is the main flavoring. One current explanation leans on the presence of crushed walnuts in the cake--"bugs" in the parlance of kids. Like the Giant spokesman, Harold Giesinger, proprietor of the Watergate Pastry shop, had no thoughts on where the recipe originated-- except that it was not with his bakery. "We haven't invented anything to which we'd attach a name like that," he said. Nor, he added, does his shop rely on pistachio as a key ingredient in any of its products. "A private source may have put it together, " he said of the recipe. Wherever Watergate Cake started, the pudding firm would like more more problems like it. Gagan suspects some people have been buying more pistachio pudding mix than they'll ever use, simply becuase it's hard to get...Further relief is in sight. Another manufacturer, General Foods, scanning the Watergate-assisted pistachio market, has decided to jump in. Its version is expected to hit the supermarket shelves in March..." ---"A Watergate Cake Mania," Alexander Sullivan, Washington Post, February 26, 1976 (p. B2) [Recipe included, see below 1976] "According to my sister-in-law who lives in Waynesboro, Virginia, the name of the cake became prominent in that part of the country because--Nixon liked Pistachio Nuts, hence (and a rather far-fetched reasoning) the name for the Watergate Cake, because synonymous with--Pistachio Nuts, Mrs. Nixon and Watergate. I had neither heard of Pistachio Pudding or the Watergate Cake until last fall we stopped to visit them, and she had the cake all ready for us to eat. However, her recipe is much different than the one printed in the Washington Post Thursday in your column. Sincerely yours, Virginia K. Wiszneauckas, Wheaton, Md." ---"That Cake," Washington Post, March 11, 1976 (p. VA2) The earliest recipe we find for pistachio cake also employs a packaged cake mix. Note! This is "mock pistachio"! [1962] Pistachio-Almond Into [angel food mix] cake batter, fold a few drops green food color, 1/4 teasp. Almond extract, 3/4 minced, blanched almonds." ---Good Housekeeping Cook Book, Dorothy B. Marsh [Good Housekeeping:New York] 1962 (p. 457) Compare with these: "Pistachio...The word originated in Persian as pistah, and reached the West via Greek pistakion. English originally borrowed it from French as pistace." ---An A-Z of Food & Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 258) "Pistachio nut. A native of central Asia and member of the cashew family, the pistachio nut has been cultivated for some 3,000 years and has a long history of popularity in the Mediterranean world. But it was not until the 1930s, with the advent of vending machines, that pistachio nuts (also called pistache) imported from Italy became something of a rage in the United States as a snack food...Following World War II, the evergreen trees that bear pistachios were imported to California, and although the imported nuts are still dyed, most American-grown pistachios are sold without dye, in naturally tan shells." ---Cambridge World History of Food, Kenneth F. Kiple & Kriemhild Conee Ornelas [Cambridge University Press:Cambridge] 2000 Volume 2 (p. 1835) "The dying of pistachios is not a Middle Eastern tradition but is said to have originated with a Brooklyn street vendor named Zaloom who colored his pistachios red to distinguish them from his competitors. The idea caught on--especially in the East--that most pistachios used to be dyed red. This is no longer true, with only about 15 percent of those sold today so colored." ---Encyclopedia of American Food and Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 243) Pistachio cookery "This pistachio, with its unique color and mild but distinctive flavour, has always been a luxury, costing three or four times as much as other nuts. It is generally eaten roasted and salted as a dessert nut. In cooking it is often used as a garnish or decoration, both in sweet and savory dishes. For example, it figures in in some of the finest pilaf dishes and in European pates and brawns which are served in slices, so that the nuts appear as attractive green specs or slivers." ---Oxford Companion to Food, Alan Davidson [Oxford University Press:Oxford] 1999 (p. 610) "In Mediterranean and Oriental cooking, pistachios are used in poultry sauces and stuffings and also in hash. In classic cuisine they garnish galantines, brawn (head cheese) and mortadella. In India pistachio puree is used to season rice and vegetables. Pistachios go best with veal, pork and poultry. Their green color (often accentuated artificially) makes them popular for creams (especially for filling cakes, such as the galacien) and for ice creams and ice-cream desserts. In confectionery it is especially associated with nougat." ---Larousse Gastronomique, Completely revised and updated [Clarkson Potter:New York] 2001 (p. 900) arugula & rocket ... chicory ... iceberg lettuce ... lamb's lettuce ... romaine lettuce ... water cress The food historians and linguists tell us lettuce was [most likely] first cultivated by the ancient Greeks, possibly as early as the 6th century BC. There is some controversy regarding the date because there were several ancient plants fitting the description of lettuce at that time. "Wild lettuce was gathered for millennia by hunter-gatherers and was still being gathered by humans at the time of the ancient Greeks. The latter probably began its cultivation, which was continued by the Roman. The first cultivated letuuce was Lactuca serriola, which is native to the Mediterranean region." ---The Cambridge World History of Food, Kenneth F. Kiple and Kriemhild Conee Ornelas [Cambridge University:Cambridge] 2000, Volume Two (p. 1801) "The ancient Greeks and Romans cultivated the lettuce, especially as a salad. In the East its cultivation possible dates from an earlier epoch. Nevertheless it does not appear, from the original common names both in Asia and Europe, that this plant was generally or very anciently cultivated. There is no Sanskrit nor Hebrew name known, nor any in the reconstructed Aryan tongue. A greek name exists, tridax; Latin, latuca; Persian and Hindu, kahn; and the analogous Arabic form chuss or chass. The Latin form exists also, slightly modified, in the Slav and Germanic languages, which may indicate either that the Western Aryans diffused the plant, or that its cultivation spread with its name at a later date from the south to the north of Europe. Dr. Bretscheider has confirmed by supposition that the lettus is not very ancient in China, and that it was introduced there from the West. He says that the first work in which it is mentioned dates from A.D. 600 to A.D. 900." ---Origin of Cultivated Plants, Alphonse de Candole [Hafner Publishing Company:New York] 1964 (p. 96) "Other new Roman arrivals [to Britain] were the garden varieties of a number of green vegetables, among them cabbage, beet, mallows, orache (atriplex), lettuce and endive..." ---Food and Drink in Britain From the Stone Age to the 19th Century, C. Anne Wilson [Academy Broadway:Chicago IL] 1991 (p. 195) "Lettuce..was introduced to Britain by the Romans, who commonly ate it cooked rather than raw. This tradition continued into and beyond the Middle Ages...but by the seventeeth century the memory of it was dying out (John Eveyln...in his Aceteria is extravagant in his praise of lettuce as a raw salad vegetable, but of cooked lettuce he notes only as an afterthought." ---An A-Z of Food & Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 189) ---Encyclopedia of American Food & Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 183) "Both leaf and head lettuces were commonly grown in colonial and early American times. Lettuce was highly perishable and was available only locally in season. However, lettuce became more readily availble in the twentieth century with the development of crisphead lettuce (iceberg is the most familiar). With sturdy leaves forming a compact, round head, these lettuces can be transported over long distances without damage. Distributed by railroad from California and Arizona, lettuce becmae an important year-round food in America. During the 1920s and 1930s its production doubled." ---Oxford Encyclopedia of Food and Drink in America, Andrew F. Smith editor [Oxford University Press:New York] 2004, Volume 2 (p. 32) [1877] "Salad a la Romaine. Freshen two heads of lettuce in plenty of cold water. When about to serve mix in a bowl three tablespoonfuls of oil, one of lemon juice, one-third of a small onion grated, inch of cayenne, white pepper and salt to taste, and a small pinch of powdered sugar: break the lettuce into the bowl; well mix, turn into the salatiere, garnish with hard-boiled eggs, and serve." ---"Receipts for the Table," New York Times, January 28, 1877 (p. 9) [NOTE: This recipe does not specify the type of lettuce to be used. "Heads" imply standard USA lettuce, not the more leafy Romaine.] [1886] "There is another kind [of lettuce], high in favor in Paris and in some localities in this country for its tenderness and delicate flavor, but not liked by marketmen, because it will not bear rough handling. The time will come, however, when there will be such a demand for this species that all first-class provision dealers will keep it. The French call it Romaine, and in this country it is sometimes called Roman lettuce. It does not head. The leaves are strng and not handsome whole; but one who uses the lettuce never wishes for any other." ---Miss Parloa's New Cook Book, a Guide to Marketing and Cooking, Maria Parloa [Estes and Lauriat::Boston MA] 1886 (p. 52) Arugula (aka Rocket) is an "Old World" cruciferous plant. The leaves have been used for centuries in salads. They have a tangy, mustardy-flavor, which makes the salad interesting in flavor and texture. Americans "discovered" this tasty green in the 1990s. "The rocket is a Eurasian plant with spicily hot-tasting dandelion-shaped leaves that are used in salads. It has become much more widely known in Britain following the salad revolution of the late twentieth century. The name rocket comes via French roquette from Italian ruchetta, a diminutive form of ruca, which in turn comes from Latin eurca. This meant literally caterpillar', and was applied to the plant because of its hairy stems. It may have been derived from er, hedgehog'." ---An A to Z of Food and Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 284) "Rocket, Eruca sativa, a plant which grows wild in Asia and the Mediterranean region, has been introduced elsewhere, including N. America (where it is known by its Italian name, arugula), and cultivated for use as a salad plant. Its flavour, akin to that of horseradish or some sorts of cress, is strong in mature leaves, so these are added to salads with discretion. Young leaves may be used freely. Their popularity as a smart ingredient in western restaurants may obscure then fact that they are grown and liked in some places, e.g. the north of Sudan...In classical Rome the plant was cultivated both for its leaves and for its seeds, used as a flavouring. The seeds can also be used to produce and oil." ---Oxford Companion to Food, Alan Davidson [Oxford University Press:Oxford] 1999 (p. 667) "Arugula-Also known as "rocket" and "garden rocket," this native of Europe and western Asia...is a cruciferous plant that has long provided tender, slightly bitter, mustard-flavoured greens for the salad bowls of southern Europeans and Italian-Americans. Lately, it has become widely available in the United States, where it has been naturalized. Its leaves resemble those of the radish, which is a close relative. The seeds of arugula are also eaten, and they yield an oil that is used for culinary puroses, as a lubricant, and in medicines." ---Cambridge World History of Food, Kenneth F. Kiple & Kriemhild Conee Orenlas [Cambridge University Press:Cambridge] 2000, Volume Two (p. 1722) "Rocket, salad vegetable, one of the best native Mediterranean species. Rocket was grown in classical Greek kitchen gardens and was equally familiar to Romans. Apart from the use of the leaf, rocket seed is called for as a culinary spice in Apicus. Rocket had an enduring reputation among aphrodesiacs...Because of this reputation rocket was often served at dinners mixed with lettuce, an antaphrodesiac, so that their qualities would conteract one another." ---Food in the Ancient World From A to Z, Andrew Dalby [Routledge:London] 2003 (p. 282) Based on the number of print newspaper references per decade "arugula" gained marked interest in the 1990s and became popular in the 2000s. The plant was known, but not particularly favored, from Colonial times forward. Presumably, this accounts for the dearth of references & recipes. [1911] "Rocket: a rather coarse garden-plant whose young leaves are occasionally used as a pot-herb or for salads. The flowers resemble orange blossoms in odor." ---The Grocer's Encyclopedia, Artemas Ward [National Grocer:New York] 1911 (p. 532) [1919] "B. Vulgaris...Rocket. Winter Cress. Yellow Rocket. Europe and temperate Asia. This herb of northern climates have been cultivated in England for a long time and as an early salad and also in Scotland, where the bitter leaves are eaten by some. In early times, rocket was held in some repute but is now banished from cultivation yet appears in gardens as a weed...Rocket is included in the list of American garden esculents by McMahon in 1806. In 1832, Bridgeman says winter cress is used as a salad in spring and autumn and by some boiled as a spinage." ---Sturtevant's Notes onf Edible Plants, edited by U.P. Hedrick, Report of the New York Agricultural Experiment Station for the Year 1919 II [J.B. Lyon Company:Albany NY] 1919 (p. 82) [138] "Roquette. This is a salad vegetable resembling Cress in taste. It is served as a salad in the same manner, and is very popular with the Creoles." ---The Original Picayune Creole Cook Book, 9th edition [Times-Picayune Publishing Co.:New Orleans LA] 1938 227) [1960] "It would seem almost impossible that the most appealing and relatively abundant salad green could be available in New York and yet be relatively unknown. But there is one, and it leads to the suspicion that there may be more. The one in question has more names than Joseph's coat has colors. The fact of the matter is that this green with the pungent and fascinatinf flavor goes by different names from one market to the next. Ask Italian green-grocers for arugula, rucola or ruccoli; ask other markets for rouquette, rocket salad or, simply, rocket...Most Italian chefs know...that arugula or rocket...is the secret ingredient in many of their salads-about-town. Considering the public unawareness of the plant, it has an astonishing availability...New York does not have a corner on the vegetable's availability in the United States. Rocket salad is tremendously popular in the Creole country of Louisiana." ---"Food News: A Green by Any Name," Craig Claiborne, New York Times May 24, 1960 (p. 33) Salad green, cooked vegetable, and (when times are tough) coffee substitue . "Chicory. Semantic problems abound with chicory (Cichorium intybus)--also called succory, radicchio, and red chicory), endive...and escarole, which is the broad-leafed variety of endive. All three are members of the dandelion family, but there the resemblance ends. Cichoirum endivia, native to India, was the ancestor of endive and known to the Egyptians as well as to the ancient Greeks and Romans. By contrast, C. Indybus is native to Europe, but the names nonetheless remain confused. In the United States, chicory is generally called Belgian edive, although this is also referred to simply as endive. The French, too, call it endive...and radicchio is chicory's Italian name...Chicory as well as endive roots are ground to become a natural coffee substitute...or in addition to regular coffee for added flavor and reduced caffeine. However, the tight hearts of Belgian endive and radicchio are also attractive and slightly bitter ingredients in salads; in addition, their braised leaves can be a vegetable dish in their own right." ---Cambridge World History of Food, Kenneth F. Kiple and Kriemhild Conee Ornelas [Cambridge Unviersity Press:Cambridge] Volume Two, 2001 (p. 1753) "Chicory...decribes a group of perennial cultivated plants developed from wild chicory, a common plant of Europe, W. Asia, and Africa...Chicory was used as a vegetable and for salad in classical Greece and Rome, but was not apparently cultivated. The leaves of the wild plant are not too bitter if gathered young. From the 16th century onwards modern cultivated forms, with larger and less bitter leaves, were developed...The practice of taking up chicory plants in the autumn, cutting off their leaves, and replanting the roots in a dark cellar so that they regrow small, white leaves originated in France. The original French variety called, like the wild plant, Barbe de Capucin is unusual in that the roots are replanted on their sides in angled banks and the shoots grow horizontally. Around 1850 a Belgian grower, experimenting with uses for old musroom compost, discovered the superior cigar-shaped form Witloof...The large-rooted variety of chicory which is used as a coffee substitute was developed in Holland during the second half of the 18th century, when coffee was newly fashionable and very expensive. All over Europe people experimented with substitutes: grains, figs, acorns, and all kinds of root, especially dandelion and chicory. Chicory was judged the most acceptable." ---Oxford Companion to Food, Alan Davidson [Oxford University Press:Oxford] 1999 (p. 167-8) "Chicory can be served raw in salads--with vinaigrette and often with hard-boiled (hard cooked) eggs and any of the various ingredients used in winter salads, including beetroot (red beets), apples, nuts, cheese and orange or grapefruit quarters. For cooked dishes, chicory heads are braised and drained; they can then be coated with bechamel sauce, sprinkled with noisette butter, served with gravy or with plain butter and herbs topped with grated cheesse and browned, or made into a puree. They can be served as an accompaniement to roasts and poultry. They can also be braised, made into a chiffanade or prepared as fritters (espsecially when served with fish). As a main dish, chicory is braised rolled in slices of ham and coated with a port and raisin sauce, or stuffed (with a fatty or lean stuffing) and browned on top." ---Larousse Gastronomique, completely revised and updated [Clarkson Potter:New York] 2001 (p. 278) "Chicory. American nomenclature is very confusing for this salad green called Cichorium intybus, with its curly leaves and bright blue flowers...Chicory is quite bitter and is often mixed with other salad greens. The same plant's roots are dried and ground into a granular powder, often referred to as "succory," that resembles coffee and is used as an additive to or substitute for real coffee in Creole and cajun cooking, a legacy of the French influence on these cuisines...Adding chicory to coffee began in New Orleans during the food-scarce Civil War." ---Encyclopedia of American Food and Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 73-4) ---An A-Z of Food & Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 184) ""Cornsalad," so named because these plants with small, bluish flowers grow in cornfields, actully refers to any of several plants of the genus Valerianella...these European natives--found throughout North America as well--provide slightly bitter-tasting leaves that are much appreciated in salads. The various types of cornsalad were considered weeds until the seventeenth century, when they began to be cultivated, and cultivation doubtless accounts for the different varieties now identified... Common names and synonyms: European cornsalads, fat-hen, field salad, hog salad, lamb's-lettuce, lamb's quarter, mache...marsh salad." ---World History of Food, Kenneth F. Kiple & Kriemhild Conee Orenelas [Cambridge University Press:Cambridge] 2001, Volume Two (p. 1763) "Lamb's Lettuce. A plant with rounded leaves in a rosette form, which is usually eaten raw in a salad. It is also known...in France, as mache, doucette, valerianelle potagere, raiponce, and oreielle-de-lievre. It grows wild in fields, usually in autumn, but is cultivated in France from September to March and gives a good flavour to a winter salad. There are several varieties..." ---Larousse Gastronomique, completely revised and updated [Clarkson Potter:New York] 2001 (p. 668) Simple, elegant, inexpensive, and famous. What more could a chef ask for? American cookbooks confirm chefs were serving artfully cut lettuce coated in French dressing in fancy restaurants from the late 19th century forwards. What makes Caesar salad different? A memorable origination story (or two or three) and documented Hollywood flair. "And now we come to it--the most talked-of salad of a decade, perhaps of the century. Like all recipes that have become widely known, several chefs and restaurateurs have claimed to have originated the salad. Actually many of them have had a hand in promoting it, though not necessarily as a Caesar. As for its origin, the best guess seems to be that the whole thing started in Tia Juana, during prohibition, but whether it was actually created by one named 'Caesar,' or just named for him, is a matter of considerable discussion. The salad is at its best when kept simple, but as it is invariably made at table, and sometimes by show-offs, it occasionally contains far too many ingredients." ---West Coast Cook Book, Helen Evans Brown, facsimile reprint [Cookbook Collectors Library] 1952 (p. 308) Classic theory of origin: "Caesar salad. A salad of romaine lettuce, garlic, olive oil, croutons, Parmesan cheese, Worcestershire sauce, and, often, anchovies. It was created by Caesar Cardini, an Italian immigrant who opened a series of restaurants in Tijuana, Mexico...On Fourth of July weekend in 1924 at Caesar's Palace, Cardini concocted the salad as a main course, arranging the lettuce leaves on a plate with the intention that they would be eaten with their fingers. Later Cardini shredded the leaves into bite-sized pieces. The salad became particularly popular with Hollywood movie people who visited Tijuana, and it became a featured dish at Chasen's and Romanoff's in Los Angeles." --- Encyclopedia of American Food and Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 50-51) [NOTE: Most sources cite the restaurant as Cesar's (or Caesar's) Place.] "It was an accident! But now Caesar Salad is tossed in handsome salad bowls, coast to coast-and on purpose! A well-known restaurateur, Caesar Cardini, concocted this zesty salad some 35 years ago at Tijuana, Mexico. Here is the true story, told to us by his daughter Rosa. One holiday weekend a throng of tourists descended on Caesar's Place. A few crates of romaine, half a case of eggs, a wheel of Italian cheese, some lemons, and dry bread-that was all the food left by Sunday morning. What to do for the hungry crowd at dinner? Caesar thought he'd have to close shop for the remainder of the holiday. Instead he decided to invent a new salad form the ingredients he had on hand. He got out the eggs, the lemons, the Parmesan cheese, the bread, and the big bottle of olive oil to which he previously had added garlic. With the romaine lettuce as the only greens, he experimented with a little of this and that in the dressing. Finally, to bind the dressing ingredients together, he came up with the idea of coddling the eggs for a minute, then tossing them with the salad. (Yes, that's right the original Caesar Salad was not made with completely raw eggs.) The loaves of bread he cut in tiny cubes and slowly oven-toasted them to add to his salad at the very end. (The anchovies, now a familiar ingredient in Caesar Salad, didn't become part of the recipe until some 10 years later.) While the waiters kibitzed, Caesar demonstrated his creation. 'Take everything to each table,' he instructed, 'and make a ceremony of fixing the salad. Plenty of fanfare. Let guests think they're having the specialty of the house.' And the guests did! So rapidly did the news of this remarkable salad spread, that diners flocked to Caesar's Place just to learn the recipe. Soon West Coast restaurants adopted it; then it appeared on the finest menus in every state. Caesar Cardini's reward? In Paris at the 1951 meeting of the International Society of Epicures, his salad was acclaimed the greatest recipe contribution of the United States in 50 years. But it was really at Tijuana, Mexico that the now world-famous Caesar Salad was born. You'll find many variations of Caesar Salad, but here Rosa Cardini, who operates the food specialty shop her father started in Los Angeles and who bottles the original Caesar salad dressing, share his authentic recipe and salad know-how." ---"The Original Caesar Salad," Myrna Johnston, Better Homes and Gardens, March, 1960 (p. 78, 152) Story 2: "It has been fairly well established that the late Caesar Cardini created the Caesar salad at hist restaurant in Tijuana, Mexico. Or did he? The latest word is that an Italian woman named Beatriz Santini composed the salad in Austria in 1918. Hard put for food in a country impovershed by war, she soft-boiled eggs, which were plentiful, and added them to a bowl of romaine lettuce. A little Parmesan cheese, a dressing of wine vinegar and olive oil, and the creation was complete. Cardini never met Santini. So how did he come up with the same idea? He didn't, we are told. The link was Santini's son, Livio, who emigrated to Tijuana. Livio Santini got a job with Cardini, who had opened a bar and restaurant on Second Street about 1924. One day, a hungry Santini mixed up a bit of his mother's salad. A wealthy customer from La Jolla invaded the kitchen as Santini was crunching romaine, and she asked for a taste. It pleased her so that she ordered a serving from Cardini, who came out to find what Santini was eating. One week later, the salad was on the menu, ceremoniously mixed at table side by a captain and busboy. Thus, the start of the Cardini legend. The teller of this tale was no tale-spinner. It was Livio Santini himself. Now 78, Santini was a guest of honor at Tijuana's recent first Caesar salad celebration." ---"Hail, Caesar! Doubts raised Over Origin of Famous Salad," Barbara Hansen, Los Angeles Times, September 13, 1984 (p. J1) Story 3: "Sr. Alex Cardini, of Cardini's Restaurant in Mexico City, affirms that he invented the original Caesar Salad in 1926, naming it after his brother." ---A World of Vegetable Cookery, Alex D. Hawkes [Simon and Schuster:New York] 1968 (p. 138) The anchovy debate: Food historians agree anchovies were not part of the original recipe. These salty fillets infiltrate in the 1930s. "Cardini was adamant in insisting that the salad be subtly flavored and argued against the inclusion of anchovies, whose faint flavor in his creation he believed may have come from the Worcestershire sauce. He also decreed that only Italian olive oil and imported Parmesan cheese be used." --- Encyclopedia of American Food and Drink (p. 51) "According to Santini...his mother used no anchovies, no lime or lemon juice and no croutons in her salad...The controversial anchovy, acknowledged by either Beatriz Santini nor Caesar Cardini, wound up on several salads.". ---"Hail, Caesar! Doubts raised Over Origin of Famous Salad," Barbara Hansen, Los Angeles Times, September 13, 1984 (p. J1) "The shocking truth is that while a proper Caesar always has anchovy, an authentic one never does. In its original form, Caesar salad was more a culinary tourist trap than a great American food standard, famous for the tableside show that came with the salad, not the anchovy. Yet it is the anchovy that most Caesar aficionados consider vital; only Caesar wimps ask for their salad sans the small fry. So where did the anchovy come from?...The most common theory involves Worcestershire sauce. The thinking is that Someone, Somewhere Along the Way...ran out of Worcestershire sauce...saw anchovy on the list of ingredients and made the brilliant substitution. 'We can't figure it out,' said Rosa Cardini, daughter of the salad's inventor...Cardini envisioned his a subtle salad, but as Rosa pointed out, subtle is exactly what anchovies aren't." ---"Caesar! Origin of the Species," Laurie Ochoa, Los Angeles Times, October 16, 1988 (p. L103) When did Ceasar Salad become popular in the USA? Conventional wisdom places the invention of this salad in the mid-20s. Our survey of contemporary sources suggests its was known, but not served, in southern California until a decade later. After WWII descriptions published in trendy journals (think: Gourmet) sparked interest. By the mid-1950s everyone who was anyone in the USA knew what a Caesar Salad was. This coincides with the passing of Mr. Cardini. "Jean Harlow, Mable Hormand and all the stars would come to Tijuana and ask for a Cesar's salad, [Cesar Cardini] recalled...But it didn't become famous until 1937 when a screenwriter, Manny Wolfe, one of my regular customers, went to the house of Murphy restaurant here, called for the ingredients and made the salad. The manager, Di Ciro, called it his salad,. But Wolf took the recipe to the Brown Derby and Chasen's and they called it Caesar salad." ---"Chef Who Invented Caesar Salad Frowns on Apers," Aline Mosby, San Mateo Times, June 16, 1952 (p. 11) "...Hollywood's great delicacy, the Caesar Salad...The Caesar Salad, which Mike Romanoff'll let you have at a sacrifice--only 2 Bucks--is glorified garlic. It's garlic with glamor�he first time I heard of a 2-buck salad, I wanted to render unto Caesar what was Caesar's--a big loud razberry. They my beautiful wife...pointed out that it was an aristocrat of foods. Like stone crabs in Miami, oysters Rockefeller in New Orleans, lobsters in Boston, cream cheese and bagels in New York. 'Why do they call it Caesar salad?' I kept asking. And finally I found it was invented by an Italian named Caesar Cardini in his Tijuana restaurant, called Caesar's. Edmund Lowe tasted it there and brought it to Hollywood. Caeser's ex partner, Peter Friggerio, formerly at the Colony and Marguery in New York, is now the captain at Henri's here where, of course, you can get a wonderful Caesar Salad. But confidently, the French-born Henri De Charpentier, who's chef there and used to be at Lynbrook, L. I. thinks it's a big mistake to have such a huge glamorous salad before the main course." ---"Dressing up Garlic, Early Wilson, Zanesville Times Recorder [OH], February 1, 1947 (p. 4) "Los Angeles revisited a few weeks ago, for the first time in two years, revealed more conclusively than almost anything else that the gastronomic highlight of the current moment is an arrangement called Caesar's Salad and that its consumption is constant, universal, and something to make the public prints in any fountainhead of good living like GOURMET, as it has. Caesar's Salad, which is only infrequently encountered in restaurants in the East, but which will inevitably arrive in New York one of these fine days, is based on romaine instead of lettuce, chopped-up anchovies, a liberal inclusion of heavily garlic-flavored croutons, French dressing made slick by the inclusion of a couple of whole raw eggs, and the whole thing liberally showered with grated Parmesan. At Romanoff's, where we were taken to luncheon by GOURMET's own Stephen Longstreet, with an assortment of local characters which included Bob Hope, Gregory La Cava, Barbara Stanwyck, and Hedda Hopper at adjacent tables, we were introduced to Caesar's Salad. At Dave Chasen's, where we dined that evening with Robert Hanley, the newly discovered and flourishing decorator of the County Strip, we were immediately advised that Caesar's Salad was the thing to have. The next evening at Hansen's Scandia Restaurant in Sunset Boulevard, the assembled chivalry to a man commanded Caesar's Salad, and subsequent skirmishes with the menus at Perino's, the Vine Street Brown Derby, the garden restaurant of the Town House, and other ranking restaurants of the City of Angeles evolved the conviction that Caesar's Salad is as much of a part of the Hollywood pattern as swimming pools or the new look." ---"Along the Boulevards," Lucius Beebe, Gourmet, June 1948, [no recipe] accessed online Who was Cesar Cardini? An Italian immigrant who wound up in Tijuana. Obviously savvy, Mr. Cardini operated a successful restaurant offering trendy cuisine to America's glamoros Hollywood stars. He left Tijuana in 1935 because Mexican regulations against gambling were crushing his business. Mr. Cardini eventually settled in Los Angles, running an imported foods store. He cashed in on his claim to fame by selling his dressing. He passed away at the age of 60 in 1956. "Mr. Cardini devised the salad while operating the restaurant and hotel which still bears his name in Tijuana. Since 1935 he has lived in Los Angeles and was active in the marketing of the salad dressing he concocted. He was born in Lago Maggiore, Italy, worked many European hotels and came to the United States when he was 20. For a time, before going to Tijuana, he owned a restaurant in Sacramento...He leaves his widow Camille, a daughter Rosa...two sisters [living in Italy] and two brothers, Alex and Caudencio, who are in the restaurant business in Mexico City." ---"Cesar Cardini, Creator of Salad, Dies at 60," Los Angeles Times, November 5, 1956 (p. 31) "Discouraged by failure of the Mexican government to lift the ban on border gambling, Caesar Cardini has closed his gay Tijuana caf� forever." ---"Resort owner Quits �Forever,�" Reno Evening Gazette, July 1, 1936 (p. 2) "Caesar now runs an Italian grocery store on La Ciegna boulevard, movietown's restaurant row. He's regaining his claim to the salad fame by manufacturing his Caesar salad dressing in a tiny kitchen behind his store." ---"Chef Who Invented Caesar Salad Frowns on Apers," Aline Mosby, San Mateo Times, June 16, 1952 (p. 11) Vintage recipes Several publications claim they have "the original" recipe. All of them are slightly different. Our gastronomic guess says the simpler the recipe, the closer to the original. And? Most definatley NO ANCHOVIES! Most probably Worcestershire. There are no Caesar Salad (or approximations) recipes in these trendy Southern California publications: Corona Club Cook Book [1925], Ebell Society Cook Book [1926] or Fashions of Foods in Beverly Hills [1931]. The oldest print recipe food historians have identified (based on ingredients & method) was published in Sunset (magazine) March, 1945 . Curiously? It's called "Romaine Salad." No reference to Caesar. The casual reader could easily miss the connection. The Caesar dressing appears in the The Brown Derby Cookbook/Cobb [1949] but not the salad. We hypothosize this omission may be at testament to the salad's "star power." Enjoying a Caesar Salad was a glamorous public event, complete with live tableside show. Sunset Cook Book/Annabel Post [1960] mentions the March 1945 recipe but prints the 1957 version (with anchovies, p. 19). 2 eggs, cooked 1 monute Juice of one large lemon 6 to 8 anchovy fillets, chopped 1/2 cup grated Parmesan cheese Crush garlic in small bowl, pour over the oil, and let stand several hours. Brown the croutons (preferably made from stale sourdough French bread) in 1/4 cup of the garlic oil, stirring often. (If you prefer, you can toast the bread cubes in a slow oven.) Tear romaine into a large salad bowl, sprinkle with salt, and grind over a generous amount of pepper. Pour over remaining garlic oil and toss until every leaf is glossy. Break the 1-minute eggs into salad; squeeze over the lemon juice, and toss thorougly. Add chopped anchovies and grated cheese, and toss again. Lastly, add the croutons, toss genetly, and serve immediately. Serves about 12." ---The Sunset Cook Book, Annabel Post, home economics editor [Lane Book Company:Menlo Park CA] 1960 (p. 19) [1960] Food historians generally credit Philip Roemer, chef of the Palace Hotel in San Francisco, for the creation of Green Goddess Salad dressing. It was allegedly made in honor of George Arliss, an actor starring in a play by that same name. The year is fuzzy because the play ran in the 1920s followed by a popular film version in the 1930s. Our survey of historic American cookbooks confirms mayonnaise-based salad dressing recipes proliferated during the early decades of the 20th century. In fact? Entire books were devoted to salads at that time. We examined several books and found several recipes for mayonnaise-tarragon-anchovy dressings-onion dressings. Given the noteriety of Green Goddess, it seems surprising to find recipes named such first surfacing in the late 1930s-early 1940s. Sometimes they are called "Green dressing." "In the mid-1920s, actor George Arliss starred in a William Archer play called The Green Goddess. During the San Francisco run, he stayed at the Palace Hotel and dined often at its Palm Court Restaurant. To honor Arliss, chef Philip Roemer created a new mixed green salad with a creamy herb dressing. "Green Goddess," he called it." ---The American Century Cookbook: The Most Popular Recipes of the 20th Century, Jean Anderson [Clarkson Potter:New York] 1997 (p. 267) "Green Goddess. A salad or salad dressing made from anchovies, mayonnaise, tarragon vinegar, and other seasonings, The salad was created at San Francisco's Palace Hotel (now the Sheraton-Palace) in the mid-1920s at the request of actor George Arliss (1868-1946), who was appearing in town in William Archer's play The Green Goddess (which opened in New York in 1921 ans as twice made into a motion picture [1923 and 1930] starring Arliss)." ---The Encyclopedia of American Food & Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 144-5) [NOTE: This book contains a recipe supplied by the Sheraton-Palace, no date.] Green Goddess recipe sampler [1931] "Green Goddess Salad Dressing One cup mayonnaise, garlic, 1 tablespoon French dressing, 1 tablespoon chopped parsley, 1 tablespoon chives chopped fine, 1 tablespoon tarragon, 4 fillets of anchoves.---La Casa Pico Tea Room" ---Fashions in Foods in Beverly Hills, Compiled by the Book Section Beverly Hills Womans Club [Beverly Hills], 3rd edition 1931 (p. 26) [1937] "Green Goddess Salad Dressing Combine three tablespoons finely chopped parsley, three tablespoons sliced green onion, two tablespoons chopped chives or tops of green onions, one two-ounce can anchovy fillets, one cup mayonnaise, one tablespoon tarragon vinegar, two tablespoons lemon juice, one-fourth teaspoon salt and dash of pepper. Mix well. Makes two cups dressing and serves eight." ---"Requested Recipes," Marian Manners, Los Angeles Times, December 31, 1937 (p. A6) [1946] "Green Goddess Salad Dressing. The Palm Court of the Palace Hotel in San Francisco has become famous for its Green Goddess salad dressing, and I have the gracious permission of Mr. Edmond A. Reider, general manager of the Palace Hotel, to include this marvelous dressing. 8 to 10 fillets of anchovies 1 piece of young onion Little parsley and tarragon leaves, chopped fine 3 cups mayonnaise Rub a bowl with garlic, or use a little garlic-flavored oil. Mix the above ingredients; add a little tarragon vinegar and finely cut chives. Cut romaine, escarole, and chicory. Mix all together and serve. use 1 tablespoonful for each person." ---Trader Vic's Book of Food & Drink, Victor Bergeron, with an introduction by Lucius Beebe [Doubleday & Company:New York] 1946 (p. 197) [1949] "This California creation...originated in the Palace Hotel in San Francisco. And Miss Genevieve Callahan says in her appetizing volume, "The California Cook Book," that it was named in honor of George Arliss when he was appearing in "The Green Goddess." This recipe, tested in our kitchen, as it comes from our informant, follows: Green Goddess Salad About Roquefort cheese ---Oxford Companion to Food, Alan Davidson [Oxford University Press:Oxford] 1999 (p. 670 Roquefort...has been made for thousands of years...but the earliest known record of it in English is not before 1726." ---An A to Z of Food and Drink, John Ayto [Oxford University Press:Oxford] 2002 (p. 286) "According to legend, Roquefort was discovered centuries ago-possibly before the Christian era...The legend has it that a shepherd boy in the rocky country of the Causses left his lunch of bread and ordinary curd cheese in one of the cool caves of the district, thinking to come back for it later in the day. But it was weeks before he returned to find his abandoned lunch. Then, with the morbid curiousity of those who cannot throw anything away without peeking first, he looked, he smelled, and then he tasted. At which there may well have followed on of the greatest Aha's in gastronomic history...And since 1411 when Charles VI issued a decree restricting the name Roquefort fo the cheese made int he Roquefort district of the Causses, no other...could be called Roquefort." ---The Cheese Book, Vivienne Marquis and Patricia Haskell [Leslie Frewisn:London] 1964 (p. 127-8) Recommended reading: The Roquefort Adventure/Henri Pourrat p> Roquefort salad dressing: Our food history sources indicate Roquefort dressing, as we know it today, may be a relatively new item. None of the sources we checked credit a particular person/place with the invention. We do know that creamy cheese dressings were not part of early modern French cuisine. Roquefort dressing/sauce is not included in Escoffier's Guide Culinaire [1907]. It is the "dressing of choice" for classic American Iceberg Wedge salad , circa 1950s-1960s. [1911] Roquefort...is generally eaten in small quantities at the end of a dinner. It is especially delightful if rolled with half its bulk of butter, sprinkled liberally with cayenne pepper and spread on toasted biscuits. It is also used to fill the hollow parts of stalks of celery, etc." ---The Grocer's Encyclopedia, Artemas Ward [New York] (p. 123) [1916] "Roquefort cheese dressing. Mix one-fourth cupful of Roquefort cheese to a paste with one-third cupful of olive oil, add one-half teaspoonful of mustard, salt and pepper to taste and enough paprika to make it a creamy pink color, then add one tablespoonful of vinegar and beat the dressing while slowly adding more olive oil until it is thin enough to serve. This dressing is suitable for lettuce, tomatoes and other green vegetable salads." ---Salads, Sandwiches and Chafing Dish Recipes, Marion Harris Neil [David McKay:Philadeliphia] 1916 (p. 171-2) Russian There is some controversy regarding the origin of Russian Salad and Russian Salad Dressing. Primary evidence confirms these recipes were known in Russia in the 19th century. They were introduced by the French and known as "Vinaigrette" or "Salad Olivier." American food historians generally believe that Russian Salad/Dressing are American inventions based on selected ingredients associated with Russian cuisine. Russian dressing, as we know it today, it is a creamy vinaigrette concoction. These dressing were popular in the 19th century. This is also the base for French Dressing . "Russian dressing. A salad dressing made form mayonnaise, pimiento, chile sauce, green pepper, and chives. It is so called possible because the mixture was thought to resemble those found in Russian salads, but it is American in origin, first found in print in 1922." ---Encyclopedia of American Food and Drink, John F. Mariani [Lebhar-Friedman:New York] 1999 (p. 278) "I rather doubt that you will find a recipe for Russian dressing in any Russian cookbook, and it seems quite definately of American origin. To the best of my knowledge you won't find it in the French repertory of cooking under sauce Russe or otherwise. It is my belief that the original recipe for the dressing contained caviar, in addition to mayonnaise, chili sauce, horeseradish, and grated onion, and that this is the source of the name." ---Craig Claiborne's The New York Times Food Encyclopedia, compiled by Joan Whitman [Times Books"New York] 1985 (p. 376) "Like strawberries Romanoff, other dishes that Americans associate with Russia carry Russian names but are not part of the traditional cusine. These include russian dressing, a mixture of mayonnaise and chili sauce...Some food writers claim that russian dressing got its name because it once contained caviar, but that is unlikely. The name probably refers to the Russian love of pickles, as pickles or relish are often added to the dressing." ---Oxford Encyclopedia of Food and Drink in America, Andrew F. Smith editor [Oxford University Press:New York] 2004, Volume 2 (p. 379) The earliest print reference we find for Russian Dressing is a menu from the Gridiron Club: "Endive Salad, Russian Dressing..." Washington Post, October 10, 1911 (p. 1). According to the article below, Russian salads and their dressings were fashionable in the years immediately preceding The Great War. Predictably, every cook offered a unique interpretation of this particular salad. Early recipes [1912] "Vegetable Salad, Russian Dressing For this delicious salad, arrange on lettuce some string beans, asparagus, beets and corn. Serve with Russian dressing, which is made by thinning a mayonnaise dressing with chili sauce, chopped parsley, onion and green pepper." ---"Tested Recipes," Wilkes-Barre Times [PA], December 4, 1912 (p. 16) [1914] "Russian Dressing A very excellent recipe for "Russian Dressing" is as follows: Get a large bowl and mixer, then beat yolk of 3 eggs, 1 teaspoon of mustard and 1 of salt, a dash of paprika and 1/2 cup vinegar. Mix up well and, while mixing, add 1 pinch olive oil and continue mixing until thick. Strain one-half bottle of chili sauce throuh a cloth and mix what remains with the dressing. Add some chopped chives and a dahs of Worcestershire sauce and the dressing is complete." ---"Household Department," Boston Daily Globe, January 23, 1914 (p. 14) What we Americans know as Russian Salad originated in the that country in the 19th century. It was created by a French chef and composed (partly) of native ingredients. Most notably, beets and pickles. In Russia it was called "Salad Olivier," after the chef who concocted it: "Salad Olivier. This salad is a creation of a French chef, M. Olivier, who in the 1860s opened a fashionable Moscow restaurant, The Ermitage, where the salad became so popualr that ever dinner in the restaurant included it. The original recipe involved grouse meat, crayfish tails, and truffles. The most respected chefs in town tried to re-create the dish, but it never came out as well as at The Ermitage, possible because of the unique compound flavoring of the mayonnaise, whose secret M. Olivier never divulged." ---The Art of Russian Cuisine, Anne Volokh [MacMillan:New York] 1983 (p. 60) "As for 'Russian salad', as interpereted in western countries (i.e. diced cooked vegetables in or with mayonnaise), it was essentiallly a French-Russian creation called Vinegrety which had a dressing of oil and vinegar." ---Oxford Companion to Food, Alan Davidson Oxford University Press:Oxford] 1999 (p. 676) Compare these recipes: Thousand Island dressing Many food historians credit Sophia LaLonde , of Clayton NY, with the invention of Thousand Island dressing. Her recipe, as legend has it, was popular with vacationers summering in the Thousand Island region between New York and Canada. LaLonde's hotel, now renamed the Thousand Island Inn, stills serves the "original product." We've been there and it is delicious! Historians also credit two other originators for this dressing: Oscar Tschirky, of the Waldorf Astoria [NYC] and Chef Theo Rooms [Chicago] "National Culinary Progress, official organ of Progressive Culinary Association, published at Chicago, give the origin of Thousand Island Dressing. Chef Theo Rooms of the Drake Hotel, Chicago, is credited as being the originator of this famous dressing. It was first produced in The Blackstone of Chicago, when this hotel was first opened, and Mr. Rooms was the chef de garde manger. The magazine quotes Mr. Rooms to the effect that it was first called Blackstone Dressing. Later, Mr. Rooms, in collaboration with Albert Awater, maitre d'hotel of the Blackstone, gave to it the name Thousand Island Dressing. Another story of its creation is that it origainted in the home of George C. Boldt, in the Thousand Islands of the St. Lawrence River, and that it was served under the name of Thousand Island Dressing in the Waldorf-Astoria Hotel, New York, before served in The Blackstone." ---Author's note, The Edgewater Beach Hotel Salad Book, Arnold Shircliffe [Hotel Monthly Press:Evanston IL] 1926 (p. 261-262) The Blacktone connection The earliest print reference we found for Blackstone Dressing was a dinner menu from the Hotel Holland Cafe, Duluth Minnesota, September 19, 1915, 6 to 8PM. "Head lettuce and Orange Salad, Blackstone Dressing," Duluth-News Tribune (MN), September 19, 1915 (p. 11). The earliest recipe we found was this: [1919] "Blackstone Dressing Mix with four tablespoonfuls of mayonnaise dressing four tablespoonfuls of whipped cream, two of chili sauce and two of tomato catsup with two of vinegar. Roquefort cheese may be added if desired." ---"Helps for Home Needs," Pueblo Chieftan [Colorado], Feburary 28, 1919 (p. 5) What were the original Thousand Island dressing ingredients? If the owners of the hotel (now holders of the trademark) won't divulge, it is unlikely we will ever know. There is no recipe for Thousand Island Dressing in Oscar Tschirky's famous Cookbook by "Oscar" of the Waldorf, circa 1908. Our survey of historic American newspapers offers the earliest references to Thousand Island dressing in 1912. Recipes begin to show up in American cookbooks about as 1916. As one might expect, there were several variations! Surprisingly? The oldest print reference we found to Thousand Island Dressing came from a Texas newspaper: "At University of Texas tent at the State Fair yesterday, Miss Rich gave a lecture on "Salds and Salad Dressing,"...Demonstration is given. Tomato and green pepper salad, vegetable salad with thousand island dressing and stuffed cherry salad were prepared. The following is a recipe for the vegetable salad and the dressing...thousand island dressing. This dressing is made by adding chopped onions, green pepper, nut meats, olives and pimentos to any good mayonnaise or cooked salad dressing." ---"University of Texas Tent is Thronged," Dallas Morning News [Texas], October 19, 1912 (p. 9) [NOTE: the name of this dressing is NOT capitalized in this article.] Sample early recipes: [1912] "Thousand Island Dressing Take one cup mayonnaise dressing, mix, with one-half cup whipped cream, add small amount of Tarragon vinegar, one-half teaspoonful of Imperial Sauce, then chop one hard boiled egg, one green pepper, one pimento, one pinch chives, mix well together and squeeze the juice of one lemon before serving. This sauce can be served with any kind of salad." ---"Thousand Island Dressing," Kansas City Star [Missouri], November 26, 1912 (p. 7) [1914] "Thousand Island Dressing Some one has asked you for the recipe for "Thousand Island" dressing. it is the oil mayonnaise, made as usual, then enough chili sauce added to satisfy the desires of the cook...The influx of recipe for the dressing...indicated, and after weeks of vain solicitation for the formula, reminds one of the beraking up of a 'log jam' in rivers that border lumbering districts. Were I to undertake the publication of one-half that like before me, there would be room for nothing else in our Corner for a month to come. The oddest part of the flood is that no three recipes are alike. One is ready to ask if tha number may not, in the long run, rival that of the islands from which the formula borrowed its name. The honorable authority authority quoted above has apparently supplied the key to the enigma. All have one and the same foundation. And many have builded thereupon." ---"Marian Harlan's Helping Hand," Marian Harland, Chicago Daily Tribune, February 6, 1914 (p. 16) [1916] "Thousand Island Dressings No. 1.--Mix one-half cupful of mayonnaise dressing with one-half cupful of whipped cream, add two tablespoonfuls of chopped pimientoes, one tablespoonful of chopped green peppers, one chopped hard-cooked egg, one-half teaspoonful of chopped chives, one-half tablespoonful of tomato catchup and one-half tablespoonful of tarragon vinegar. Stir well together and serve with any green salad. No. 2.--Rub one hard-cooked egg through a sieve, add two tablespoonfuls of finely chopped onion, two small cooked or canned beets, finely chopped, one half cupful of mayonnaise dressing, one tablespoonful of sieved chili sauce and four tablespoonfuls of thick cream. Chill before using. No. 3.--Put one-half cupful of olive oil into a jar, add the strained juice of half a lemon and half an orange, one tablespoonful of finely chopped parsley, one teaspoonful of onion-juice, six chopped olives, six chopped cooked chestnuts, one-fourth teaspoonful of salt, one-fourth teaspoonful of paprika, one teaspoonful of walnut or mushroom catchup, one teaspoonful of tarragon vinegar, a few drops of Tabasco sauce and one-fourth teaspoonful of mustard. Cover the jar and shake the mixture for eight minutes. Serve with lettuce, endive, tomato and combination salads." ---Salads, Sandwiches and Chafing Dish Recipes, Marion Harris Neil [David McKay:Philadelphia] 1916 (p. 168-9) [1917]	Japan
Americans call them thumbtacks; what do we call them ?	Sesame Dressing 胡麻ドレッシング • Just One Cookbook Print Recipe Jump To Recipe Today’s recipe Sesame Dressing was one of the readers’ request a while ago. Since my son loves Japanese sesame dressing, I keep making different versions. This particular dressing is actually my husband’s favorite. I wrote down the recipe so that I can make it again, but usually I keep altering the recipe to see if I can improve it. He likes this particular one because he likes the taste of vinegar in it (so yes, it may be a little sour for some of you). Some sesame dressing is too creamy (more mayonnaise) and he doesn’t like it too much. This dressing on the other hand has just enough mayonnaise to be called “sesame dressing”. I’m happy because it’s healthier version by using less mayo. You might want to add more mayo if you prefer the dressing to be more creamy. Have a great weekend everyone! Don’t want to miss a recipe? Sign up for the FREE Just One Cookbook newsletter delivered to your inbox! And stay in touch on Facebook , Google+ , Pinterest , and Instagram for all the latest updates. Thank you so much for reading, and till next time! Sesame Dressing	i don't know
What was the name of Scooby Doo's nephew, whose catchphrase was 'Puppy Power' ?	Scrappy-Doo \| Scoobypedia \| Fandom powered by Wikia Don Messick [2] Scrappy-Doo is a Great Dane puppy and the nephew of Scooby-Doo . Scrappy is the most noteworthy of Scooby's relatives. He is noted for being quite headstrong and always wanting to face off in a fight against the various villains (unlike his uncle). Scooby and Shaggy Rogers were present at Scrappy's birth . Contents [ show ] Physical appearance His ears are pointed and slightly bent at the tip. His coat is brown, and he has a black nose, black eyes. He wears the traditional Doo family collar. Personality Scrappy idolized his uncle Scooby and would often assist Scooby and his friends in solving mysteries. With a highly energetic and brave personality, despite his small size, Scrappy was the opposite of his uncle; Scrappy would usually insist on trying to directly fight the various monsters Scooby and his associates encountered. History Scrappy in Scooby-Doo . Scrappy was added to the cast of Scooby-Doo to save the show's ratings, which by 1979 had begun to sink to the point of cancellation threats from ABC . After his addition to the show proved it to be a ratings success, Hanna-Barbera restructured the show around Scrappy in 1980. The original format of four teenagers and their dog(s) solving supernatural mysteries for a half-hour was eshewed for simpler, more comedic adventures which involved real supernatural villains (the villains in previous Scooby episodes were almost always regular humans in disguise). Scrappy remained an integral part of the Scooby-Doo franchise, on both TV and in Scooby related licensed products and merchandising, through the end of the 1980s. He was also briefly the star of his own seven minute shorts — the Scrappy and Yabba Doo segments of Scooby-Doo and Scrappy-Doo . Teamed with his uncle Yabba-Doo and Deputy Dusty , he helped maintain law and order in a small town in the American west. In later years, the presence of Scrappy-Doo has often been criticized as having had a negative impact on the various Scooby-Doo series of the 1980s. Others credit Scooby-Doo's gradual decline during that period to other factors, such as the format changes. Scrappy-Doo has become the symbol of a character, usually over-exuberant or cute in an irritating way, that critics say is gratuitously added to a series. Scrappy's cameo in Scooby-Doo! And The Goblin King . In line with the general perception of the character by audiences, Scrappy-Doo has not appeared in any Scooby-related spin-offs since the made-for-television movie Scooby-Doo and the Reluctant Werewolf in 1988, save for the first live-action theatrical film Scooby-Doo , where Scrappy played a decidedly negative role as the film's main antagonist. Scrappy-Doo also made a brief appearance in an episode of the 2000s animated series Harvey Birdman Attorney at Law in the episode " Shaggy Busted "), where he appeared at the end of the episode to repeat his catchphrase, only to be scooped up by Avenger the eagle. In later episodes, his corpse can be seen as an easter egg (like for example, in Avenger's nest). A statue of Scrappy Doo is shown in the Crystal Cove Spook Museum in an episode of the recent Scooby-Doo! Mystery Incorporated series. When Daphne attempts to talk about him however, Freddy cuts her off saying that they swore never to speak of him again, implying something negative happened regarding him. Notes/trivia Lennie Weinrib provided his voice for one season in 1979; from 1980 onwards, it was performed by Don Messick , also the voice of Scooby-Doo . His catchphrase(s) is: "Let me at him, let me at him!", "Put em' up, put em' up!" and "Uncle Scooby, let me at 'em, I will splat 'em!". Plush figures resembling Scrappy appear in one scene of Scooby-Doo! And The Goblin King . Scrappy is unique amongst television characters in that, in an ironic twist of fate, he both saved the franchise and was the result of its eventual decline. This is however, not proven, although the fact that he disappeared after the 80s makes one wonder. Negativity towards him could also be the result of how he was percieved by Cartoon Network and the first live-action film . In the 2002 film mentioned above, Scrappy's full name is revealed for the first time as Scrappy Cornelius Doo. It's unknown however, if this is the case for the standard continuity incarnation, if he he has one at all. In other languages	Scrappy-Doo
Which city hosted the 1976 Summer Olympic Games ?	Scooby Doo \| Retroland Home » Television » Scooby Doo Scooby Doo Don’t ever let them tell you that your personal challenges will keep you from reaching your dreams. We of Generation TV know better, because we’ve watched a dog with a truly brutal speech impediment become the longest-running cartoon star in network TV history. If Scooby-Doo can do it, then by golly so can you. The origins of TV’s original clue-sniffing, scaredy-pants, mystery-solving dog are as much legend as history, but here’s how the story goes: somewhere in the late 60s, William Hanna and Joseph Barbera pitch a show about teenagers who drive around in a van and solve mysteries. The executive says, “Great, but where’s the dog?” So, needing to add a dog to their mystery show, Hanna and Barbera decide to play an in-joke on a company employee, a lady fond of gushing about how wonderful and brave her pet Great Dane is. Hanna and Barbera add the Great Dane, but make him the least wonderful and brave character on the show. Somewhere along the line, somebody morphs a line from Frank Sinatra’s version of “Strangers in the Night” (“dooby dooby doo”) into a name, and Scooby-Doo is born. Debuting in 1969 as Scooby-Doo, Where Are You?, the show found its formula right away: Scooby, perpetually hungry (and equally cowardly) best friend Shaggy, blonde dreamboat Freddy, miniskirted hottie Daphne and brainy brunette Velma arrived at some backwater locale in their custom psychedelic van, the Mystery Machine. Trouble would strike – usually involving supposed swamp creatures, ghosts, robots, or other scary beasts – and the gang was called in to crack the case. The gang split up (Fred with the girls, Shaggy with Scoob), Scoob and Shag jonesed for delicious “Scooby snacks,” Velma analyzed clues, there was a chase scene set to groovy music, and the “monster” was caught and unmasked as a disgruntled human being, who “would’ve gotten away with it if it hadn’t been for you meddling kids,” as the saying goes. That was about all there was to a typical Scooby-Doo episode, but for some reason, it worked. And it’s worked ever since, for more than four decades in over a dozen different versions. Two original seasons of Scooby-Doo, Where Are You? (plus one more of reruns) gave way to The New Scooby-Doo Comedy Movies in 1972. The mystery-solving format remained the same, but each episode featured an animated version of a celebrity guest star – from the Harlem Globetrotters to Don Knotts to Sonny & Cher – all voiced by the celebrities themselves. 1976 found Scoob and the gang, along with Scooby’s idiot cousin Scooby-Dum, sharing half of an hour-long block with “robonic” pooch Dynomutt and his human partner, The Blue Falcon. Together, the two shows made up the unimaginatively titled The Scooby-Doo/Dynomutt Show. Of course, 1976 was also an Olympic year, and Hanna-Barbera capitalized on current events with Scooby’s All-Star Laff-a-Lympics (later just Scooby’s All-Stars). At a whopping 90 minutes (Scoob, how far you’ve come…), the show pitted three teams of veteran Hanna-Barbera characters against each other in zany athletic competitions. For many Scooby fans, 1978 was the year of the Apocalypse, as Scooby ditched most of the old gang (Shaggy stuck around) for his nephew Scrappy-Doo (in fairness, many kids thought Scrappy was great – though many of these later grew up to be prison inmates and experimental drug testers). Mini-sized but always ready for a rumble, Scrappy idolized his uncle, thinking Scooby was the bravest dog in the world. He also spoke impeccable English and even had his own catchphrase: “Puppy Power!” Presumably, this was more kid-friendly than Scooby-Doo’s catchphrase: “Hrrruh?” Scrappy hung around through most of the 80s, as Scooby burned through show titles and lineup partners: The Richie Rich/Scooby-Doo Show; The Scooby and Scrappy-Doo/Puppy’s New Adventures Hour; rerun packages like The Best of Scooby-Doo, Scary Scooby Funnies and Scooby’s Mystery FunHouse; and 1984’s The New Scooby-Doo Mysteries, which had both Scrappy and the Mystery Machine gang. Scooby, Shaggy, Scrappy, and a revamped Daphne got a new partner in nine-year-old Flim Flam in The 13 Ghosts of Scooby-Doo, which also featured horror movie legend Vincent Price as a helpful warlock named Vincent Van Ghoul. In 1988, Scooby and the gang had their most extensive makeover to date. A Pup Named Scooby-Doo built on the “back when they were kids…” idea that was all the rage in the mid-to-late-80s ( Muppet Babies , The Flintstone Kids, even a junior Roseanne Barr in Little Rosie). Junior versions of Fred, Daphne, Velma, Shaggy and Scooby (no more Scrappy) solved preteen crimes, although not before falsely accusing a recurring character named Red Herring. A Pup Named Scooby-Doo ran five seasons on network TV (though reruns dominated the later years), extending Scooby’s reign as King of the Saturday Morning Airwaves. By 1993, however, the Great Dane looked like he was ready for retirement. Scooby reruns still popped up all over cable, and the characters themselves were enshrined in the pop culture firmament – it helped that they never seemed to change their look with the times, preferring their shagadelic ascots, knee-highs and/or bellbottoms to anything that later styles had to offer – but the only fresh Doo fix came in the occasional direct-to-video feature. The start of a new millennium brought new Doo back to the masses. A live-action/CGI Scooby-Doo movie was a surprise hit in 2002 (a sequel arrived in 2004), and a brand-new Saturday morning series followed. What’s New Scooby-Doo?, despite the title, was a throwback to the van-travelin’, mystery-solvin’, phony-spook-foilin’ good times of the original Scooby-Doo, Where Are You?, although with a few new outfits and cyber-era touches. Now in his fifth decade on network television, Scooby-Doo is a cartoon institution, having logged more time on Saturday morning than any other character. And still, wherever there’s a haunted amusement park, an ocean liner menaced by a rubber sea serpent, or a mummy that just won’t stay in its sarcophagus, he’ll be there. And then he’ll have himself a Scooby Snack (that’s a fact). If you grew up watching Scooby Doo and have a few memories you’d like to share, we look forward to reading them in our comments section. 3 Responses to “Scooby Doo”	i don't know
The ballet Pineapple Poll features music by which composer ?	John Cranko Ballets - The Lady & The Fool, Pineapp ... - Ica Classics: ICAD 5040 \| Buy from ArkivMusic Booklet notes: English, French, German Running time: 89 mins R E V I E W: Wonderful to have these two masterpieces of balletomania easily available. I do not believe that it is the role of the critic to ï¿½spoil the plotï¿½ of a ballet or an opera whilst writing a review. Even with a work like Madame Butterfly or Sleeping Beauty it would be presumptuous of a writer to assume that all their readers knew the libretto or the ï¿½bookï¿½. However, a few brief observations are probably in order. For example is it a comedy or a tragedy? Does it tell a story or present a series of tableaux? These are questions worth answering. But to give a complete synopsis in the manner of Kobbéï¿½s Opera or Balanchineï¿½s Festival of Ballet is both redundant and unfair. I will confine my remarks to generalisations and concentrate more on the presentation of the story and music rather than the story itself. The two ballets presented here are contrasting tales. One, Pineapple Poll, is a gay, light-hearted romp whilst the other, The Lady and the Fool is bittersweet: both are technically comedies. It is useful to give a brief thumbnail sketch of the life and career of John Cranko. He was born in Rustenburg in the Transvaal in 1927. From an early age he was interested in dance and movement, developing puppet shows for his friends. His first stage appearance as a dancer was in 1943 in a performance given by the Cape Town University Ballet. After some early ballet training under Dulcie Howes, he produced his first ballet, The Soldierï¿½s Tale. In 1946 he moved to London and worked as a dancer and then as a choreographer with the Sadlerï¿½s Wells Theatre Ballet, which was the forerunner of The Royal Ballet. Cranko is best known for his collaboration with Charles Mackerras in Pineapple Poll although other triumphs included The Prince of the Pagodas to music by Britten and Harlequin in April with a score by Richard Arnell. Other ballets that he choreographed included Onegin based on music from Tchaikovskyï¿½s The Seasons and Prokofievï¿½s Romeo & Juliet. However, his activities were not confined to the ballet. He devised a West End revue called Cranks which opened in 1955 and ran for over 200 performances. He died in 1973 after a reaction to a sleeping pill taken during a transatlantic flight. The title The Lady and the Fool along with the intelligence that this is a ï¿½comedyï¿½ probably gives the game away as to the story line. This work was premiered by the Sadlerï¿½s Wells Theatre Ballet at the New Theatre in Oxford on 25 February 1954. However, the original choreography did not satisfy Cranko: the ballet was reworked for Covent Garden and was first given there on 9 June 1955. This is the version presented on this DVD. The score that Charles Mackerras devised is based on music from a number of lesser-known operatic works by Giuseppe Verdi. These include Alzira, Jerusalem, I Lombardi and Attila. I confess to never having heard of these operas! There is a tremendous danger that this ballet can sink into sheer sentimentality and any interpretation must try to avoid this. Certainly, there is a degree of melodrama in the present realisation, however it does not become overpowering. The tension between the sympathy the audience will feel towards the poverty-stricken clowns Moondog and Bootface who are asleep on a street bench and the antipathy towards the dashing, narcissistic Capitano Adoncino is the basis of any appreciation of this ballet. Any tendency for the ballet to become morbid is offset by the magnificent ballroom scenes where the heroine La Capricciosa dances with her suitors who represent wealth, gallantry and rank. The ï¿½pas de deuxï¿½ between Moondog and La Capricciosa is the highlight of the ballet and is both moving and beautiful. The three principals are superb: Svetlana Beriosova as La Capricciosa, Ronald Hynd as Moondog and Ray Powell as Bootface. All the dancers execute their routines with grace, expressiveness, ease and fluency. However the viewer will be moved by Ray Powellï¿½s presentation of Bootface, the clown who does not win the ladyï¿½s love. Pineapple Poll is a ballet in three scenes or tableaux - all set in Portsmouth. The story derives from ï¿½The Bumboat Womanï¿½s Storyï¿½ which is from one of W.S. Gilbertï¿½s lesser-known works the Bab Ballads. A ï¿½bumboatï¿½ by the way is a small vessel that is used to ferry stores between the dock and ships at anchor. The score is a glorious collation of Sir Arthur Sullivanï¿½s music devised once again by Mackerras. The tunes are taken from virtually the entire catalogue of G&S comic operas but also include Cox and Box and the Overture di Ballo. As a score, this work quite simply sparkles like freshly popped champagne. Moreover, Mackerras has presented Sullivanï¿½s great music in a form rarely heard - for full orchestra rather than a theatre ensemble. Unlike The Lady and the Fool the title Pineapple Poll gives nothing away about the story. However, it does seem to imply comedy. In fact, this is a comic masterpiece. Any viewer will be impressed with the vivacious dancing and the ï¿½built inï¿½ humour which pervades the work. The three principal characters are Pineapple Poll, a flower seller, Jasper, a ï¿½pot boyï¿½ from the local inn and Captain Belaye of the H.M.S. Hot Cross Bun. Other dancers include the captainï¿½s fiancée Blanche and Mrs Dimple, her aunt. Merle Park is quite simply stunning as Pineapple. However David Blair makes an excellent captain, a role which he created. Stanley Holden playing Jasper raises the audienceï¿½s sympathy. Two highlights of Pineapple Poll are the captainï¿½s solo dance based on the hornpipe and the general riot on the deck of the Hot Cross Bun when the scratch crew of women are discovered. Pineapple Poll was first seen at the Sadlerï¿½s Wells Theatre on 13 March 1951. What criticisms of this DVD can I make? Virtually none. However, a silly bit of wishful thinking: would that it had been in colour! The costumes look as if they would have been absolutely magnificent. Secondly, the studio-based performance means that there is a distinct lack of the atmosphere that an audience would have provided. Thirdly, these performances were created for television over half a century ago with all the limitations that this implies. However, it would be totally wrong to use present day canons of set design and lighting to judge their success or failure. For their time and technical limitations they are definitive. It is wonderful to have these two masterpieces of balletomania easily available. At present this is the only version of either work on DVD. It may be for a ballet company in the future to revive one or both of these ballets but at present this is a splendid addition to the catalogues. It is not to be missed by ballet enthusiasts, G&S cognoscenti and lovers of obscure but delightful Verdi! Average Customer Review: ( 1 Customer Review ) The Lady And The Fool March 7, 2013 By James B. (Kenosha, WI) See All My Reviews "The main reason I purchased this title was because many years ago the dance by Moondog and Bootface shortly after the beginning of the ballet was a selection of music I had heard on a Wisconsin PBS radio station every morning as the signature music for their morning program. Finding out that it was from an RCA RED SEAL LP, I soon found out it was no longer available. From that day until recently when I found this DVD, I searched long and hard for a recording of this music. You can imagine to my delight that I not only have the music I have searched for but can now see it as danced by two outstanding performers: Ronald Hynd and Ray Powell. Further on in the ballet we are treated by the talent of Svetlana Beriosova who dances the role of La Capricciosa. Although I enjoyed the PINEAPPLE POLL BALLET equally as well, having been familiar with the music of Sir Arthur Sullivan, it is THE LADY AND THE FOOL which for me is the treasure of this is DVD. Charles Mackerras' treatment of the music of Verdi for this ballet is truly outstanding." Report Abuse	Arthur Sullivan
What item of playground equipment is known in North America as a teeter-totter ?	Pineapple Poll - Arthur Sullivan - YouTube Pineapple Poll - Arthur Sullivan Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Apr 25, 2012 5th Loureiros Band Workshop - track 7 Pineapple Poll	i don't know
Tower Bridge in London is an example of what kind of bridge ?	Tower Bridge \| London’s Famous Bridges \| London Landmarks Step inside the Engine Rooms to find one of London's true hidden gems. Soak in the atmosphere as authentic machinery which once lifted Tower Bridge’s 1000 tonne bascules fill the space with whirring wheels and moving pistons. These beautifully maintained coal-driven engines are sure to amaze.	Bascule
What drink, a type of fortified wine, was a favourite tipple of Shakespeare's Falstaff ?	The Tower Bridge - Romance of Modern Engineering (1908) The Tower Bridge (Foundation stone laid 21 Jun 1886) The iconic bascule bridge across the River Thames in London, which was officially opened on 30 Jun 1894. from The Romance of Modern Engineering (1908) ( click for larger image) Frontispiece: This interesting view of the Tower Bridge shows the "bascules" of the central span raised to permit the passage of shipping. A notable feature of the structure is that the ironwork is quite independent of the masonry, which is out of contact with the real supports, concealed inside. The foundations of the two towers are capable of supporting without settlement, a weight of 70,000 tons. LESS imposing as a structure than the giant conqueror of the Forth is the new bridge that spans the Thames, a short distance east of the Tower of London, from which it derives its name. The Tower Bridge is, however, of such importance and interest, both on account of the problems that it has solved, and from the manner in which it has solved them, that this great framework of metal and masonry, so familiar to the Londoner, deserves inclusion among the chief engineering feats of modem times. The general outlines of the Bridge, being so well known, need little detailed description. Technically, it is a three-span bridge, the two outside spans of the suspension type carried on stout chains that pass at their landward ends over abutment towers of moderate height to anchorages in the shore, and at their river ends over very lofty towers, themselves connected at an elevation of 143 feet above high-water level. Extremely powerful ties, borne on the connecting girders, unite the two pairs of chains, making the suspension spans to support one another in a horizontal direction. The central span has two footways and one road. way. The high-level girders bear the upper footway, reached by two hydraulic lifts situated in each of the main towers. The most notable feature of the Bridge, unless we except the unique combination of steel and masonry work in the towers, is the method of enabling traffic, pedestrian and vehicular, to cross the 200-foot space between the towers, at the level of the roadway of the two outer spans. History repeats itself in engineering as elsewhere, and, as an example, we see here a reversion to the idea of the drawbridge that shut off the mediaeval fortress or town from the hostility of the outside world. Principle apart, however, it is a far cry from the wooden platform, heaved laboriously aloft by creaking chains, to the massive 1200-ton steel leaf raised noiselessly by the unseen energy of hydraulic engines. Before entering into details of construction, it will be interesting to glance for a moment at the antecedents of this latest-born of Thames bridges—the reason for its erection, and the considerations that cast it into its present form. Let the reader take a map of London and fix his eye on Blackfriars Bridge. A line drawn due north and south through the bridge would approximately bisect the metropolis. A steamboat travelling westwards from this point passes in succession under Waterloo, Westminster, Lambeth, Vauxhall, Chelsea, Albert, Battersea, Wandsworth, and Putney Bridges—nine in all—open to vehicular traffic. On an eastward journey of equal length it would, however, have to lower its funnel for but two—the Southwark and London—assuming the Tower Bridge to be still in the future. Yet both banks are thronged by some of the most densely-populated districts of London, so near each other and yet so far for want of means of communication. A further reference to the map shows us why things should be so. This is a region of docks and wharves, the latter reaching up to London Bridge, from which we have often watched the unloading of cargoes. The engineer, called in to effect a compromise between the crying needs of road traffic on the one hand and the equally important interests of river traffic on the other, is able to suggest several methods of cutting the Gordian knot: 1. A low-level bridge, with an opening for vessels through it. 2. A high-level bridge, with inclined road approaches. 3. A high-level bridge, with hydraulic lifts at each end. 4. A tunnel under the river, with inclined approaches. 5. A tunnel with hydraulic lifts at each end. 6. A ferry. Of these the first would be most convenient for the landsman, but most inconvenient for the sailor. The second and fourth necessitate very costly approaches, the third and fifth continual blocks in the traffic; and as regards ferries, they are at best but very poor substitutes for a bridge. Among the many plans submitted since 1867 for a bridge, one is particularly noticeable for its originality—that of Mr. C. Barclay Bruce. He proposed a rolling bridge, to consist of a platform 300 feet long and 100 wide, which should be propelled from shore to shore over rollers placed at the top of a series of piers 100 feet apart. The platform would have a bearing at two points at least, and, according to the designer's calculations, make the journey in three minutes, with a freight of 100 vehicles and 1400 passengers. Another engineer, Mr. F. T. Palmer, proposed a bridge which widened out into a circular form near each shore, enclosing a space into which a vessel might pass by the removal of one side on rollers while traffic continued on the other side. As soon as the vessel had entered the enclosure the sliding platform would be closed again, and that on the other side be opened in turn. In 1878 Sir Joseph Bazalgette, engineer to the Metropolitan Board of Works, recommended the construction of a bridge that should give a clear head-way of 65 feet above Trinity high-water level, but a Bill brought into Parliament for power to build it was thrown out on the ground that the headway would be insufficient, and on account of the awkward special approaches. To avoid wearying the reader with a list of projects we will pass straight on to that of Mr. Horace Jones, the late City architect, who in 1878 was asked to report upon the various projects of Sir Joseph Bazalgette and make suggestions on his own account. He maintained that, as a high-level bridge would not give satisfaction, a structure of the same level as London Bridge, opening at the centre by means of hinged platforms, or bascules, might be advantageously employed. From his design has sprung that of the Tower Bridge—the joint work of him and Sir J. Wolfe Barry—which provides a central opening of 200 feet clear and a headway of 135 feet. An Act for its construction having been passed in the autumn of 1885, contracts were let for the foundations of the piers and abutment towers up to the level of 4 feet above high-water mark. On June 21, 1886, the (then) Prince of Wales laid the foundation stone. The masonry piers on which the main towers stand are remarkable for their size—100 a feet wide by 205 long—which exceeds that of any in the world, with the exception of those of the Brooklyn Bridge. The piers being but 200 feet apart, the engineers, who were under agreement to leave a clear way of 160 feet between them, could not build both simultaneously as a whole, since the scaffoldings would have narrowed the opening beyond legal limits. They therefore adopted a system of small caissons, which should be sunk so as to form a broad wall round the area of the pier, and enclose a space of 34 by 124ï¿½ feet, to be dealt with as soon as the exterior caissons were in position. On the north and south sides of each pier four caissons were sunk, 28 feet square and 21 feet apart, each end of the rows being joined by a triangular caisson. While one pier was in course of construction, the shoreward row of caissons for the other pier was also sunk, thus saving time without obstructing the river. Reference has been made in the previous chapter to the sinking of caissons; so it need here only be stated that at the Tower Bridge no pneumatic caissons were employed, but only the open variety. Divers cleared away the gravel and mud until a caisson had descended such a distance into the stiff London clay at which it was thought safe to pump out the water at low tide, and then navvies were turned in with pick and shovel. At a depth of 19 feet the caissons were undercut, i.e. the workers burrowed beneath their lower edges into the clay for a distance of 5 feet horizontally, and 7 feet vertically. The undercutting proceeded in sections—filled with concrete in succession—so that the caisson should not be left unsupported. When all the ten external caissons had been sunk and filled in, the narrow spaces between them were also filled, and the interior enclosure pumped dry and excavated. Finally, there emerged from the water a couple of gigantic piers of concrete, granite, and bricks, able to withstand without settlement a load of 70,000 tons. Their cost was ï¿½ 111,122. The contract for the steelwork in the superstructure was let to Sir William Arrol & Co., of Glasgow, who, as the reader will remember [from a previous chapter], had already taken an important part in the construction of the Bridge. Before any metal-work could be placed in position, it was necessary to erect stagings from the shore abutments to the centre piers. This work occupied some months, and when it was completed operations at once commenced on the main towers. Each tower consists of four octagonal columns, connected at a height of 60 feet above the piers by plate girders, 6 feet deep, across which are laid smaller girders to carry the first landing. Twenty-eight feet higher is the second landing, similarly constructed, and above that, at an equal distance, the third landing leading to the high-level footway. The columns each rested on massive granite slabs previously covered with three layers of specially prepared canvas to make the pressure even and the joint water-tight. They were keyed to the bed-stones by great bolts built into the piers. The first length of column plates having being riveted in position by hydraulic riveters, the second length was added by means of a crane placed on the piers, and when the crane had been raised aloft on special trestles the third length followed. The first landing served as a platform from which to build upwards in like manner to the second, which in turn became the base of operations. All four columns in each tower were braced diagonally to resist the wind pressure—calculated at a maximum of 56 lbs. to the square inch, or several times greater than has ever been registered in that locality. The columns finished, and the top landing girders in position, the workmen attacked the high-level footway. This was built out from both towers simultaneously on the overhang principle. First, the portions of the cantilevers immediately over the towers were erected and anchored to the shoreward columns. Then cranes were placed on the completed portions and moved forward to add fresh plates until the cantilevers had reached the point where the central suspended girder began. As at the Forth Bridge, this was built on to the cantilever ends, to which it was attached by temporary ties, and when the centre plates had been made secure, the ties were cut, allowing it to ride free at each extremity. Throughout the construction of the upper footway the greatest care had to be observed to prevent rivets, fragments, and tools falling into the river below to the peril of passengers on passing vessels. Along the upper boom of the footway run the great ties connecting the suspension chains at their river ends. Each of the two ties is 301 feet long, and composed of eight plates 2 feet deep and 1 inch thick, terminating in large eye-plates to take the pins uniting them to the suspension chains. The construction of these chains was one of the most interesting and at the same time most delicate parts of the whole undertaking. Each chain is composed of two parts, or links; the shorter dipping from the "top of the abutment tower to the roadway, the longer rising from the roadway to the summit of the main tower. The links have each a lower and upper boom, connected by diagonal bracings so as to form a rigid girder. They were built in the positions they had finally to occupy, supported on trestles, and were not freed until they had been joined by huge steel pins to the ties crossing the central span and to those on the abutment towers. In order that the reader may have a clear conception of the action of the ties and chains, we will personally conduct him from end to end of the series. At the north end of the bridge is a huge mass of concrete surrounding an anchorage girder 40 feet long, 4 feet wide, and 4 feet deep, to which is attached a land tie springing up to the shore edge of the abutment top. At the anchorage end the tie is joined by a pin, 2 feet in diameter, to the girder, and at its upper end to the horizontal links crossing the abutment tower. The tie is built up of twelve plates 21 inches wide and nearly an inch thick. The link plates are 5 to 5ï¿½ feet wide and 7/8 inch thick and 22 feet long. At each end they rest on roller bearings moving over 3-inch steel plates very carefully levelled. Then comes the short link of the chain, attached by eye-plates and a steel pin, 2ï¿½ feet in diameter, to the tie and also to the lower end of the long link, at which point both are joined to the girders of the roadway. Passing up the long link we reach the top of the towers and note the great pins and roller bearings at each end of the 301-foot ties. Then down the south long link to the roadway, up the short link, and over more roller bearings to the last section of the series—twelve plates 35 inches wide secured by rivets to the south anchorage girder, which is of larger dimensions than its northern fellow. This arrangement of chains, links, and ties permits a slight amount of horizontal motion to compensate the stresses of unequal loading on the two suspension spans, and the alterations in the length of the metal connections in varying temperatures. Roller joints are also made in the flooring of the side spans at each end and at the junction of the links to allow for longitudinal expansion and contraction. The boring of the pin holes was a matter of great delicacy and considerable difficulty. The holes in the eye-plates of ties and chains had been cleared to within half-an-inch of their final diameter before leaving the contractor's works at Glasgow, and the finishing touches were added when the plates were in position. The labour of expanding out the holes to their full diameter was equivalent to boring a hole 2 feet 6 inches in diameter through 65 feet of solid steel; and most of this boring had to be done in somewhat awkward positions at the top of the main towers and abutments, whither it was necessary to transport engines, boilers, and boring tools. The fixing of these generally occupied as long a time as the actual boring, since the greatest accuracy had to be observed throughout the process. The roadway of the suspension spans is carried on cross girders, 61 feet long, weighing 22 tons. At each end they are connected by 6-inch pins to the suspension rods hanging vertically from the chain links. The rods are from 5ï¿½ to 6 inches in diameter, and furnished with a screw-coupling at their centres to enable the accurate adjustment of the girders to the true level of the roadway. Before leaving the works each rod had been subjected to a tension of 200 tons, so that of their sufficiency there can be no doubt. Longitudinal girders of smaller section were then laid on the transverse girders, and on these again corrugated floor plates, afterwards filled up with concrete to form a slightly convex surface, over which wood paving blocks were placed. We may now turn our attention to the central span of the roadway, which forms, perhaps, the most interesting part of the whole structure. Each bascule, or leaf, of the drawbridge consists of four parallel girders, 131 feet apart, and about 160 feet long. When lowered it projects horizontally 100 feet towards the opposite tower, spanning exactly half of the opening. The point of balance is a solid pivot, 1 foot 9 inches in diameter and 48 feet long, that passes through the girders 50 feet from their shore ends. The pivot is keyed to the girders, and rotates on roller bearings carried by eight girders crossing the piers horizontally from north to south, themselves borne on girders under their ends. The chief difficulty attending the erection of the bascules resulted from the condition compelling the contractors to leave a clear way of 160 feet between the towers. Under other circumstances the girders might have been completed before being brought into line and connected together. As it was, the engineers first built the portions on the shore side of the pivot, added a short section of the river side steelwork, and launched the incomplete girders from the main stage close to the piers into the bascule chambers. A temporary steel mandrel was inserted to carry their weight while they were turned into a vertical position, and then withdrawn to make room for the permanent pivot, weighing 25 tons. The outer ends were added to until a point 53 feet from the pivot had been reached, and work in this direction then stopped until the raising and lowering of the leaves for purposes of adjustment had been concluded; after which the girders were completed vertically. The leaves are moved by means of pinions (or cog-wheels) engaging with racks fixed to the edge of two steel quadrants riveted to their two outside girders. The accurate attachment of the racks was a some-what difficult business on account of the confined space in which the men had to work. To preserve the balance of the bascule it was necessary to load the shorter, or inner, arm with counter-poises, consisting of 290 tons of lead and 60 tons of iron enclosed in ballast boxes at the extreme ends of the girders. The function of the raising gear is merely to overcome the inertia of the 1200 tons of the leaf, and the friction caused by wind pressure on the exposed surface. In designing the hydraulic machinery allowance was made for a wind pressure of 56 lbs. to the square foot, which would produce a force of 140 tons acting with a leverage of 56 feet. The source of power is a building on the east side of the southern approach, where are stationed two large accumulators with 20-inch rams loaded to give a pressure of from 700 to 800 lbs. per square inch. An accumulator is the hydraulic counterpart of the reservoir bellows in an organ. It ensures a steady pressure, as its capacity is greater than that of the engines it operates; and since the pumping engines can be constantly at work filling it, there is always a plentiful supply of energy stored against the periodical opening and shutting of the bascules. The water is led through two 6-inch pipes, provided with flexible joints at points of movement, to the two sets of engines on the south pier; and to those on the north pier through continuation pipes passing up the south tower, across the footway, and down the north tower. After use, the water is returned through a 7-inch pipe to the pumping engines placed in two of the arches forming the southern approach to the bridge. The engines are duplicated on each pier to avoid the inconvenience that would result from the breakdown of a single installation. The power of the engines is transmitted to the racks through a series of cog-wheels, which increase the effective pressure of the pistons almost sevenfold. Hydraulic energy is also used to work the two hydraulic lifts in each main tower, and to shoot home and withdraw the four locking bolts at the outer extremity of the southern leaf. In this connection the following extract from Mr. J. E. Tuit's fine book on the bridge will be of interest. "Every precaution has been taken so that the operation of opening and shutting the bridge shall be rendered as safe as possible. By an automatic arrangement attached to the hydraulic engines on the piers they are caused to close the valves which admit the high-pressure water just at the end of the operation of raising or lowering the leaves, so that even if the man in charge were to make a mistake through an error of judgment, or be prevented from attending to his duties, the leaves would gradually bring themselves to rest either in a vertical or horizontal position without the least chance of any catastrophe. As a still further precaution, however, hydraulic buffers are fixed in such positions that if the men in charge lost control of the bridge, and at the same time the apparatus above alluded to for bringing up the motion of the leaves were to fail, their impact would be taken by these buffers, which would bring them to rest in the same manner as that in which the hydraulic cylinders that are attached to heavy guns take up the recoil." In cabins at the east and west ends of each pier are indicators to tell the men in charge whether the accumulators are full before starting the engines, and whether the locking bolts are in their proper position. Further provision is made to prevent the raising of the bascules before they are cleared of traffic. The policemen in charge have to stretch a chain across the entrance to each pier. As soon as the chain is fixed, the man carrying it will be able to turn on the water to a small cylinder that draws it tight and at the same time releases the locking arrangement of the levers in the cabin. So that until the chain has opposed a barrier to the traffic, it is impossible to draw the locking bolts at the centre of the span. The masonry of the towers is independent of the steelwork that it encloses. In fact, great care has been taken that there shall be no adhesion between the two substances. This part of the structure, carried out by Messrs. Perry & Co., calls for no special attention here, though it impresses itself favourably on the eye of the spectator. Objections have been raised to the external masonry on the ground that it is a "hollow sham," but we fancy that were the covering suddenly stripped away, so as to expose the steel skeleton beneath, many objectors would be silenced. The general opinion is that with so many metal structures exposing the nakedness of their outlines the London Corporation is to be congratulated on having thus boldly made a concession to the aesthetic tastes of the community which does not detract from the value of the bridge as a utilitarian erection. The cost of construction was enhanced, but the result is one of which Londoners will be proud in years to come. The Tower Bridge, typical of modern engineering skill, has an interesting connection with the old London Bridge—itself a mechanical triumph considering the science of the time—built towards the end of the twelfth century. That bridge, which stood the wear and tear of nearly 700 years, was endowed with certain lands which, with the growth of London, became extremely valuable, and are now known as the Bridge House Estates. The revenue from them has enabled the Corporation of London to rebuild the London Bridge, throw another across the Thames at Blackfriars, and also to construct the subject of this chapter. We may conclude the account by a few figures. The bridge is exactly half a mile long, including the approaches, the side spans each occupying 270 feet clear. Its extreme height, measured from the bottom of the foundations to the summit of the main tower ridge-tiles, is 293 feet. The roadway of the side spans is 35 feet wide, flanked on each side by a 121-foot paved footway. In the central span the widths are reduced by 3 and 4 feet respectively. Its construction, which occupied eight years, consumed 235,000 cubic feet of granite and stone, 20,000 tons of cement, 70,000 cubic yards of concrete, 31 million bricks, and 14,000 tons of iron and steel. The columns on the main piers and abutments required five miles of steel plates. The total cost was estimated at three-quarters of a million pounds, of which the bridge itself represents rather more than half a million. Sir J. Wolfe Barry, the engineer responsible for the construction, includes among his other important works the great Barry Dock near Cardiff, and the completion of the Inner Circle Railway between the Mansion House and Aldgate stations. Text and photo from: Archibald Williams, The Romance of Modern Engineering Containing Interesting Descriptions in Non-technical Language of the Nile Dam, the Panama Canal, the Tower Bridge, the Brooklyn Bridge, the Trans-Siberian Railway, the Niagara Falls Power Co, Bermuda Floating Dock, Etc. (1908), Chap. 5, 110-126 and frontispiece . See also: 21 June - short biography, births, deaths and events on date of laying the Tower Bridge foundation stone. Nature bears long with those who wrong her. She is patient under abuse. But when abuse has gone too far, when the time of reckoning finally comes, she is equally slow to be appeased and to turn away her wrath. (1882) -- Nathaniel Egleston , who was writing then about deforestation, but speaks equally well about the danger of climate change today. Carl Sagan : In science it often happens that scientists say, 'You know that's a really good argument; my position is mistaken,' and then they would actually change their minds and you never hear that old view from them again. They really do it. It doesn't happen as often as it should, because scientists are human and change is sometimes painful. But it happens every day. I cannot recall the last time something like that happened in politics or religion. (1987) ... (more by Sagan) Albert Einstein : I used to wonder how it comes about that the electron is negative. Negative-positiveï¿½these are perfectly symmetric in physics. There is no reason whatever to prefer one to the other. Then why is the electron negative? I thought about this for a long time and at last all I could think was ï¿½It won the fight!ï¿½ ... (more by Einstein) Richard Feynman : It is the facts that matter, not the proofs. Physics can progress without the proofs, but we can't go on without the facts ... if the facts are right, then the proofs are a matter of playing around with the algebra correctly. ... (more by Feynman)	i don't know
The Australian kookaburra is one of the largest species of which bird ?	Australia Zoo - Birds Birds Shop Now » (Dacelo novaeguineae) The Laughing Kookaburra is the largest of the kingfisher family, and famous for its chorus of laughter which echoes through the Australian bush. Unlike most of its relatives, kookaburras occupy the same territories year-round which they mark with their noisy calls. Each group knows the boundaries of each other’s territories by communicating before the spring breeding season to establish boundaries. Habitat Laughing Kookaburras live in woodlands and open forests and occur in almost any part of eastern Australia with trees big enough to build their nests and open patches suitable to use as hunting grounds. You can see Laughing Kookaburras in the north of Cape York Peninsula, inland to western edge of the Great Diving Range and southwest to Eyre Peninsula. Diet Kookaburras aren’t selective eaters. Their diet consists of snakes, lizards, rodents and the odd small bird, but they live primarily on different insects and invertebrates. Their method of hunting is to perch and pounce. This technique is consistent in all kingfisher species. The spot their prey and fixate on it before fluttering down to seize it in their bill, and flying back to a tree branch to eat their catch. Breeding Laughing Kookaburras mate for life and take so long to rear their young that they rarely have more than one clutch each season. They have a low birth rate to keep pace with their longevity. Once the young reach independence, instead of being forced out of the territories, most stay to help parents defend the territory boundaries and rear further clutches. Kookaburra nesting season starts in September and finishes in January. They nest in hollows found in trees and termite mounds with incubation beginning with the first egg laid, although they can lay up to four. Incubation and feeding of the chicks is carried out by all members of the family group. Bird Call Kookaburras are famous for their early morning and evening songs. The call sometimes described as a ‘cackle’ is used as a territorial marker and is renowned as Australia’s quintessential bush anthem. Display Status Age: 16 Years (DOB 27/10/2000) Sex: Male Tok is a very funny fella to work with, as he is always laughing at one thing or another! Tok was bred here at Australia Zoo in 2001 with a large group of other Kookaburras. Tok and his brother Tik grew up very quickly, with all seven other kookaburras feeding the little ones several times a day. At about four weeks of age, both of these featherless critters were removed from the nest to be hand-raised. This was to help the birds become more comfortable around people so that they could be used in the Wandering Wildlife program. Fortunately for us, Tok showed a keen interest in flying and very quickly completed his free flight training. Tok loves doing his part in the show, and more importantly he loves keeping the Crocoseum clear of other kookaburras, because the Crocoseum is Tok's territory and no other kookaburra is permitted to enter! Adopt An Animal Benefits By sponsoring one of our animals or conservation projects at Australia Zoo, not only do you have the satisfaction of knowing you are making a difference - you will also receive gifts of appreciation according to the level at which you sponsor! Wooo-hoo! $50 Donation	Kingfisher
What's the name of Postman Pat's cat ?	Laughing Kookaburra \| BIRDS in BACKYARDS BIRDS in BACKYARDS Laughing Kookaburra Did you know? The Laughing Kookaburra is not really laughing when it makes its familiar call. The cackle of the Laughing Kookaburra is actually a territorial call to warn other birds to stay away. Calls The chuckling voice that gives this species its name is a common and familiar sound throughout the bird's range. The loud 'koo-koo-koo-koo-koo-kaa-kaa-kaa' is often sung in a chorus with other individuals. The Laughing Kookaburra also has a shorter 'koooa What does it look like? Description: The Laughing Kookaburra is instantly recognisable in both plumage and voice. It is generally off-white below, faintly barred with dark brown, and brown on the back and wings. The tail is more rufous, broadly barred with black. There is a conspicuous dark brown eye-stripe through the face. It is one of the larger members of the kingfisher family. Similar species: Identification may only be confused where the Laughing Kookaburra's range overlaps that of the Blue-winged Kookaburra , Dacelo leachii, in eastern Queensland. The call of the Blue-winged Kookaburra is coarser than that of the Laughing Kookaburra, and ends somewhat abruptly. The Blue-winged Kookaburra lacks the brown eye-stripe, has a blue tail and a large amount of blue in the wing, and has a pale eye. Where does it live? Distribution: Laughing Kookaburras are found throughout eastern Australia. They have been introduced to Tasmania, the extreme south-west of Western Australia, and New Zealand. Replaced by the Blue-winged Kookaburra in central northern and north-western Australia, with some overlap in Queensland, although this species is more coastal. Habitat: The Laughing Kookaburra inhabits most areas where there are suitable trees. What does it do? Feeding: Laughing Kookaburras feed mostly on insects, worms and crustaceans, although small snakes, mammals, frogs and birds may also be eaten. Prey is seized by pouncing from a suitable perch. Small prey is eaten whole, but larger prey is killed by bashing it against the ground or tree branch. Breeding: Laughing Kookaburras are believed to pair for life. The nest is a bare chamber in a naturally occurring tree hollow or in a burrow excavated in an arboreal (tree-dwelling) termite mound. Both sexes share the incubation duties and both care for the young. Other Laughing Kookaburras, usually offspring of the previous one to two years, act as 'helpers' during the breeding season. Every bird in the group shares all parenting duties. Living with us Laughing Kookaburras often become quite tame around humans and will readily accept scraps of meat. This 'pre-processed' food is still beaten against a perch before swallowing. References:	i don't know
Which fastening system was developed by Swiss inventor George de Mestral?	Georges de Mestral, 82, Inventor Who Developed Velcro in - NYTimes.com Georges de Mestral, 82, Inventor Who Developed Velcro in Reuters Published: February 12, 1990 COMMUGNY, Switzerland, Feb. 11— Georges de Mestral, the 82-year-old Swiss inventor of Velcro, has died, his wife, Helen, said today. Mr. de Mestral, who spent years perfecting the fastener that revolutionized much of the clothing industry, came upon the idea of Velcro after a walk in the woods outside Geneva in 1941. Mr. de Mestral's clothing became entangled in a patch of burrs and, as the story goes, this led him to wonder what made it stick. Years of research followed, and in 1948 he invented Velcro. Eventually he sold the world license for Velcro and lived on royalties and profits from his Swiss factory, Mrs. de Mestral said. 'Velvet' and 'Crochet' Velcro - the name is a combination of ''velvet'' and ''crochet,'' the French word for hook - is made of two strips of nylon. On one strip is a pile made of tiny loops. The facing strip is covered with tiny nylon hooks. When pressed together the strips adhere, but they can easily be peeled apart and put together again. Velcro U.S.A., the American division of the Netherlands-based company Mr. de Mestral helped to establish, once estimated that the material could be opened and closed up to 50,000 times without loss of power. Today, Velcro is used for everything from keeping astronauts from floating off the floor of their spacecrafts to keeping artificial hearts in place, as well as the more mundane tasks of fastening clothing. One of Top 50 Inventions A group of international inventors voted Velcro one of the century's 50 most important independent inventions. But it was not Mr. de Mestral's only work. ''There was one stupid little thing that sold very well,'' Mrs. de Mestral said today. ''An asparagus peeler.'' Mr. de Mestral was born near Nyon, Switzerland. At about the age of 12 he obtained his first patent for a toy airplane and later went on to become an engineer.	Velcro
How many masts does the vessel known as a Ketch have ?	VELCRO April 1, 2004 Vol. 59 No. 7 Back to Bulletin Main Page VELCRO By Patrick J. Gallagher, Fulbright & Jaworski L.L.P., Minneapolis, Minnesota, USA Sources: www.velcro.com, “The Invention of VELCRO® - George de Mestra http://inventors.about.com/library/weekly/aa091297.htm In the 1940s, the Swiss inventor and amateur-mountaineer George de Mestral went on a nature walk with his dog. Upon his return home, he noticed that his pants and his dog’s coat were covered with cockleburs. His inventor’s curiosity led him to study the burs under a microscope, where he discovered their natural hook-like shape. He saw that all of the small hooks on the burs enabled them to cling ferociously to the tiny loops in the fabric of his pants. This discovery led Mestral to create a unique, two-sided fastener – one side with stiff “hooks” like the burs, and the other side with the soft “loops” like the fabric of his pants. The result was VELCRO brand hook and loop fasteners. The term VELCRO was derived from the French words “velour” (velvet) and “crochet” (hooks). Mestral’s idea was initially met with resistance, but he worked with a French textile weaver to perfect his hook and loop fastener. He obtained his first patent for the invention in 1955, then formed Velcro Industries to manufacture his product. Today, Velcro Industries B.V., through its worldwide subsidiaries, offers hundreds of different hook and loop products and fastening systems. The applications of VELCRO brand hook and loop products are endless – clothing and clothing accessories, toys, outdoor recreation and sporting equipment, automobiles, recreation vehicles and boats, medical equipment, and packaging to name a few. Velcro Industries is also continually ensuring that consumers know that VELCRO is a brand – not a generic term. Although every effort has been made to verify the accuracy of items carried in the INTA Bulletin, readers are urged to check independently on matters of specific concern or interest.	i don't know
Who became the 120th Briton to win a Nobel Prize by winning this year's prize for physics ?	God particle genius Professor Peter Higgs wins Nobel Prize for Physics then vanishes \| Daily Mail Online comments He solved one of the greatest mysteries in the universe...but last night Peter Higgs was at the centre of one himself. Professor Higgs, the scientist who first predicted the existence of the ‘God particle’, was yesterday awarded the Nobel Prize for Physics, but officials admitted they did not know where he was or if he even knew he had won the award. The Royal Swedish Academy of Sciences could not raise him on the phone before making the announcement and said he had gone ‘into hiding’. Scroll down for video Officials admit they don't know where Peter Higgs is... or if he knows he's won the award Colleagues said the self-effacing 84-year-old, who has not been well lately, had gone hiking in the Scottish Highlands to avoid the ‘storm’ of interest. Alan Walker, a friend and fellow physicist, said: ‘The pressure was so much he decided to go on holiday without a phone to avoid the media storm. RELATED ARTICLES Share 'He’s not available and good for him. He didn’t tell even me.’ In a statement prepared last week, amid anticipation that he would be the 120th Briton to be honoured with a Nobel Prize, Prof Higgs said he was ‘overwhelmed’. The magnet core of the world's largest superconducting solenoid magnet at CERN in Geneva (left). And pictured (right), Peter Higgs, who has won the Nobel Prize for Physics Born in Newcastle in 1929, the son of a BBC sound engineer, Peter Higgs was a gifted pupil at Bristol’s Cotham Grammar where he won many prizes – although none for physics. He chose to study at King’s College London, after rejecting Oxford and Cambridge as the choice of the ‘idle rich’, and gained a first-class honours degree in 1950. He was a young lecturer at Edinburgh University in 1964 when he dreamed up the particle that would make him famous. Along with two other groups of scientists who were working independently, he came up with an explanation of how the most basic building blocks of the universe gain mass. Mr Higgs shares the prize with Belgium physicist Francois Englert who proposed a similar theory around the same time The theory states that the cosmos is pervaded by an invisible field that confers mass on particles as they pass through it. Unlike the other scientists of the time, Prof Higgs also forecast the field was made up of countless tiny particles – Higgs bosons, or God particles. The theory was not universally accepted and one of his papers was rejected for publication because it was ‘of no obvious relevance to physics’. But by the 1980s, the hunt for the Higgs boson was on in earnest and last year, almost 50 years after Prof Higgs predicted its existence, scientists at the Large Hadron Collider found it. Prof Higgs shares the £775,000 prize with Belgian scientist Francois Englert, who with colleague Robert Brout proposed a similar theory around the same time. Dr Brout died in 2011 and, under Nobel rules, cannot be honoured. Prime Minister David Cameron said: ‘It took nearly 50 years and thousands of great minds to discover the Higgs boson after Prof Higgs proposed it, and he and all those people should be extremely proud.’ Professor Peter Higgs appears to wipe away a tear after scientists at the Large Hadron Collider claimed to have discovered a particle believed to be the Higgs Boson in 2012 Dr Alex Tapper, of Imperial College London, said: ‘Nobody can be more deserving of the prize than the visionaries who waited 50 years to discover if their ideas were right or wrong.’ Professor Paul Newman, of the University of Birmingham, added: ‘The audacity of proposing such a bizarre and all-pervading mechanism based on what was known half a century ago is simply stunning.’ Some had hoped that the third team of scientists to propose the theory would also be honoured. But Nobel rules state the prize can be shared between only three people. Tom Kibble, of Imperial College London, a member of the team that was overlooked, congratulated the winners but questioned why the Nobel committee was ‘constrained by a self-imposed rule’.	Peter Higgs
Which British Prime Minister was nicknamed 'The Grocer' by Private Eye magazine ?	Peter Higgs and François Englert win Nobel Prize in Physics – as it happened \| Science \| The Guardian Peter Higgs Peter Higgs and François Englert win Nobel Prize in Physics – as it happened Briton Peter Higgs and Belgian François Englert have won the 2013 Nobel Prize in Physics, 'for something small that makes all the difference' – the Higgs boson Tuesday 8 October 2013 10.08 EDT First published on Tuesday 8 October 2013 04.41 EDT Close 5.17pm BST The comedian Dara Ó Briain has written a comment piece for the Guardian in which he recalls a public interview with Peter Higgs at the Cheltenham Science Festival last year: Before the interview I showed him a T-shirt I bought at the gift shop in Cern, with a masssively long and complicated equation printed on it. I asked him to explain it to me, term by term, and he patiently went through the equation, until we got to the last line. Twinkling, he said proudly: 'And that's my bit.' 3.47pm BST François Englert gives his reaction Englert has been speaking to reporters. Asked if the Nobel prize has come too late (some 50 years after his paper was published), he responds: Listen, I don't know. I am happy I got it now. For me it is not too late. I'm still here, so it is OK. Sadly the prize did come too late for his co-author Robert Brout, who died in 2011, a year before Cern announced they had discovered the Higgs boson . More reactions from scientists John Pethica, physical secretary and vice-president of the Royal Society, said: Peter Higgs and François Englert are deserving winners of the Nobel Prize. Their work has helped shape our fundamental understanding of the world around us. The search for and finding of the Higgs boson at the Large Hadron Collider in Cern has captured the public imagination in a spectacular way that will help inspire the next generation of physicists. Their ideas have helped drive a truly international undertaking in the pursuit of a key part of the Standard Model. We should be proud of another success for a British scientist. Professor Paul Newman, head of the Particle Physics Group at the University of Birmingham, said: At first sight, the Higgs mechanism is a very strange idea indeed. It requires the entire universe, even deepest intergalactic space, to be filled with a new field of a fundamentally different kind from anything previously known. The audacity of proposing such a bizarre and all-pervading mechanism based on what was known half a century ago is simply stunning. The confirmation of the idea through the LHC’s discovery of a Higgs boson is one of the most incredible scientific stories of recent times. Recognition by the Nobel Committee is thoroughly deserved! Professor Jerome Gauntlett, head of theoretical physics at Imperial College London, said: Their visionary ideas about how elementary particles acquire mass, from nearly 50 years ago, were dramatically confirmed earlier this year with the discovery of the Higgs boson at the Large Hadron Collider. This will surely be remembered as one of the great chapters of scientific discovery. Imperial is also proud of its involvement, including profound contributions by Tom Kibble, Abdus Salam and the experimental team at the LHC. Like all great discoveries, more detailed studies of the Higgs boson are likely to have a huge impact on the future of fundamental scientific enquiry. We may find evidence for a new 'supersymmetry' which would mean that there are even more elementary particles waiting to be discovered. We might solve the riddle of the mysterious dark matter that pervades the universe. We might learn whether or not there are extra dimensions in the universe, in addition to the three space dimensions that we observe. These threads will also provide key clues to the ultimate question in fundamental physics, which is: how can we unify the Standard Model of particle physics with Einstein’s theory of gravity? Updated 2.35pm BST 'The Nobel prize is really annoying' Writing on his blog, Preposterous Universe , theoretical physicist Sean Carroll gets something off his chest about an often-discussed problem with the Nobel prize – namely that the tradition of awarding it to a maximum of three people is just no decent reflection of modern science. The most annoying of all the annoying aspects is, of course, the rule in physics (and the other non-peace prizes, I think) that the prize can go to at most three people. This is utterly artificial, and completely at odds with the way science is actually done these days. In my book I spread credit for the Higgs mechanism among no fewer than seven people: Philip Anderson, François Englert, Robert Brout (who is now deceased), Peter Higgs, Gerald Guralnik, Carl Hagen, and Tom Kibble. In a sensible world they would share the credit, but in our world we have endless pointless debates (the betting money right now seems to be pointing toward Englert and Higgs, but who knows). As far as I can tell, the 'no more than three winners' rule isn’t actually written down in Nobel’s will, it’s more of a tradition that has grown up over the years. It’s kind of like the government shutdown: we made up some rules, and are now suffering because of them … The worst thing about the prizes is that people become obsessed with them — both the scientists who want to win, and the media who write about the winners. What really matters, or should matter, is finding something new and fundamental about how nature works, either through a theoretical idea or an experimental discovery. Prizes are just the recognition thereof, not the actual point of the exercise. Updated at 3.59pm BST 2.12pm BST Fabiola Gianotti, the particle physicist who was head of the Atlas collaboration at Cern when the Higgs boson discovery was announced last year, spoke to the Guardian's Ian Sample about the Nobel win for Peter Higgs and Francois Englert. We'll have more on this (and the other Nobel Prizes too) in next week's podcast. Updated at 2.14pm BST 2.06pm BST British theoretical physicist Peter Higgs (left) and Belgian theoretical physicist François Englert, who have won the 2013 Nobel Prize in Physics. Photograph: Fabrice Coffrini/AFP/Getty Images Updated 2.05pm BST Science isn't just about lone geniuses Prof Jon Butterworth, head of physics at UCL and a member of the Atlas experiment at the LHC, sends his congratulations to Peter Higgs and François Englert … But (and there is a "but") prizes only give one view of how science is done. They encourage the idea that the typical manner of progress in science is the breakthrough of a lone genius. In reality, while lone geniuses and breakthroughs do occur, incremental progress and collaboration are more important in increasing our understanding of nature. Even the theory breakthrough behind this prize required a body of incrementally acquired knowledge to which many contributed. The discovery of a Higgs boson , showing that the theoretical ideas are manifested in the real world, was thanks to the work of many thousands. There are 3,000 or so people on Atlas, a similar number on CMS, and hundreds who worked on the LHC. While the citation gives handsome credit for all this, part of me still wishes the prizes could have acknowledged it too. Updated 1.31pm BST Congratulations for the many British scientists also involved in finding the boson Particle physicist Professor John Womersley, who heads up the UK's Science and Technology Facilities Council (STFC), paid homage to the scientists at Cern, who built and operated the Large Hadron Collider, partly in order to find the Higgs boson. A total of 19 research groups in the UK were involved in the work. I'm extremely proud that this huge honour has been given to Peter Higgs and François Englert for their work in predicting the existence of the Higgs boson. Today is a celebration of their genius, and it's something everyone in the UK can share in. It took several decades and the construction of the world's largest science experiment to prove them right – and that investment didn't just teach us something new about the universe, it transformed our everyday lives. Particle physics has brought us the World Wide Web, touchscreens, superconducting magnets and medical imaging detectors, and it's an area of science where the UK is world-leading. STFC congratulates the winners of this well-deserved award, together with all of the scientists, engineers and industry partners involved in the worldwide collaborations that confirmed that their insight was correct. Updated Science minister David Willetts has weighed in with his congratulations for Higgs and Englert . I congratulate Professor Peter Higgs on his Nobel prize. Higgs’s contribution to scientific discovery in the UK is enormous. Our Nobel laureate thoroughly deserves this prestigious award. We should also celebrate the efforts of the thousands of scientists and engineers all over the world who have worked on the Large Hadron Collider and the long search for the Higgs boson. This is the 23rd Nobel Prize for Physics to come to the UK – we should all be very proud of this wonderful achievement. It’s an incredible endorsement of the quality of UK science. Updated 12.56pm BST Peter Higgs statement In a statement released through Edinburgh University, where Peter Higgs, 84, is an emeritus professor, he said: I am overwhelmed to receive this award and thank the Royal Swedish Academy. I would also like to congratulate all those who have contributed to the discovery of this new particle and to thank my family, friends and colleagues for their support. I hope this recognition of fundamental science will help raise awareness of the value of blue-sky research. Updated 12.39pm BST Professor Tom Kibble reacts In 1964 Professor Tom Kibble developed the theory of the mass-giving field, which later became known as the Higgs field, just a month after Peter Higgs and François Englert. Kibble was widely tipped to be one of the winners today but he, and his American co-authors, have not been recognised. I am glad to see that the Swedish Academy has recognised the importance of the mass-generating mechanism for gauge theories and the prediction of the Higgs boson, recently verified at Cern. My two collaborators, Gerald Guralnik and Carl Richard Hagen, and I contributed to that discovery, but our paper was unquestionably the last of the three to be published in Physical Review Letters in 1964 (though we naturally regard our treatment as the most thorough and complete) and it is therefore no surprise that the Swedish Academy felt unable to include us, constrained as they are by a self-imposed rule that the prize cannot be shared by more than three people. My sincere congratulations go to the two prizewinners, François Englert and Peter Higgs. A sad omission from the list was Englert’s collaborator Robert Brout, now deceased. Theoretical physicist Tom Kibble. Photograph: Moose-32/Wikimedia Commons Updated Reaction from Peter Higgs' colleagues in Edinburgh Alan Walker at Edinburgh University's Higgs Centre for Theoretical Physics says of the announcement: A huge cheer went up. The delay was tantalising. The forecast was correct, but we had no indication. I have tears in my eyes. Peter has had a bout of bronchitis and then had a nasty fall outside his house. He looked as though he'd been mugged. The pressure was so much he decided to go on holiday without a phone to avoid the media storm. He's not available and good for him. He didn't tell even me. Updated 12.14pm BST Ben Allanach, a theoretical physicist at the University of Cambridge, says: This is the recognition of a triumph for fundamental physics that will stay in the history books for millennia to come. I am thrilled about the prize, and Englert and Higgs both deserve it well. I cannot over-stress the importance of the discovery. The mass mechanism that the Higgs boson is a signal for has had a huge impact on particle physics over the last 50 years. I think many of us felt that it had to be correct, although we were willing to let data dissuade us. Congratulations to Francois and to Peter! Updated Belgian physicist Francois Englert (left) and British physicist Peter Higgs (right). Photograph: Martial Trezzini/EPA Updated 11.55am BST Full citation from Nobel committee The Nobel Prize in Physics 2013 was awarded jointly to François Englert and Peter W Higgs "for the theoretical discovery of a mechanism that contributes to our understanding of the origin of mass of subatomic particles, and which recently was confirmed through the discovery of the predicted fundamental particle, by the Atlas and CMS experiments at Cern's Large Hadron Collider". François Englert , Belgian citizen. Born 1932 in Etterbeek, Belgium. PhD 1959 from Universite Libre de Bruxelles, Brussels, Belgium. Professor Emeritus at Universite Libre de Bruxelles, Brussels, Belgium. Peter W Higgs , UK citizen. Born 1929 in Newcastle upon Tyne, UK. PhD 1954 from King’s College, University of London, UK. Professor emeritus at University of Edinburgh, UK. Updated 11.49am BST Winners announced The 2013 physics Nobel Prize goes to Peter Higgs and François Englert. Congratulations to them both. Updated A physicist writes... Guardian blogger and Cern physicist Jon Butterworth has sent in his prediction/wish for today's prize. It should be Higgs, Englert and Cern. Nobel prizes are for discovery, Higgs and Englert discovered the theory, Cern (many people) discovered the reality. If the Nobel Committee decide to stick to their arbitrary precedent of not awarding the prize to collaborations, they are just denying how great science (sometimes) works. Updated 10.16am BST The other runners and riders To quote Ken Peach, an Oxford physics professor, it would be “a scandal” if Higgs (and his colleagues) were not honoured this year. But what else is on the slate? Predictions from Thomson Reuters (who examines these things by looking at citations to important papers in the scientific literature) reckon that Hideo Hosono of the Materials Research Center for Element Strategy, at the Tokyo Institute of Technology might be honoured for his discovery of iron-based superconductors. Alternately, the Thomson Reuters predictions include Geoffrey W. Marcy of University of California, Berkeley, Michel Mayor of the University of Geneva and Didier Queloz of the University of Cambridge - for their discoveries of the first exoplanets. I say this every year and I’m going to repeat myself because I think he really should win some time soon: another possibility is John Pendry at Imperial College London , for his theoretical work on metamaterials (invisibility cloaks to you and me). Not only because he thought up an entire new field of physics but he's also a wonderful chap. Updated 9.55am BST The most anticipated Nobel announcement for a long, long time... This is the second Nobel Prize of 2013 and, let’s face it, the most eagerly awaited prize announcement for some time. Has so much ever been written by so many before the award of a prize for physics? The stand-out prediction for this year's Nobel has to be an award for last year’s completion of the Standard Model of particle physics, with the disovery at Cern that the Higgs field is indeed real . But who gets the prize for that? Theoretical physicists François Englert and Peter Higgs are the clear favourites. Englert was first to publish the idea, in 1964, of a field that interacted with fundamental particles and gave them mass; Higgs was the first to point out, merely a few weeks later, the potential existence of the eponymous boson. There are others who did similar work at around the same time, including Tom Kibble, Gerald Guralnik and Carl Richard Hagen. But the prize can only be split a maximum of three ways. Never mind the many thousands of deserving scientists who designed, built and carried out experiments at Cern's Large Hadron Collider. In case you need a quick reminder of the situation, read my colleague Ian Sample’s many , many guides to the headache being faced by the Nobel committee when it comes to the Higgs discovery. The committee at the Royal Swedish Academy of Sciences will put us all out of our misery some time after 10:45am (BST). Watch this space. Updated 9.49am BST The 2012 winners Serge Haroche, a professor at the Collège de France and Ecole Normale Supérieure in Paris, and David J Wineland of the US National Institute of Standards and Technology and the University of Colorado, Boulder, won last year's physics prize . The citation from the Royal Swedish Academy of Sciences said they won “for groundbreaking experimental methods that enable measuring and manipulation of individual quantum systems”. They worked out a way to trap, manipulate and study the fundamental particles of light and matter without destroying them. Their work is a crucial step towards building superfast quantum computers and could lead to ways of measuring time with a hundred times greater precision than is possible using atomic clocks. To prevent yourself from biting your nails clean off while waiting for the 2013 announcement, why not re-live the excitement of last year’s prize announcement here while you wait ? The last time the prize went to scientists working in the UK was in 2010, when Andre Geim and Konstantin Novoselov, both based at the University of Manchester , won the physics prize for their “groundbreaking experiments regarding the two-dimensional material graphene”. Updated Pinterest close Whether or not he wins this year's prize, Peter Higgs has already earned his place in history. But how did a 'hopeless experimenter' – whose original paper was rejected for being of 'no relevance to particle physics' – figure out half a century ago how elementary particles get their masses? And what is a Higgs boson anyway? Video: Guardian Updated 9.41am BST The legacy of the physics Nobel Thanks to the lavish Nobel Prize website , you can read all about the history of the physics prize. It has been awarded since 1901 and winners have included some of the most famous scientists of all time, such as Max Planck, Marie Curie, Niels Bohr, Erwin Schrödinger, Richard Feynman and, leading the fame pack, Albert Einstein. Not a bad group of people to be immortalised alongside. A total of 106 physics prizes have been awarded since their inception and 47 prizes have gone to single recipients. Only two women (Maria Goeppert Mayer and Marie Curie) have ever been awarded this prize and only one person (John Bardeen) has been awarded the prize twice. The youngest laureate ever was 25-year-old Lawrence Bragg, who was awarded the Nobel, together with his father, Sir William Henry Bragg, in 1915. Updated	i don't know
The birth of which Roman goddess is famously the subject of a 1486 painting by Sandro Botticelli ?	Botticelli's Birth of Venus - ItalianRenaissance.org Botticelli’s Birth of Venus Sandro Botticelli, Birth of Venus, c. 1484-86, tempera on canvas Aside from his painting of the Primavera, Sandro Botticelli’s other greatest work, done for the Medici family, is the Birth of Venus. Unfortunately, we do not know for sure which Medici it was painted for, or which location it was originally hung in. Before considering the subject matter, it is important to take note of the medium. This is a work of tempera on canvas. During this time, wood panels were popular surfaces for painting, and they would remain popular through the end of the sixteenth century. Canvas, however, was starting to gain acceptance by painters. It worked well in humid regions, such as Venice, because wooden panels tended to warp in such climates. Canvas also cost less than wood, but it was also considered to be less formal, which made it more appropriate for paintings that would be shown in non-official locations (e.g. countryside villas, rather than urban palaces). The theme of the Birth of Venus was taken from the writings of the ancient poet, Homer. According to the traditional account, after Venus was born, she rode on a seashell and sea foam to the island of Cythera. In the painting we see here, Venus is prominently depicted in the center, born out of the foam as she rides to shore. On the left, the figure of Zephyrus carries the nymph Chloris (alternatively identified as “Aura”) as he blows the wind to guide Venus. On shore, a figure who has been identified as Pomona, or as the goddess of Spring, waits for Venus with mantle in hand. The mantle billows in the wind from Zephyrus’ mouth. The composition is similar in some respects to that of the Primavera. Venus is slightly to the right of center, and she is isolated against the background so no other figures overlap her. She has a slight tilt of the head, and she leans in an awkward contrapposto-like stance. Botticelli paid much attention to her hair and hairstyle, which reflected his interest in the way women wore their long hair in the late fifteenth century. He gave Venus an idealized face which is remarkably free of blemishes, and beautifully shaded her face to distinguish a lighter side and a more shaded side. Of obvious importance in this painting is the nudity of Venus. The depiction of nude women was not something that was normally done in the Middle Ages, with a few exceptions in specific circumstances. For the modeling of this figure, Botticelli turned to an Aphrodite statue, such as the Aphrodite of Cnidos, in which the goddess attempts to cover herself in a gesture of modestly. In painting Venus, Botticelli painted a dark line around the contours of her body. This made it easier to see her bodily forms against the background, and it also emphasized the color of her milky skin. The result of all of this is that Venus almost looks like her flesh is made out of marble, underscoring the sculpturesque nature of her body. Comparison of the Capitoline Venus (after the Aphrodite of Cnidos) with Venus from Botticelli’s “Birth of Venus”. The demand for this type of scene, of course, was humanism, which was alive and well in the court of Lorenzo d’Medici in the 1480s. Here, Renaissance humanism was open not only to the use of a pagan sculpture as a model, but also a pagan narrative for the subject matter. Although the Birth of Venus is not a work which employed Renaissance perspectival innovations, the elegance of the classical subject matter was something that would have intrigued wealthy Florentines who patronized this type of work. However, it would not have appealed to everyone, like those who viewed the worldly behavior of the ruling Medici family as corrupt or vile. By the 1490s, the tension that resulted from the clash between courtly excess and those who wanted religious reform came to a climax when the preacher Savonarola preached his crusade to the people of Florence. One of the people influenced by the preacher was Botticelli, whose change of heart moved him to destroy some of his early painting by fire. ItalianRenaissance.org	VENUS
How many pockets are there on a standard snooker table ?	Birth of Venus by Sandro Botticelli at Uffizi Gallery in Florence Share The Birth of Venus by Botticelli The Birth of Venus is undoubtedly one of the world’s most famous and appreciated works of art. Painted by Sandro Botticelli between 1482 and 1485, it has become a landmark of XV century Italian painting, so rich in meaning and allegorical references to antiquity. The theme comes from Ovid’s Metamorphoses, a very important oeuvre of the Latin literature. Venus is portrayed naked on a shell on the seashore; on her left the winds blow gently caressing her hair with a shower of roses, on her right a handmaid (Ora) waits for the goddess to go closer to dress her shy body. The meadow is sprinkled with violets, symbol of modesty but often used for love potions. We can find clear references to the “Stanzas”, a famous poetic work by Agnolo Poliziano, a contemporary of Botticelli and the greatest Neoplatonic poet of the Medici court. Neoplatonism was a current of thought that tried to connect the Greek and Roman cultural heritage with Christianity. The Neoplatonic philosophical meaning is then clear: the work would mean the birth of love and the spiritual beauty as a driving force of life. The iconography of Venus is certainly derived from the classic theme of Venus Pudica, covering her private parts shyly. In Florence, another important work of art is the translation in sculpture of the same theme: the famous Medici Venus at the Uffizi Gallery. The Medici commissioned the Birth of Venus, including the works Pallas and the Centaur and the Allegory of Spring at the Uffizi, and these belonged to Lorenzo di Pierfrancesco de’ Medici, a cousin of Lorenzo the Magnificent. As Poliziano was a great poet of written verses, so Botticelli was one of the greatest poets of the line and the drawing. It is worth to mention the exceptional technique and the fine materials used to accomplish the work. The Birth of Venus is the first example in Tuscany of a painting on canvas. Moreover the special use of expensive alabaster powder, making the colors even brighter and timeless, is another characteristic that makes this work unique. Behind the interpretation of the painting as a tribute to classic literature, we can certainly read an ode to the wealthy Florentine family who commissioned the work: the beginning of the reign of love finally comes to Florence thanks to the Medici, their diplomatic skills and their vast culture. This way Sandro Botticelli gives the art history one of its most sublime masterpieces. Rooms 10-14 are dedicated to works by Botticelli; you’ll also find his famous Allegory of Spring , or Primavera, in this large room. About Uffizi.org Uffizi.org is a guide written by a team of locals that love Florence and Art! We are not the official site (you can find it at uffizi.beniculturali.it ) nor do we have a direct connection to the Uffizi Gallery museum. Tickets and Tours are sold through third-party travel agencies. How to Book Wide availability of dates for Tickets and Tours Customer service by native English-speaking team Trusted booking partners to ensure high quality service	i don't know
In which city was the International Committee of the Red Cross founded in 1863 ?	The Founding of the Red Cross Movement \| History Today The Founding of the Red Cross Movement Medicine & Disease The great humanitarian organisation was founded on October 29th, 1863. The Battle of Solferino, fought in northern Italy in 1859, was a decisive episode in the struggle for Italian independence, in the birth of the Red Cross movement and in the creation of the Geneva Conventions. The bloody battle between the Austrians and a French-Italian alliance lasted for hours before the Austrians were driven into retreat. The casualties have been estimated at anything from 30,000 to 40,000 men. Thousands of wounded were left on the battlefield, far too many for the victors’ small medical teams to cope with. It happened that a 31-year-old Swiss businessman named Henri Dunant was travelling through the area and was utterly horrified by the battle (which he afterwards said compelled young men to be murderers) and by its aftermath. He helped to organise people from the nearby villages to bring water, food and aid to the wounded, regardless of their nationality. He persuaded the French to release a few captured Austrian doctors to help and he paid for the hasty creation of makeshift hospitals. In 1862 Dunant wrote an account of what he had seen in which he suggested that national armies should have efficiently trained non-combatant volunteers to give help to the wounded of both sides. He also wanted international treaties to guarantee the protection of those involved. He sent copies to important figures all over Europe and he made a strong impression. Dunant came from Geneva, where he had grown up a devout Calvinist with a deep interest in charitable work. In his twenties he engaged in business activities in North Africa and Italy and helped to create the international Young Men’s Christian Association. In 1863 the Public Welfare Association in Geneva set up a five-man committee to consider Dunant’s ideas. Gustave Moynier, the association’s president and a prominent local figure, and Dunant himself were the key members. The committee organised an international conference in Geneva in October to start things moving. Delegates from countries including Austria, France, Great Britain, Italy, the Netherlands, Prussia, Russia, Spain and Sweden attended and on the 29th approved the proposals of the committee of five. This effectively marked the launch of the Red Cross movement. The symbol of a red cross on a white background reversed the Swiss national emblem of a white cross on a red background. Later, in Muslim countries, the Red Cross would become the Red Crescent. In 1864 the Swiss government organised a conference in Geneva at which delegates from European countries as well as the US, Mexico and Brazil signed the first Geneva Convention ‘for the Amelioration of the Condition of the Wounded in Armies in the Field’, which set up rules on the lines Dunant had advocated and would in time be accepted as international law by almost all the countries in the world. In that same year the first Red Cross volunteers in a battle wearing the Red Cross symbol attended an action in Denmark. Dunant had been hugely successful, but the fly in the ointment was that he and Gustave Moynier had come to dislike each other intensely. From 1864 Moynier was president of the committee of five, which would subsequently become the International Committee of the Red Cross. He regarded Dunant as a romantic, impractical idealist and soon forced him out of the movement. Dunant had spent far more time on the Red Cross than on business and in 1867 he went bankrupt, which enabled Moynier to have him expelled from the committee. A warrant was issued for Dunant’s arrest on a charge of fraudulent bankruptcy. He left Geneva and was reduced to living in poverty in various European cities. Although he was awarded the Nobel Peace Prize in 1901, he was an almost forgotten figure when he died in 1910 in a Swiss nursing home at the age of 82. Moynier had died that same year. Meanwhile the Red Cross movement had flourished. Its work began to extend from the military sphere to a far broader range of peacetime disasters and needs. The British Red Cross Society was founded in 1870 and the American National Red Cross Society in the US goes back to 1881. The First World War dramatically increased the need for the organisation and the Nobel Peace Prize was awarded to the International Red Cross Committee in 1917. There are now Red Cross and Red Crescent societies in almost every country in the world, with more than 90 million members, volunteers and staff. Henri Dunant’s reputation has been amply restored and he is now revered as the founding spirit of one of the greatest humanitarian organisations in history.	Geneva
A tiger called Richard Parker appears in which novel by Yann Martel ?	Founding and early years of the ICRC (1863-1914) - ICRC Founding and early years of the ICRC (1863-1914) 12-05-2010 Overview The Red Cross came into being at the initiative of a man named Henry Dunant, who helped wounded soldiers at the battle of Solferino in 1859 and then lobbied political leaders to take more action to protect war victims. His two main ideas were for a treaty that would oblige armies to care of all wounded soldiers and for the creation of national societies that would help the military medical services. Dunant put down his ideas in a campaigning book, A Souvenir of Solferino, published in 1862. The Public Welfare Committee in his home town of Geneva took them up and formed a working group (the embryo ICRC, with Dunant as secretary), which first met in February 1863. The following October, an international conference was convened, to formalize the concept of national societies. The conference also agreed on a standard emblem to identify medical personnel on the battlefield: a red cross on a white background. (The red crescent emblem was adopted by the (Turkish) Ottoman Empire in the 1870s.) In August 1864, delegates from a dozen countries adopted the first Geneva Convention, which put a legal framework around these decisions and made it compulsory for armies to care for all wounded soldiers, whatever side they were on. These developments put the ICRC at the origin of both the International Red Cross and Red Crescent Movement – today grouping the ICRC, the national societies (185 in 2007) and their International Federation – and of modern international humanitarian law: the four Geneva Conventions of 1949 and their three Additional Protocols of 1977 and 2006. At the outset, the ICRC's task was to encourage the creation of national societies (the first was in the German state of Württemberg, in November 1863) and to act as a channel for communication between them. Its first field operation was in 1864, during the war between Germany and Denmark: delegates were sent to work on each side of the front line. This heralded the start of the ICRC's operational role as a neutral intermediary between belligerents. Dunant's ideas found a positive response among leaders and benefactors, welfare groups and the public. In the following years, national societies were established throughout Europe. The Geneva Convention was later adapted to include wounded, sick and shipwrecked in warfare at sea, and governments adopted other laws (such as the Hague Conventions) to protect war victims. At the same time, the ICRC expanded its own work, undertaking new activities such as visiting prisoners of war and transmitting lists of names, so that their families could be reassured. By the end of the 19th century, Henry Dunant – whose vision had helped start the whole process – was living in obscurity in a Swiss mountain village; his business failures had forced him to withdraw from Geneva and from an active role in the Red Cross. But in 1901 he became the first recipient, along with the French pacifist, Frédéric Passy, of the Nobel peace prize. Dunant died in 1910. By then, in Europe, North and South America, Asia and Africa, the Red Cross and the Geneva Conventions had taken root. Both were to be put to a severe test during the First World War.	i don't know
Which was the second James Bond film to star Daniel Craig in the title role ?	Top 10 Daniel Craig Movies - YouTube Top 10 Daniel Craig Movies Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jul 11, 2014 Visit us @ http://alltimebest.co/ Casino Royale Casino Royale is the twenty-first film in the Eon Productions James Bond film series and the first to star Daniel Craig as the fictional MI6 agent James Bond. Wikipedia Skyfall Skyfall is the twenty-third James Bond film produced by Eon Productions. It was distributed by MGM and Sony Pictures Entertainment. Wikipedia Quantum of Solace Quantum of Solace is the twenty-second James Bond film produced by Eon Productions, and is the direct sequel to the 2006 film Casino Royale. Directed by Marc Forster, it features Daniel Craig's second performance as James Bond. Wikipedia Munich Munich is a 2005 drama film based on Operation Wrath of God, the Israeli government's secret retaliation against the Palestine Liberation Organization after the Munich massacre at the 1972 Summer Olympics. Layer Cake Layer Cake is a 2004 British crime thriller produced and directed by Matthew Vaughn, in his directorial debut. The screenplay was adapted by J. J. Connolly from his novel of the same name. Wikipedia Elizabeth Elizabeth is a 1998 biographical film written by Michael Hirst, directed by Shekhar Kapur, and starring Cate Blanchett in the title role of Queen Elizabeth I of England, alongside Geoffrey Rush The Girl with the Dragon Tattoo The Girl with the Dragon Tattoo is a 2011 Swedish-American mystery thriller film based on the novel of the same name by Stieg Larsson. This film adaptation was directed by David Fincher and written by Steven Zaillian. Lara Croft: Tomb Raider Lara Croft: Tomb Raider is a 2001 British-Japanese-German action adventure fantasy film based on the popular Tomb Raider video game series featuring the character Lara Croft portrayed by Angelina Jolie. Wikipedia Road to Perdition Road to Perdition is a 2002 American crime film directed by Sam Mendes. The screenplay was adapted by David Self, from the graphic novel of the same name by Max Allan Collins. The film stars Tom Hanks, Paul Newman, Jude Law, and Daniel Craig. Wikipedia The Power of One	Quantum of Solace
Who was Britain's first female Foreign Secretary and the first female leader of the Labour Party ?	Daniel Craig - James Bond Actors Male Summary Daniel Craig was born in Northwest England and became interested in acting at an early age. He attended the Guildhall School of Music and Drama, which led to many film and TV roles. He worked his reputation up and it payed off. On October 25th, 2005 Daniel Craig became the 6th official James Bond! Biography Introduction Daniel Craig was born in Chester in Northwest England. His mother Olivia was an art teacher, and his father Timothy was a merchant in the navy and later a landlord. Daniel's parents split up when he was 4 and he was moved to Liverpool with his mother and older sister Lea. Olivia often took Daniel to the theatre, which greatly influenced his career choice. When he moved to Hoylake, his academic interest dropped. He was much more focused on acting than with school, and he dropped out at the age of 16 and moved to London. The Start of a Successful Career His mother sent him down to the National Youth Theatre for an audition to Troilus And Cressida was one, where he got the part of Agamemnon. He was later accepted to the Guildhall School of Music and Drama, which he attended from 1988 to 1991. His first appearance on the silver screen was as a minor character in The Power of One in 1992. He also made many minor guest appearances in TV shows, but didn't get a major leading role until 1996, where he played Geordie Peacock in the Our Friends in the North TV series. Daniel was offered a role in the 2001 blockbuster Tomb Raider, starring as Lara Croft (Angelina Jolie)'s rival Alex West. This was his first major exposure to international audiences. He went onto star in other films such as The Mother and Sylvia, both in 2002. Probably his biggest success prior to James Bond, was his role in Steven Spielberg's Munich, a film about a real 1972 massacre of Olympic athletes. He starred in a few other successful films, but nothing that would compare to his next role... The Name's Bond, James Bond In early 2005, rumours were spreading about who the next James Bond would be and Daniel Craig was on all the lists. In April 2005, it was rumoured that Daniel had signed a contract, but that was incorrect. It was in fact six months later, on October 25th, that Daniel signed a three movie contract with them. The hiring was extremely controversial, with many so-called fans attempting to boycott the upcoming film, hating the "blond-bond", even going as far as creating websites against him. It should be noted however that the websites against him were poorly made, while the sites supporting him were professional in both design and content. Daniel continued to endure a bad reception, so much so that previous Bond actors Sean Connery, Roger Moore, Timothy Dalton and Pierce Brosnan all came forward to express their support for him. When Casino Royale was released on November 14th, 2006, the publics opinion of him changed drastically, and both the film and Daniel Craig became instant hits. Daniel returned for his second outing as Bond in 2008's Quantum of Solace, which was one of the highest grossing Bond films in America to date. He is currently filming for the upcoming "Bond 23" film, Skyfall , which is being directed by Sam Mendes , and is slated for release in late 2012. Roles in James Bond Movies Quantum of Solace (2008) as James Bond Skyfall (2012) as James Bond Images	i don't know
In Virgil's Aeneid, who was the Queen of Carthage who fell in love with Aeneas?	SparkNotes: The Aeneid: Book IV The Aeneid page 1 of 2 Summary The flame of love for Aeneas that Cupid has lit in Dido’s heart only grows while she listens to his sorrowful tale. She hesitates, though, because after the death of her husband, Sychaeus, she swore that she would never marry again. On the other hand, as her sister Anna counsels her, by marrying Aeneas she would increase the might of Carthage, because many Trojan warriors follow Aeneas. For the moment, consumed by love, Dido allows the work of city building to fall by the wayside. Juno sees Dido’s love for Aeneas as a way to keep Aeneas from going to Italy. Pretending to make a peace offering, Juno suggests to Venus that they find a way to get Dido and Aeneas alone together. If they marry, Juno suggests, the Trojans and the Tyrians would be at peace, and she and Venus would end their feud. Venus knows Juno is just trying to keep the Trojans from Italy but allows Juno to go ahead anyway. One day when Dido, her court, and Aeneas are out hunting, Juno brings a storm down upon them to send the group scrambling for shelter and arranges for Aeneas and Dido to wind up in a cave by themselves. They make love in the cave and live openly as lovers when they return to Carthage. Dido considers them to be married though the union has yet to be consecrated in ceremony. Anxious rumors spread that Dido and Aeneas have surrendered themselves entirely to lust and have begun to neglect their responsibilities as rulers. When Jupiter learns of Dido and Aeneas’s affair, he dispatches Mercury to Carthage to remind Aeneas that his destiny lies elsewhere and that he must leave for Italy. This message shocks Aeneas—he must obey, but he does not know how to tell Dido of his departure. He tries to prepare his fleet to set sail in secret, but the queen suspects his ploy and confronts him. In a rage, she insults him and accuses him of stealing her honor. While Aeneas pities her, he maintains that he has no choice but to follow the will of the gods: “I sail for Italy not of my own free will” (IV.499). As a last effort, Dido sends Anna to try to persuade the Trojan hero to stay, but to no avail. Dido writhes between fierce love and bitter anger. Suddenly, she appears calm and instructs Anna to build a great fire in the courtyard. There, Dido says, she can rid Aeneas from her mind by burning all the clothes and weapons he has left behind and even the bed they slept on. Anna obeys, not realizing that Dido is in fact planning her own death—by making the fire her own funeral pyre. As night falls, Dido’s grief leaves her sleepless. Aeneas does sleep, but in his dreams, Mercury visits him again to tell him that he has delayed too long already and must leave at once. Aeneas awakens and calls his men to the ships, and they set sail. Dido sees the fleet leaving and falls into her final despair. She can no longer bear to live. Running out to the courtyard, she climbs upon the pyre and unsheathes a sword Aeneas has left behind. She throws herself upon the blade and with her last words curses her absent lover. As Anna and the servants run up to the dying queen, Juno takes pity on Dido and ends her suffering and her life. 1	Dido
What nickname were the British Parachute Regiment given by the Germans during the Second World War ?	Virgil Study Guide WORLD LITERATURE I (ENG 251) Virgil Study Guide Dr. Diane Thompson, NVCC , ELI VIRGIL'S LIFE -- (70-19 BC) -- A First Century Roman Citizen Not much is known about Virgil's life. He was born in 70 BC and raised in a rural area near Mantua, Italy; he was well educated; his family farm was seized as a political spoil. From his thirty-first year on, Virgil lived either in Rome or near Naples, associated with his patron, Maecenas, Octavian's minister of internal affairs. Virgil was a court poet, whose well-being depended on pleasing powerful members of the ruling class. He evidently did this quite well, since Maecenas and other wealthy patrons supported him financially, allowing him to spend his life writing poetry. VIRGIL'S LATIN A brief example of Virgil's Latin from the opening sentence of the Aeneid shows how the words are arranged more like a mosaic than in the linear fashion we are used to nowadays: Arma virumque cano, Troiae qui primus ab oris ARMS THE MAN AND I SING, OF TROY WHO FIRST FROM COASTS Italiam fato profugus Laviniaque venit TO ITALY BY FATE EXILED LAVINIAN AND CAME litora SHORES Or, in normal English word order: Arms I sing and the man who first from the coasts of Troy, exiled by fate, came to Italy and Lavinian shores. In the Latin original, each word has a meaning that may not become clear until several more words have been read. This is an elegant, complex, literary language that does not end itself to translation. ROMAN DEITIES IN THE AENEID (and their Greek parallels, if any) Allecto a Fury who instills the poison of irrational rage into her victims, especially Amata and Turnus Apollo (same name in Greek) sun god; son of Jupiter and Latona; the god of prophecy; brother of Diana Cupid (Eros) son of Venus Diana (Artemis) goddess of the moon, the hunt and the woods; daughter of Jupiter and Latona; sister of Apollo Iris rainbow goddess; Juno's messenger Juno (Hera) wife and sister of Jupiter; daughter of Saturn; god of marriage; chief goddess of Carthage; hates Trojans because of Judgment of Paris Jupiter (Zeus) chief deity; husband and brother of Juno; son of Saturn Lares household, hearth-centered, ancestral gods, which Aeneas brings along with the Penates from Troy to Italy; these, along with the Penates, are small enough for Anchises to carry while Aeneas carries him Penates household gods or gods of the state; Aeneas brings the Trojan state gods with him from Troy to Italy Mars (Ares) god of war; son of Jupiter Mercury (Athena)-goddess of wisdom, battle and household arts such as weaving Neptune (Poseidon) god of the sea; brother of Jupiter; helped build the walls of Troy, but King Laomedon, Priam's father, refused to pay him, so he became an enemy of Troy Saturn (Chronos) previous chief god; father of Jupiter, who deposed him Venus (Aphrodite) mother of Aeneas and of Cupid; goddess of love; she constantly worries about her son Aeneas, despite Jupiter's assurances that he will be fine Vulcan GREEK CHARACTERS IN THE AENEID: (few and nasty) Pyrrhus son of Achilles, also named Neoptolemus; during the destruction of Troy, he killed a son of Priam and Hecuba in front of their eyes, and then killed Priam at his own altar; he also captured their daughter Andromache, Hector's widow, as his concubine Sinon a deceitful Greek who pretended to flee from the Greeks to the Trojans, told lying tales about the Trojan Horse and how, if it were taken into Troy, Troy could not be taken; he then released the soldiers from inside the Trojan Horse to destroy Troy Ulysses (Odysseus)- the treacherous fellow who devised the Trojan Horse that destroyed Troy; a brilliant, cruel, self-seeking manipulator TROJAN CHARACTERS IN THE AENEID: Aeneas Trojan prince, son of Venus and Anchises, father of Ascanius, lover of Dido, ancestor of the Roman people Anchises Aeneas' father; carried by Aeneas from fallen Troy Andromache widow of Hector, captured at fall of Troy by Pyrrhus; eventually married Helenus Ascanius (also Iulus) son of Aeneas and Creusa Camilla female warrior, ally of Turnus in Latium Creusa Aeneas' wife who dies during the flight out of Troy Euryalus Trojan warrior; friend of Nisus; killed during a brave sortie with Nisus after killing many Latin enemies; Nisus and Euryalus became a model of loyal, brave friendship Hecuba queen of Troy, wife of Priam Helenus a son of Priam; a prophet; eventually married the widowed Andromache and became king in Epirus Laocoon Trojan priest; tried to warn the Trojans about the Trojan horse by thrusting a spear against it; killed by serpents Nisus Trojan warrior; friend of Euryalus; killed during a brave sortie with Euryalus after killing many Latin enemies Priam king of Troy; killed by Pyrrhus Polydorus Trojan who was treacherously killed by the king of Thrace; buried under a bush which bled when Aeneas tried to tear off a branch; his ghost warns Aeneas to flee from Thrace TYRIAN CHARACTERS IN THE AENEID: Anna Dido's sister; encouraged Dido in her affair with Aeneas Dido queen and founder of Carthage, widow of Sychaeus; falls in love with Aeneas; kills herself when he leaves; also called Elissa Sychaeus OTHER CHARACTERS IN THE AENEID ( in Italy): Amata queen of Latium; wife of Latinus; mother of Lavinia; wanted Turnus to marry Lavinia Evander a good Greek; Aeneas' ally; founder of Pallanteum; father of Pallas Latinus king of Latium, husband of Amata, father of Lavinia Lavinia daughter of Amata and Latinus; loved by Turnus; destined to be Aeneas' wife to join the two warring peoples (Trojans and Latins) in peace Pallas young warrior, son of Evander, ally of Aeneas, killed by Turnus Sibyl Apollo's priestess; guides Aeneas into the Underworld where he meets his dead father and learns the future of the Roman race Turnus king of the Rutulians; heads opposition to Aeneas in Italy; wants to marry Lavinia; kills Pallas; killed by Aeneas top THE STORY Virgil deliberately patterned the Aeneid on the Odyssey and the Iliad. The first half of the Aeneid (books 1-6) adapts the plot of the Odyssey: the fall of Troy, hostile gods, lengthy wandering, woman troubles, the underworld, seeking home. The second half (books 7-12) mirrors the wrath and warfare of the Iliad. Book 1: Aeneas, a prince of Troy is struggling to find his ancestral homeland, but Juno opposes him. She hates the Trojans because of the Judgment of Paris, which insulted her beauty, the theft of Helen, which violated Juno's position as the goddess of marriage, and the future fall of Carthage, her favorite city. After seven years of confused wandering, Aeneas has gotten near his goal of Italy, but Juno interferes. She arranges for a storm to drive him toward North Africa and Carthage. Dido, founder and queen of Carthage welcomes Aeneas and his companions. Although Jupiter assures Venus that her son Aeneas will prevail and found the Latin race in Italy, Venus is a worrier, so she sends Cupid to poison Dido with love for Aeneas, so she will not harm him. Book 2: Dido is gracious to Aeneas and his companions and interested in the story of the fall of Troy. Aeneas tells her how the Greeks created the deception of the Trojan Horse and how the gods confused the Trojans when a priest, Laocoon, struck the Trojan Horse with his staff and was promptly devoured by serpents. A treacherous Greek, Sinon, released the Greeks from the Horse, now inside the city of Troy, and the slaughter began. Aeneas relates the final battle, and his furious fighting until his mother Venus revealed to him that the gods themselves were destroying Troy and instructed him to leave Troy with his father (Anchises), son (Ascanius) and the household gods of his family and of Troy. While fleeing Troy, Creusa, Aeneas' wife was parted from them and killed. Book 3: Aeneas tells Dido how his band of Trojans searched for a new Troy. First they went to Thrace where they encountered the Trojan Polydorus in the form of a bleeding bush that warns them of treachery. They perform funeral rites for Polydorus and quickly leave Thrace. Next they travel to an island where a prophetic voice advises them to "seek out your ancient mother." However, they don't know for sure where that is. Anchises thinks it's Crete, where they try to found a city, but soon they start dying of pestilence. The household gods appear to Aeneas to tell him that Italy is their true ancient mother. Then they encounter the horrid Harpies in the Strophades. Caelano, a Harpy prophetess of sorts, warns them that when they get to Italy, they'll be so hungry they'll eat their plates. Next they land at Actium in N.W. Greece, where they hold Trojan Games. After this, they sail to Buthrotrum, where the Trojan Helenus, Apollo's priest, directs them to Italy, but first Aeneas must go to the Cumaean Sybil and the Underworld. They safely pass through the Sicilian Ulyssesland: Cyclop's island, Skylla and Charybdis. But before they can reach their goal of Italy, Anchises dies and then the storm, concocted by Juno, drives them to Africa. So here they are in Carthage. Book 4: The Dido Affair. Dido had been married to a Tyrian, Sychaeus, who was treacherously killed by her brother. Dido fled Tyre with a band of followers and came to North Africa, where she acquired land to found the city of Carthage. Poisoned by Cupid, Dido fell madly in love with Aeneas, which conflicted with her vow to her dead husband Sychaeus to remain faithful to him. Juno and Venus cooperate, each thinking to further her own cause. Juno wants to keep Aeneas from founding Rome, which will eventually conquer Carthage; Venus wants to keep her son safe from Dido's potential treachery. So, Juno and Venus set up the "marriage." Dido and Aeneas are out hunting, there is a storm, they seek refuge in a cave. Here they mate, while Juno sets off lightning and nymphs cry out. Dido calls it marriage; Aeneas does not. The lovers are negligent of their duties; Dido ceases working on her city; Aeneas forgets his destiny. Finally, Jupiter sends Mercury to chide Aeneas about his neglected duty to his son and their future descendants in Italy. Immediately dutiful to the will of the gods and Destiny, Aeneas secretly arranges his departure. When Dido discovers that he is leaving, she begs him to stay. He cannot, will not, so she raves and rages, curses the Trojans and kills herself on a pyre heaped with Aeneas' belongings and items of witchcraft. Meanwhile, Aeneas and the other Trojans are in their boats sailing away. Book 5: This book is the prelude to the world of the dead. First, Aeneas goes back to Sicily where he arranges Memorial Games for Anchises, who has been dead for a year. Here, Aeneas displays his skills as a leader, carrying out rituals, presiding at the games, encouraging his men, restraining anger, preventing injuries. Meanwhile, Juno has been biding her time. She sends her messenger, Iris, to inflame the Trojan women with fury, encouraging them to burn the Trojan ships so they will not have to travel any further. A torrential rain saves all but four of the ships. Aeneas leaves the reluctant behind; the remaining Trojans continue on toward Italy and the underworld Book 6: The Cumaean Sibyl gives prophecies about Aeneas' future in Italy and leads Aeneas into the underworld. Unlike Homer's dim and wretched Hades, Virgil's Hades is a place of remediation and rebirth, where the lifetime deeds of the dead are examined and judged. They are chastised, as need be, punished and purged until they are purified. Then these cleansed souls can wander happily in Elysium, the groves of blessedness, until after a thousand years it is time to be reborn. Aeneas meets the shade of his father Anchises in Elysium, where Anchises tells him about the World Soul and rebirth, and shows Aeneas a procession of his descendants over twelve centuries, culminating in Augustus. Aeneas now knows his Destiny--to found the Roman people. top The second half of the Aeneid, Books 7-12, tells the story of the escalating wrath inspired by Juno that forces Aeneas to go to war in Italy. Book 7: Aeneas finally arrives in Latium, where he is welcomed by King Latinus, whose only child is Lavinia. A powerful neighbor, Turnus, King of the Rutulians, wants to marry Lavinia, but omens and oracles have foretold that a stranger would become her husband, so Latinus is willing to marry his daughter Lavinia to Aeneas. Juno is not ready to give up her struggle against Destiny, although she knows she cannot win. She fetches the Fury Allecto from the underworld and urges her to stir the Latins into frenzy. Allecto instills poisonous rage into Amata, Lavinia's mother and into Turnus, Lavinia's suitor. Then she sets up Ascanius (Iulus) to shoot a pet deer belonging to Sylvia, a local peasant girl; Allecto blows her hellish horn, stimulating the local farmers to attack the Trojans. Latinus tries to avoid the conflict, but Juno opens gates of war. Lines of alliance are drawn and the troops start to gather. Book 8: Aeneas travels to the king of the Arcadians, Evander, seeking alliance. Evander welcomes him, introduces him to the ancient rural piety of the region, and offers Aeneas troops led by his own son Pallas. Meanwhile, Venus persuades her husband Vulcan to make new armor for Aeneas. The shield portrays critical moments when Rome was saved. At the center of the shield is the Battle of Actium. As in the underworld, where the procession of descendants leads from Aeneas to Octavian, the shield connects the beginning of Roman history in Aeneas to its culmination in Octavian's decisive battle at Actium that finalized the Augustan peace. Book 9: Here, the battle goes on at Trojan Camp; Aeneas has not yet returned from seeking alliances. Two best friends, Nisus and Euryalus, foray into the sleeping enemy camp and slaughter many before being killed themselves. Ascanius gets his first real taste of battle and kills his first man, Numanus. Turnus gets into the Trojan stockade and rages furiously, slaughtering men. Finally the Trojans rally and Turnus, exhausted, jumps into the river and escapes. Book 10: Jupiter wants peace, but Juno and Venus are still bickering, so he lets the battle continue, since "the Fates will find their way." Finally Aeneas returns with numerous allies. Turnus and Aeneas both rage in battle. Pallas fights bravely, but is finally killed by Turnus, who strips off Pallas' heavy decorated belt as a trophy. Juno recognizes by now that it's about over, but begs Jupiter to let her spare Turnus' life for a little while. He agrees and Juno fashions a phantom resembling Aeneas which lures Turnus out of the battle onto a ship which then drifts away carrying the bewildered Turnus to safety while the battle continues without him. Book 11: Aeneas learns that Pallas has died, and he prepares to send him back to his father for his funeral. Both sides bury their dead. The Latins hold a quarrelsome council over whether or not to sue for peace. King Latinus wants to make peace and share his land and rule with the Trojans. Turnus is in favor of continuing the war, which resumes. Camilla, a woman warrior ally of Turnus, enters the fray, fights bravely, and is killed. Book 12: Turnus challenges Aeneas to a duel that will settle the war. Meanwhile, Juno tells the nymph Juturna, Turnus' sister, to help him if she can, because Turnus is no match for Aeneas in single combat. Juturna provokes the Latins into general battle. Aeneas seeks Turnus, but Juturna, disguised as Turnus' charioteer, races around, not letting Turnus stop and fight. Aeneas is now furious. He starts to burn down King Latinus' city, to root out the resistance once and for all. Queen Amata hangs herself. Turnus tells his sister to stop interfering, because fate has won, and he wants to fight Aeneas honorably before he dies. Turnus and Aeneas begin to duel, and Jupiter holds up his scales to confirm their fates. Turnus' sword breaks; he panics and runs away, Aeneas pursuing. However, gods are still interfering. Juturna hands the fleeing Turnus a sword, while Venus pulls Aeneas' spear free from a tree it had lodged in. Jupiter is fed up by now and confronts Juno, who finally gives up, asking only that the ensuing people be called Latins and the Trojans lose their identity. Jupiter agrees to create a single Latin race from the two warring peoples. Jupiter sends two Furies to chase Juturna away from Turnus, and Aeneas throws his spear, wounding Turnus. Turnus begs for his life, but Aeneas sees the belt of dead Pallas on Turnus and, enraged, kills Turnus. End of story. top AENEAS--A NEW KIND OF HERO Aeneas' dominant trait is piety. Piety for Aeneas did not mean faith so much as obedience and careful attention to the will of the gods, especially Jupiter, so that he could do the right thing in the right way. This piety expressed itself in right relations to the gods, to ones family, and to the state, as well as in carrying out rituals in a correct, thoughtful manner. Aeneas is: Pious Aeneas carries his household gods from Troy to Italy; he holds Memorial Games for Anchises; he immediately obeys Mercury's message to leave Dido. Steadfast top THE DIDO PROBLEM:: Passion and Politics Dido is not just a nice lady who has hard luck with love. Not only does Virgil explain that Cupid poisons Dido with love, but he also gives us plenty of hints about Dido's potential for danger to Aeneas, such as her fury when she is about to kill herself: And could I not have dragged his body off, and scattered him piecemeal upon the waters, limb by limb? Or butchered all his comrades, even served Ascanius himself as banquet dish upon his father's table? [IV 826] This sinister echo of how Atreus fed Thyestes' children to him does not suggest that poor Dido is merely upset over her disappearing lover. Indeed, Dido's funeral pyre itself is chock full of elements of witchcraft, not approved practice in Roman court circles. However, Virgil also portrays Dido's love for Aeneas with such sympathy that readers appreciate her love, hate Aeneas for leaving her, and mostly ignore the negative undertone. Dido is largely modelled on two ancient, very bad women--Cleopatra and Medea in the Argonautica of Apollonius Rhodius. Cleopatra was the Egyptian queen who fought alongside Roman Mark Antony against Octavian at the Battle of Actium. Virgil presents her as the epitome of the decadent, treacherous Orient (as opposed to the noble Roman West). She and Antony are part of the center of the shield of Aeneas, with their barbarian troops and barbaric gods, opposing the true leaders of Rome and the household gods brought to Italy by Aeneas. At one level, Aeneas' affair with Dido is the crossing point--he has left the Orient (Troy), and is delayed by one last Oriental experience (decadent passion), before going forth to become the Latin ancestor of the Roman people. Medea, in the Argonautica, fell quickly and madly in love with Jason and betrayed her father to please Jason, helping him through trickery and witchcraft to acquire the Golden Fleece. Afraid of her father's anger, Medea ran off with Jason; she also lured her half-brother Apsyrtus to Jason who killed him. This was just part of her notorious career as a passionate woman and a witch. A Roman reader would have recognized unpleasant echoes of Medea in Virgil's Dido. top OTHER NEGATIVE PASSIONATE CHARACTERS The other passionate characters in the Aeneid are mostly deplorable. The list is headed by the raging goddess Juno and the raging warrior Turnus. It includes the Harpies, Allecto, Amata, the Trojan Women burning their ships, and the Latins in general when in battle frenzy. Even Aeneas is touched by passionate fury twice: during the sack of Troy and during the battle in Latium, especially at the final moment when he kills Turnus. Passion spreads like a virus. Venus uses Cupid to infect Dido with the passion of love. Juno uses Allecto to infect Amata, Turnus and the Latin masses with the passion for war. In every case except for, perhaps, Aeneas' final passionate killing of Turnus, passion opposes the will of Jupiter, Destiny and Fate. This alone shows us how little Virgil approved of such intense emotion. top GODS, THE WILL OF JUPITER, DESTINY/FATE Jupiter knows and affirms fate. But there is also Destiny, the notion that there is a necessary future to strive towards. This is the fate that Jupiter upholds, a pattern that is not a simple working out of conflicts. Juno and Venus act in opposition to the necessary path of the fates. They know perfectly well what must come to pass, because Jupiter tells them, but each has her own passionate agenda, one the irrational, intense love of a mother for her son, the other raw frenzied hatred of the Trojans whose descendants will destroy Carthage. They must both lose, but gracefully, as goddesses lose, finally accepting the will of Jupiter. Similarly, on a human level, Dido, Amata and Turnus resist the fates, acting counter to the will of Jupiter. They must be destroyed, just as Octavian destroyed Antony and Cleopatra. Aeneas, who spends his life trying to do what he should, not only has many painfully confusing experiences as he misinterprets omens and follows wrong leads, but his final cooperation with fate leads him to relinquish every shred of personal happiness. He lost his beloved wife, his city, almost everything he cared about at Troy. He left his comfortable liaison with Dido. He will marry a woman he does not choose, whose people he has slaughtered; he will create the foundation for the next twelve hundred years of Roman history, but die still outside the promised land of Rome.	i don't know
Telly Savalas played the role of Ernst Stavro Blofeld in which James Bond film?	Telly Savalas - Phantis Telly Savalas Jump to: navigation , search Telly Savalas Telly Savalas ( January 21 , 1924 – January 22 , 1994 ) was a Greek-American film and television actor who fathered 8 children. He was nominated for an Oscar in 1963 in his first starring movie, Birdman of Alcatraz. He was also best known for his work on the Kojak television series, and for playing Ernst Stavro Blofeld in the James Bond film On Her Majesty's Secret Service. Contents 10 External links Early life He was the second oldest of five children born to Christina Savalas, who was a New York City artist, and Nick Savalas, a Greek restaurant owner, as Aristotelis Savalas in Garden City, New York. He had his first job at age 8 in 1932 , as a newspaper boy, while he constructed a shoeshine stand made of crates. When he entered Sewanhaka High School in Floral Park, New York, he initially only spoke Greek , yet he learned English and graduated in 1942 . Telly Savalas gained life experience with a three-year stint in the Army during WWII , working for the U.S. State Department hosting the "Your Voice of America" series and then at ABC News before beginning an acting career in his late 30s. Pre- and early television work As first, executive director and then senior director of news special events at ABC, Savalas became an executive producer for the "Gillette calvalcade of Sports", where he gave Howard Cosell his first job. Savalas first acted on the TV show Armstrong Circle Theater ( 1959 ) and then on the series "The Witness" as Lucky Luciano, where actor Burt Lancaster "discovered" him. Savalas was cast opposite Lancaster's idealistic D.A. in the melodrama The Young Savages ( 1961 ). He moved on to play a string of heavies, winning acclaim and an Oscar nomination for Best Supporting Actor for his performance as the sadistic Feto Gomez in Birdman of Alcatraz ( 1962 ). After portraying Pontius Pilate in The Greatest Story Ever Told ( 1965 ), he chose to remain completely bald and this signature look, somewhere between the comic and the ominous, stood him in good stead in the years that followed. Savalas was memorable in The Dirty Dozen ( 1967 ), the seminal ensemble action film by director Robert Aldrich, and reappeared as a different character in two TV movie reprisals. He also appeared as star in two classics, Kelly's Heroes ( 1970 ), and The Scalphunters ( 1968 ), a western that revealed the absurdity of racism during the Civil Rights movement. His career was transformed with the lead role in the celebrated TV-movie The Marcus Nelson Murders (CBS, 1973 ) where the pop culture icon of Theo Kojak was born. Savalas polished his hard-boiled image to a brilliant sheen over the long run of Kojak (CBS, 1973 - 1978 ). During those years, he co-bought racehorse Telly's Pop, recorded many albums, including "Telly" (1974) and "Who Loves Ya, Baby" (1976) and directed and wrote the film Beyond Reason ( 1977 ). After the very popular series ended, Savalas reprised the Kojak persona in several Kojak-based TV-movies, furthering his public canonization. One of Savalas' brothers, George Savalas (known professionally for a time simply as 'Demosthenes') played the character 'Stavros', a sensitive , wild-haired, quiet, comedic foil to Kojak's street-wise humor in an otherwise dark dramatic TV series. Life after Kojak Throughout his life, Telly Savalas was a charismatic leader, creative writer, director, and producer. He won the Emmy, the Peabody, and Golden Globe Awards. In 1990, the city of New York declared "The Marcus-Nelson Murders" as the official movie of New York City, and awarded Telly with the Key to the City. He was also a strong contributor to his Greek Orthodox roots through the Saint Sophia and Saint Nicholas cathedrals in Los Angeles and was the sponsor of bringing electricity in the '70's to his ancestral home, Yeraka , Laconia , Greece . His mother, Christina, was a world recognized contemporary of Picasso, and he himself released several records, the most remembered was his version of "If", that was #1 in Europe for 10 weeks in 1975. Many people do not know that Telly was a world-class poker player, degreed in psychology; a motorcycle racer, and lifeguard. He appeared in over 80 movies. In his capacity as Producer for "Kojak", he gave many stars their first break, as Burt Lancaster did for him. He was considered by those who knew him a generous, graceful, compassionate man. Character actor Prior to being a successful movie star on the big screen, Savalas became one of the most charismatic and beloved character actors of all time during the late 1950s and the 1960s , where he made his very first guest-starring role on an episode of Armstrong Circle Theater, in fact, he appeared on the show, twice. He also made 54 more guest-appearances between 1959 - 1967 in most of these shows, Naked City, King of Diamonds, The Aquanauts, The Untouchables, Burke's Law, The Fugitive, Bonanza, The Man from U.N.C.L.E., The F.B.I., among many others. He also had a recurring role as Brother Hendrickson on the popular crime drama series, 77 Sunset Strip, as his career already launched. Acting career On the cover of Newsweek magazine as Kojak Kojak Undoubtedly Savalas' most famous role was that of the tough detective Kojak on television. Lt. Theo Kojak was a bald New York City detective who had a fondness for lollipops and whose trademark line was, "Who loves ya, baby?" Reportedly the lollipop gimmick was added in lieu of having the character smoke, a habit that fell out of vogue among TV series in the 1970s. He was nominated for an Emmy Award for Outstanding Lead Actor in a Drama series, two years in a row, but won the Emmy in 1974. He was also nominated for Golden Globes, four times in a year, and won between 1975 and 1976. In 1974 , prior to starring on Kojak, he also became a singer. In 1978, after a 5 season run on the air, CBS has decided to cancel the show due to low ratings. Telly portrayed Kojak in the following shows; The Marcus-Nelson Murders (1973) (TV) The pilot for the Kojak TV series. Kojak (1973–78) TV Series Kojak: The Belarus File (1985) (TV) Kojak: The Price of Justice (1987) (TV) Kojak: Ariana (1989) (TV) Kojak: Fatal Flaw (1989) (TV) Kojak: None So Blind (1990) (TV) Kojak: It's Always Something (1990) (TV) Kojak: Flowers for Matty (1990) (TV) Telly's brother George played the recurring role of Detective Stavros. Newcomer from the Jackson Heights, Queens, Kevin Dobson, played the role of Kojak's trusted partner, Det. Bobby Crocker, and would be capable of helping out bad guys in and on the scene with Savalas. The on-screen chemistry of both Savalas & Dobson would become a instant success of the 1970s , and had the best relationship together, especially when the show was cancelled. For most of the 16 years (after Kojak), Telly's co-star (Kevin Dobson) have been keeping the actor in touch prior to Dobson starring in a short-lived series in 1981 , just before he gained famed in a prime time 1980s , soap opera, Knots Landing, the following year, and before Savalas's own death. Soon, both Savalas & Dobson would later be reunited for one last time in the 1990 movie Kojak: It's Always Something where Kevin's character played a lawyer, instead of a police officer. Telly Savalas with wife Sally Adams to his left, and Rika Dialyna to his right Personal life Savalas was married 3 times. In 1948 , he married his college sweetheart, Katherine Nicolaides, right after his father's death from bladder cancer. They produced a daughter, Christina (named after his mother), (born 1950). After Katherine had found out from Telly that he was fleeing from debtors, she filed a divorce from Savalas in 1957 and urged him to move back to his parents' house, that same year. While Savalas was going broke, he founded the Garden City Theater Center in his native Garden City, New York, area. When he was working with future actors, Marilyn Gardner, a theater teacher, met and fell in love with Savalas, and the couple got married in 1960. The following year, she gave birth to a daughter, Candace (born 1961) and to Penelope in 1963. In 1969, when working on the movie On Her Majesty's Secret Service, Savalas had to make a choice between the family he loved or another woman, (Sally Adams), he left his family behind him. He met Adams in England while on vacation starring in that movie, and just several years later, after she gave birth to Nick (born 1973 ), Gardner filed a divorced from Savalas in 1974. His stepdaughter, (Adams' daughter, Nicollette Sheridan of Knots Landing and Desperate Housewives fame, born November 21 , 1963 ) is an actress, and his goddaughter, (Jennifer Aniston of Friends fame, born February 11 , 1969 ), is also an actress. In 1977 , he met Julie Hovland, who was a travel agent from Minnesota, on his last working days of Kojak and the 2 started dating. By the time he got to be 60, he married her, and had 2 more kids, Christian & Ariana. Relatives's death and his own last days After Savalas came back to reprise his role on Kojak in the 1980s , he started losing close relatives. George Savalas , his brother died in 1985 of leukemia; he was 58. And 4 years later, Christina, his mother who had always been his best friend, a supporter, and a devoted parent, died in 1989 . Later that year, Savalas was diagnosed with prostate cancer. He refused to see a doctor until 1993 , when he didn't have much time to live. While fighting for his life , he continued to star in many roles, including a recurring role on The Commish. On January 21, 1994, Savalas celebrated his 70th (and last) birthday, surrounded by his family and his friends. The following day, on January 22 , 1994 , Savalas died of complications of prostate cancer at the Sheraton-Universal Hotel in Universal City, California. He was interred at the George Washington section of Forest Lawn Memorial Park in Los Angeles, California. A portion of content for this article is credited to Wikipedia . Content under GNU Free Documentation License(GFDL) Movie roles His silver screen career usually involved him being cast as the quintessential villain in such films as: Mad Dog Coll (1961), Cape Fear (1962), Birdman of Alcatraz (1962), The Man from the Diner's Club (1963)The Greatest Story Ever Told (1965), Battle of the Bulge (1965), Genghis Khan (1965), Beau Geste]] (1966), The Dirty Dozen (1967), The Scalphunters (1968), The Assassination Bureau (1969), On Her Majesty's Secret Service (1969), Land Raiders (1969), Crooks and Coronets (1969), MacKenna's Gold (1969), Kelly's Heroes (1970), Violent City (1970), A Town Called Hell (1971), Pancho Villa (1972), Scenes from a Murder (1972), Horror Express (1973), Lisa and the Devil (1973), A Reason to Live, A Reason to Die (1973), Inside Out (1975), Escape to Athena (1979), and Beyond the Poseidon Adventure (1979). Other movie roles that Savalas didn't play the quintessential villains were: Love is a Ball (1963), The New Interns (1964), The Slender Thread (1965), Sol Madrid (1968), Buona Sera, Mrs. Campbell (1968), and Pretty Maids All in a Row (1971). Quotes by Telly "We're all born bald, baby." External links	On Her Majesty's Secret Service
Which capital city was planned by Pierre l'Enfant in the 1790s ?	Ernst Stavro Blofeld \| James Bond Wiki \| Fandom powered by Wikia Share Donald Pleasence as Blofeld in You Only Live Twice (1967). Ernst Stavro Blofeld is a fictional character and a supervillain from the James Bond series of novels and films, who was created by Ian Fleming and Kevin McClory. An evil genius with aspirations of world domination, he is the archenemy of the British Secret Service agent James Bond and is head of the global criminal organisation SPECTRE . He was played on screen by Donald Pleasence , Telly Savalas , Charles Gray , Max von Sydow and Christoph Waltz , among others. Blofeld initially appeared in six James Bond films from Eon Productions: From Russia with Love (1963), Thunderball (1965), You Only Live Twice (1967), On Her Majesty's Secret Service (1969), Diamonds Are Forever (1971) and For Your Eyes Only (1981) (the pre-title sequence of which marks his final appearance and the death of this version of the character). Blofeld also appears in Never Say Never Again , the 1983 Warner Brothers remake of Thunderball. An updated version of the character made his return to the Eon series in the 2015 film SPECTRE .	i don't know
Which geological era, spanning the massive time-period between 245 million and 65 million years ago, is divided into three periods named the Triassic, the Jurassic and the Cretaceous ?	The Mesozoic Era Online exhibits : Geologic time scale The Mesozoic Era The Mesozoic Era is divided into three time periods: the Triassic (251-199.6 million years ago), the Jurassic (199.6-145.5 million years ago), and the Cretaceous (145.5-65.5 million years ago).* The dark band in this photo (indicated by the arrow) of the Hell Creek Formation in Montana is known as the z-coal, a coal layer that marks the approximate boundary between Cretaceous (below) and Tertiary (above) age rocks. Mesozoic means "middle animals," and is the time during which the world fauna changed drastically from that which had been seen in the Paleozoic. Dinosaurs , which are perhaps the most popular organisms of the Mesozoic, evolved in the Triassic, but were not very diverse until the Jurassic. Except for birds, dinosaurs became extinct at the end of the Cretaceous. Some of the last dinosaurs to have lived are found in the late Cretaceous deposits of Montana in the United States. The Mesozoic was also a time of great change in the terrestrial vegetation. The early Mesozoic was dominated by ferns, cycads, ginkgophytes, bennettitaleans, and other unusual plants. Modern gymnosperms, such as conifers, first appeared in their current recognizable forms in the early Triassic. By the middle of the Cretaceous, the earliest angiosperms had appeared and began to diversify, largely taking over from the other plant groups. Mesozoic fossil localities Blue Nile Gorge, Ethiopia : Come along on a fossil-hunting trip to Ethiopia with UCMP researchers and see the first dinosaur fossils found there. Clayton Lake, New Mexico : This Cretaceous site has some of the most extensive and best preserved dinosaur trackways in the United States. Ischigualasto, Argentina : The best-known and best-preserved early dinosaurs come from this Triassic locality in South America. Pt. Loma Formation, California : This Cretaceous locality has yielded important fossils for understanding western North American dinosaurs. Karoo Basin, South Africa Solnhofen Limestone, Germany : Exquisitely detailed fossils have come from these Jurassic deposits in southern Germany. Resources See UCMP's Dinobuzz and explore some of the frequently asked questions about the biology of dinosaurs. Were they warm-blooded? Why did they go extinct? Are dinosaurs related to birds or are they reptiles? Find out more about the Mesozoic paleontology and geology of North America at the Paleontology Portal's pages on the Triassic , Jurassic , and Cretaceous Periods. See the Wikipedia page on the Mesozoic. * Dates from the International Commission on Stratigraphy's International Stratigraphic Chart, 2008. David Polly created the original page 12/6/1993; Allen Collins made additions and broke the original page into multiple pages 11/26-28/1994; Sarah Rieboldt updated the pages to reflect the Geological Society of America (GSA) 1999 Geologic Timescale, 11/2002; Dave Smith recombined the content into a single page and adapted it to the new site format, 6/15/2011; Hell Creek Formation photo by Dave Smith, UCMP	Mesozoic
Which historic event took place on July 31st 1910 in Quebec harbour as the SS Montrose docked ?	Geology Cafe.com Contact Us Glossary of Selected Geologic Terms a'a—a lava rock with a ropey, frothy surface texture formed as a cooling crust on a fluid lava flow. ablation—the removal of snow and ice by melting or evaporation, typically from a glacier or ice field. abrasion—the process of wearing down or rubbing away by means of friction, typically by wind-blown dust or sand. absolute dating—general term applied to a range of techniques that provide estimates of the age of objects, materials, or sites in real calendar years either directly or through a process of calibration with material of known age. Absolute dating methods include the study of the decay radioactive isotopes (such as C14, and uranium to lead, and potassium to argon) abyssal plain—an underwater plain on the deep ocean floor, usually found at depths between 3000 and 6000 meters. accretion—a process by which material is added to a tectonic plate or a landmass. This material may be sediment, volcanic arcs, seamounts or other igneous features, or blocks or pieces of continental crust split from other continental plates. active continental margin—a continental margin that is characterized by mountain-building activity including earthquakes, volcanic activity, and tectonic motion resulting from movement of tectonic plates. alluvial fan— An outspread, gently sloping mass of sediment deposited by a stream where it issues out of the mouth of a narrow canyon draining from and upland area. Viewed from above, an alluvial fan typically has the shape of an open fan with the apex being at the mouth of the canyon. Alluvial fans are common in arid to semi-arid regions, but can be covered with forests in the California Coast Ranges. Alluvial fans may merge together to form an apron-like slope along the base of a mountain front. alluvium— A general term for unconsolidated sediments deposited by flowing water on stream channel beds, flood plains, and alluvial fans. The term applies to stream deposits of recent times and it does not include subaqueous deposits, such as in lakes or undersea. amphibole—Any of a class of rock-forming silicate or aluminosilicate minerals typically occurring as fibrous or columnar crystals consisting of hydrated double silicate minerals, such as hornblende, containing various combinations of sodium, calcium, magnesium, iron, and aluminum. amphibolite—a dark rock with fibrous crystals of amphibole and related minerals (tremolite, actinolite, and hornblende), both intrusive igneous or metamorphic in origin. anaglyphic image—A type of photographic image or drawing that can create a three-dimensional view when viewed through colored filter glasses—red-and-cyan colored lenses are most common (standard). Anaglyphic images are created using two standard photographs taken in parallel position a short distance apart, then colors are subtracted from the two images (blue and green from the left image, and red from the right image) before the two images are merged into a reconstructed image (called an anaglyph). The red colored lens filters out green and blue from the anaglyphic image whereas the cyan colored lens filters out the red. With red-and-cyan 3D viewing glasses on, the brain reconstructs a 3D view from the original stereo pair of images used to make the anaglyphic image. Standard anaglyphic 3D glasses are worn with the red lens over the left eye. andesite—A fine-grained, brown or grayish volcanic rock that is intermediate in composition between rhyolite and basalt, dominantly composed of plagioclase feldspar. anthracite—a hard, metamorphic variety of coal, having a low volitile content. Typically burns very hot and clean relative to other varieties of coal. anticline—a fold in layers of rock where the concave side faces down, with strata sloping downward on both sides from a common crest. aphanitic texture—dense, homogeneous rock with constituents so fine grained that they cannot be seen by the naked eye. aquiclude—an impermeable body of rock or stratum of sediment, or an impermeable fault zone, that acts as a barrier to the flow of groundwater. aquifer—a porous and permeable rock or sediment layer, such as a sand or sandstone, containing groundwater that can be used to supply wells. aquitard—a zone or layer of low permeability adjacent to an aquifer; the permeability is so low it cannot transmit any useful amount of water. Aquitards act as confining layers to confined aquifers. Confined aquifers can be used as water storage. arete—a narrow, jagged mountain ridge that divides two cirques or glaciated valleys. argillite—a metamorphic rock, intermediate between shale and slate, that does not possess true slaty cleavage. arroyo—a watercourse (water-carved gully, channel) in an arid region. Arroyos are typically dry (ephemeral) but are prone to flash floods after rare seasonal thunderstorms. artesian well—a well drilled through impermeable strata to reach water in a confined aquifer capable of rising to the surface by internal hydrostatic pressure. ash fall—A cloud of volcanic tephra, mostly dust (silt-sized) grains, that blankets a region from a volcanic eruption. asteroid—any of the thousands of small irregularly shaped bodies of stone, metal, and ice that revolve about the sun. In our solar system, asteroids typically range in size from about one-mile (1.6 km) to about 480 miles (775 km) in diameter and mostly lie in in orbits between those of Mars and Jupiter, however many large objects have been observed passing through Earth's orbital path. Asteroid collisions with earth were frequent in Earth's early history, but are now extremely rare events. The extinction of the dinosaurs and many other species is mostly blamed on the environmental catastrophe created by an asteroid impact about 65 million years ago, defining the end of the Cretaceous Period (and Mesozoic Era). asthenosphere—a semifluid layer of the earth, between about 40 to 80 miles (100-200 km) below the outer rigid lithosphere (oceanic and continental crust) forming part of the mantle and thought to be able to flow vertically and horizontally, enabling sections of lithosphere to subside, rise, and undergo lateral movement associated with plate tectonics. atmosphere—The gaseous mass or envelope surrounding a celestial body (including the one surrounding the Earth), and retained by the celestial body's gravitational field. The Earth's atmosphere is subdivided into levels: the troposphere is the lowest portion (up to about 6-8 miles) where all weather takes place and contains about 80% of the air's mass and 99% of water vapor. The overlying stratosphere contains an abundance of ozone which absorbs ultraviolet radiation, protecting life on land and in the shallow ocean extends up to about 31 miles. The upper atmosphere extends upward to the transition into space above about 60 miles where the charged atomic particles of the solar wind begins to interact with atmospheric gases. atoll—A ring-shaped reef, island, or chain of islands formed of coral, typical on a foundation of an extinct volcano in the ocean. atomic structure—the arrangement of the parts of an atom, which consists of a massive, positively charged nucleus (composed of protons and neutrons) surrounded by a cloud of electrons arranged in structured orbital arrangements. aureole—a zone of altered rock around an igneous intrusion. Heat and escaping fluids from the intrusion metamorphose the surrounding rock and may be a location where unusual and/or valuable mineral deposits accumulate. avalanche—a mass of snow, ice, rocks, and debris falling rapidly down a mountainside. badlands—uncultivatible land with typically rugged relief, a heavily eroded appearance, and bares little or no vegetation. bajada—an alluvial plain along the base of a mountain front formed from the accumulation and coellescing of of alluvial fans. barrier island—a long and typically narrow island, running parallel to the mainland, composed of sandy sediments, built up by the action of waves and currents. Barrier islands serve to protect the mainland coast from erosion by surf and tidal surges. basalt— A dark-colored igneous rock, commonly extrusive (from volcanic eruptions) and composed primarily of the minerals of calcic plagioclase and pyroxene, and sometimes olivine. Basalt is the fine-grained equivalent of gabbro. base level—the lowest level to which a land surface can be reduced by the action of running water, typically equivalent to the lowest point a river or stream can reach entering the ocean or other large body of water. Base level of a stream entering the ocean will rise and fall with changes in sea level. batholith—a great mass of igneous rock, extending to great depths, formed from extensive magmatic intrusions over a long period of time and throughout a region, typically associated with volcanic arcs. bedrock—relatively "fresh" unaltered solid (consolidated) rock below the surface sediment cover or exposed in rocky outcrops. beheaded stream—Streams draining across an active strike-slip fault trace may be captured by an adjacent stream. With loss of its water supply or a source of sediments, the older channel will remain as a beheaded stream channel as fault motion continues. bioaccumulation—the buildup of organic remains, such as coral reefs, peat, algae, plankton, and shell or bone beds. biosphere—the regions of the surface and atmosphere of the Earth (or possibly other planets) occupied by living organisms. biotite—a common rock-forming mineral occurring in black, dark-brown, or dark -green sheets and flakes: an important constituent of igneous and metamorphic rocks; a mafic variety of mica. bioturbation—the stirring or mixing of sediment or soil by organisms, especially by burrowing, boring, crawling, feeding or other traces left by biological activity. bituminous coal—soft black coal with a high volatile content, and typically burns with a smoky yellow flame. black smoker—a geothermal vent on the seabed that ejects superheated water containing much suspended matter, typically black sulfide minerals that accumulate around the vent on the seafloor. bollide—a large meteor (or asteroid or comet) that explodes in the atmosphere. Bowen’s reaction series—observed order of formation of silicate minerals as they form in a cooling melt (magma) resulting in the orderly formation of high temperature to low temperature minerals (rocks)—felsic minerals (and rocks) melt at lower temperatures that mafic minerals (and rocks). This was demonstrated by the work of "19th century petrologist" Norman Bowen, who showed that as a silicate-rich melt cools, minerals that form at higher temperatures will crystallize first. As these minerals crystallize, the chemistry of the remaining melt will change as it cools, allowing different minerals to form as the melt proceeds cooling. High-temperature minerals like olivine and Ca-rich feldspar cool first, minerals like quartz, K-rich feldspar, and biotite crystallize last. Fluids, such as gases and water, are concentrated in the remnants of a melt. breccia—a rock consisting of angular rock fragments cemented together. calcite—a common rock-forming mineral consisting of calcium carbonate—CaCO3. Calcite can be white, colorless (transparent), or slightly colored, commonly yellow, by other inclusion of traces of other elements. Calcite is a major constituent of sedimentary rocks such as limestone, chalk, and travertine, and in the metamorphic rock form, marble. caldera—a large volcanic crater, typically one formed by a major eruption (explosion) or the inward collapse of a volcanic cone following an eruption. caliche—a hardened zone in soils and surficial deposits found in semiarid regions where of calcium carbonate and possibly other carbonates, clay minerals, or crystalline salts such as sodium chloride or sodium nitrate impregnated the pore spaces in the sediment or soil. calving—blocks of ice falling off the face of a parent glacier, ice shelf, or iceberg. capillary fringe— a subsurface layer above the water table in which groundwater seeps up from a water table by capillary action to fill pores. catastrophism—The doctrine that major changes in the earth's crust result from catastrophes rather than evolutionary processes. cavern—an underground passage formed by dissolution of rock (typically limestone) by flowing groundwater. "Cave" is often used as a substitute for the more correct term "cavern." cementation—processes that harden sediments through the precipitation of minerals in pore spaces between grains of rock and mineral fragments, binding them together. Cenozoic—The era of time spanning about 65 million years ago to the present. The term applies to rocks that formed or accumulated in that time period. The Cenozoic Era is subdivided into the Tertiary and Quaternary periods. chemical weathering—the breakdown (decomposition or decay) of rock by chemical mechanisms, the most important means being carbonation, hydration, hydrolysis, oxidation, and ion exchange in solution. chert— a hard, dense sedimentary rock, consisting chiefly of interlocking microscopic crystals of quartz and may contain opal. It has a conchoidal fracture and may occur in a variety of colors. chlorite—a dark green mineral consisting of a basic hydrated aluminosilicate of magnesium and iron, often formed by metamorphic alteration (low grade or retrograde greenschist metamorphic facies). cirque—a bowl-shaped, steep sided hollow at the head of a valley or on a mountainside, formed by glacial erosion. clastic—sediments or sedimentary rocks composed of fragments derived from older rocks; examples sandstone, conglomerate. clay minerals—Any of various hydrated aluminum silicates that have a fine crystalline structure and are components of clay (sediment). cleavage—the tendency of a crystallized substance to split along definite crystalline planes, yielding smooth surfaces. Coast Range Ophiolite—California geologic formation name; an assemblage of mafic and ultramafic igneous rocks associated with oceanic crust. In California, the “Coast Range Ophiolite” is of Jurassic to possibly Cretaceous age and whose origin is associated with the upper mantle and the lower oceanic crust of the ancient Farallon Plate. The Farallon Plate predates the development of the San Andreas Fault system, and rocks of the Farallon Plate were either subducted or partially accreted (merged) into the crust that now makes up the Coast Ranges. The Coast Range Ophiolite is associated with serpentinite terranes throughout much of coastal central and northern California. The modern Juan de Fuca Plate offshore of the Cascades volcanic range in Oregon and Washington is a remnant of what was once the greater Farallon Plate. col —a saddle in a glacially carved mountain ridge (a gap in an arete). colluvium—A general term applied to loose and incoherent surficial deposits, usually at the base of a slope and brought their chiefly by gravity. compaction—the process of gravitation consolidation of sediments, decreasing porosity and increasing hardness. condensation—the conversion of atmospheric water vapor into liquid water or ice (causing precipition). conglomerate—A coarse-grained sedimentary rock composed of rounded to sub-angular fragments (larger than 2 mm in diameter) set in a fine-grained matrix of sand or silt, and commonly cemented by calcium carbonate, iron oxide, silica, or hardened clay; the consolidated equivalent to gravel. continental crust—the relatively thick part of the earth's crust that forms the large landmasses. It is generally older and more complex than the oceanic crust, and dominantly composed of igneous and metamorphic of granitic or more felsic composition. continental drift—theory that continents were once assembled (noted from early maps by Abraham Ortelius in 1596). Promoted as a plausible theory by Alfred Wegener, 1912), but criticized for lack of mechanism. Plate Tectonic Theory evolved in the 1960 after global observation data first was assembled. continental rise—a wide, gentle incline from a deep ocean plain (abyssal plain) to a continental slope. A continental rise consists mainly of silts, muds, and sand, deposited by turbidity flows, and can extend for several hundreds of miles away from continental margins. Although it usually has a smooth surface, it is sometimes crosscut by submarine canyons extending seaward of continental slope regions. continental shelf—a submerged nearshore border of a continent that slopes gradually and extends to a point of steeper descent to the ocean bottom. During the peak of the last ice age, the world's continental shelves were mostly exposed coastal plain environments. continental shield—a large regions of igneous and high-grade metamorphic rock of Precambrian-age exposed in the tectonically stable core of continents; an example is the Canadian Shield in east central Canada and the Lake Superior region of the United States. continental slope—the slope between the outer edge of the continental shelf and the deep ocean floor. The continental slope is cut by submarine canyons in many locations. convergent boundary—when continents collide... mountains belts form - examples include the Himalayas, Alps, and ancient Appalachian Mountains when the ancient continent of Pangaea formed. When continents collide with ocean crust... subduction zones with deep ocean trenches and volcanic arcs form - examples include the Andes Mountains, Aleutian Islands, Japan, Philippines, Indonesia, the ancient Sierra Nevada and modern Cascades Range. coquina—a soft type of limestone composed almost entirely of compacted and cemented shell fragments, commonly found on upper beach ares in warm, humid climates. core—based on geophysical studies, the innermost part of the earth is believed to consist of a 758 mile thick magnetic metallic core overlain by a 1400 mile thick zone of molten material. This is overlain by the Earth's mantle. crater—a large bowl-shaped vent or collapsed top of a volcano created by explosive eruptions. Also a large bowl-shaped hole created by an meteor or asteroid impact and explosion. craton—the part of a continent that is stable and forms the central mass of the continent. The craton region of North America includes the region between the Rocky Mountains (to the west) and the Appalachian Mountains (to the east) and including the Canadian Shield. creep—in earthquake terminology, creep is the slow, more or less continuous movement occurring on faults due to ongoing tectonic deformation. In landslide terminology, creep is slow, more or less continuous downslope movement of surface materials (mineral, rock, and soil particles) under gravitational stresses. Cretaceous—the final period of the Mesozoic Era (after the Jurassic Period and before the Tertiary Period of the Cenozoic Era). The Cretaceous Period began about 144 million years ago and ended about 65 million years ago. crust— the outermost solid shell of a rocky planet or moon, which is chemically distinct from the underlying mantle. crystallization—the formation and growth of mineral crystals from the cooling of molten material. dacite—an extrusive igneous (volcanic) rock with an aphanitic to porphyritic texture and is intermediate in composition between andesite and rhyolite. Darcy's Law—the law that the rate at which a fluid flows through a permeable substance per unit area is equal to the permeability, which is a property only of the substance through which the fluid is flowing, times the pressure drop per unit length of flow, divided by the viscosity of the fluid. debris flood— typically disastrous flood, intermediate between the turbid flood of a mountain stream and a debris flow, ranging in sediment load between 40 to 70 percent (the rest is water and trapped gasses). debris flow— A moving mass of rock fragments, soil, and mud in which more than half of the particles being larger than sand size (otherwise it would be a mudflow) and with 70 to 90 percent of the material consisting of sediment (the rest is water and trapped gasses). Slow debris flows may only move a few feet per year, whereas rapid ones can reach speeds greater than 100 miles per hour. Debris flows can display either turbulent or laminar flow characteristics. deep-sea fan—fan- or delta-shaped sedimentary deposit found along the base of the continental slopes, commonly at the mouth of submarine canyons. Deep sea fans form from sediments carried by turbidity flow (density currents) that pour into the deep ocean basin from the continental shelf and slope regions and then gradually settle to form graded beds of sediment on the sea floor. Deep-sea fans can extend for many tens to hundreds of miles away from the base of the continental slope and an coalesce into a broad, gently sloping region called a continental rise. deflation—the removal of particles of rock, sand, soil or dust, by the wind, often leaving a rocky crust (a desert pavement) on a desert landscape. deflected drainage—A stream that displays offset by relatively recent movement along a strike-slip fault. Fault motion and characteristics of the bedrock adjacent to and within a fault zone can influence erosion patterns and diversion of stream drainages over time. Commonly also called a "dogleg" stream drainage. degassing—the process of separation of volatile gases (CO2, CH4, SO2, etc.) and steam from molten material (magma or lava). delta—a wedge or apron-shaped deposit of sediments at the mouth of a river where it enters a large body of water (ocean or lake). deposition—the process of sediments settling and accumulating from a moving fluid (wind, water, or ice). desert pavement—a gravel layer that forms on the surface of many desert landscapes where the wind has removed finer materials (sand, silt, dust). desert varnish—a dark, hard film of oxides formed on exposed rock surfaces in arid regions. detrital sedimentary rocks—rocks are formed from solid particles of pre-existing rocks or organic debris. diabase—a fine granular intrusive igneous or volcanic rock of mafic composition, intermediate in texture between basalt and gabbro, found in volcanic dikes and sills. diagenesis—the physical and chemical changes occurring during the conversion of sediment to sedimentary rock. dike—a vertical or near vertical wall of igneous rock formed where magma squeezed into a fault zone before crystallizing. Dike form in volcanic regions, and often appear as dark castle wall-like features on landscapes where the host rock surrounding the intrusion have eroded away. diorite—a crystalline intrusive igneous rock intermediate in composition between granite and gabbro, consisting essentially of plagioclase and hornblende or other mafic minerals; having a "salt and pepper"-like appearance. dip-slip faults—Inclined fractures where the blocks have mostly shifted vertically. If the rock mass above an inclined fault moves down, the fault is termed normal, whereas if the rock above the fault moves up, the fault is termed reverse. A reverse fault in which the fault plane is inclined at an angle equal to or less than 45° is called a thrust fault. dip—The angle that a rock layer or any planar feature makes with the horizontal, measured perpendicular to the strike and in a vertical plane. disconformity—a break in a sedimentary sequence where rocks (strata) below and above are parallel but are of different geologic ages. dissolution—the action or process of dissolving or being dissolved, such as salt (NaCl) or calcite (CaCO3) dissolving into groundwater. divergent boundary—when plates diverge, spreading centers form creating new oceanic crust. Examples include mid-ocean ridges in world's ocean basins. Speading centers occur where continents are pulling apart. Examples include the Africa rift zones, Red Sea basin, Iceland, and North America's Great Basin region including the Gulf of California. dolomite—A white or light-colored mineral, essentially CaMg(CO3)2, commonly found in association with limestone or marble. Dolomite is a common replacement mineral in limestone that has been exposed the high magnesium content brine fluids. dolostone—A rock composed mostly of the mineral dolomite, typically a white, light gray or pink with a sugary crystalline texture. drainage basin—a region drained by a principle stream extending from upland headwater regions down to where the stream merges with another body of water (a larger stream or river, lake, or ocean). A divide is a line that marks the boundary between two drainage basins. drainage pattern—a pattern created by stream erosion over time that reveals characteristics of the kind of rocks and geologic structures in a landscape region drained by streams. drumlin—a low oval-shaped mound or small hill, typically one of a group, consisting of compacted glacial till shaped by flowing ice in a region that experienced glaciation. dune—an acculuation of wind-blown sand and/or silt found in association with deserts or sandy beach settings where there is a constant supply of silt to sand grain-sized sediments. earthflow—a slow moving downslope viscous flow of fine grained materials that have been saturated with water, and moves under the pull of gravity; a slow moving mass of material, slower than a more fluids debris flow, rock fall, or avalanche. earthquake fault—An active fault that has a history of producing earthquakes or is considered to have a potential of producing damaging earthquakes on the basis of observable evidence. Not all faults are active or are considered earthquake faults. earthquake—Ground shaking caused by a sudden movement on a fault or by volcanic disturbance. ecologite—A high-grade metamorphic rock containing granular minerals, typically red garnet mixed with grains of pyroxene, quartz, and feldspars. epicenter—The point on the Earth’s surface above the point at depth in the Earth’s crust where an earthquake begins. erosion—the mechanical processes of wearing or grinding away materials on a landscape by the action of wind, flowing water, or glacial ice. erratic—a rock or boulder that differs from the surrounding bedrock and is believed to have been transported from a distant location by glacial action. escarpment—A long, more or less continuous cliff or relatively steep slope facing in one general direction, separating two level or gently sloping surfaces, and produced by faulting or erosion. esker—a long, typically winding, ridge composed of gravel and other sediment deposited by meltwater from a retreating glacier or ice sheet. estuary—the mouth of a river or stream where the tide-driven flow allows the mixing of freshwater and ocean saltwater. evaporation—the physical conversion of a liquid into a vapor. evaporite—a rock composed of salt minerals left behind by the evaporation of salty water. exfoliation—joints or sheet joints are surface-parallel fracture systems in rock often leading to erosion of concentric slabs. extension—the tectonic stretching of crustal rocks, typically forming parallel basin and range landscapes, such as seen throughout Nevada. extinction—the elimination of all members of a species, or the state or process of a species, family, or larger group being or becoming extinct.. extraterrestrial materials—rock, ice, dust, and gases found beyond earth's atmosphere. extrusive igneous rocks—rapidly cooling magma (or lava), on or near the surface, crystallizes quickly, preventing visible crystals from forming. Igneous rock that forms from the eruption of molten material at the surface. Extrusive rocks include lava flows and pyroclastic material such as volcanic ash. facies—the character of a rock expressed by its formation, composition, and fossil content. fact—Knowledge or information based on real occurrences; something demonstrated to exist or known to have existed. fault line—The trace of a fault plane on the ground surface or other surface, such as on a sea cliff, road cut, or in a mine shaft or tunnel. A fault line is the same as fault trace. Faults lines can often be difficult to resolve from general surface observation due to cover by younger sediments, vegetation, and human-induced landscape modifications. fault scarp—An escarpment or cliff formed by a fault that reaches the Earth’s surface. Most fault scarps have been modified by erosion since the faulting occurred. fault system—A collection of parallel or interconnected faults that display a related pattern of relative offset and activity across an entire region (for example, the San Andreas Fault system). fault zone—A fault or set of related faults that is expressed as a zone of numerous small fractures or of “breccia” or “fault gouge.” A fault zone may be hundreds of feet wide and may locally have a complex structure. fault—A fracture or crack along which two blocks of rock slide past one another. This movement may occur rapidly, in the form of an earthquake, or slowly, in the form of creep. Types of faults include strike-slip fault, normal fault, reverse fault, and thrust fault. feldspar—an abundant group of rock-forming mineral typically occurring as colorless or pale-colored crystals and consisting of aluminosilicates of potassium (orthoclase), and sodium and calcium (plagioclase). felsic—minerals of silica and aluminum-rich composition, and the rocks that form from them. Felsic materials are typically less dense than mafic materials (minerals and rocks rich in iron and magnesium). fissure eruption—volcanic eruptions along rift fault zones that can flood large area with basalt flows. fjord—a long, narrow, deep inlet of the sea between high cliffs typically formed by submergence of a glaciated U-shaped valley. flint—a hard (typically gray or brown) rock consisting of nearly pure silica (chert), occurring chiefly as nodules in chalk or limestone. flood basalt—the result of a giant volcanic eruption or series of eruptions that coats large stretches of land or the ocean floor with basalt lava. Another older name is trap basalt. focus—the point below the Earth's surface where seismic waves originate during an earthquake. foliation—any penetrative planar fabric present in rocks, especially rocks affected by regional metamorphic compression typical of orogenic belts. folding—bending or warping of stratified rocks by tectonic forces (movements in the Earth's crust). foot wall—The underlying block of a fault having an inclined fault plane. fossil—A remnant or trace of an organism of a some earlier geologic age, such as a skeleton or leaf imprint, embedded and preserved in the earth's crust. fossilization—the processes that turn plant or animal remains to stone. Franciscan Formation— A California geologic formation name; an assemblage of rocks exposed throughout the Coast Ranges of California that consists of a mix of volcanic rocks, chert, shale, graywacke sandstone, limestone, basalt, and other oceanic crustal rocks that have been partially metamorphosed during their migration from place of origin in a deep ocean basin to being accreted by plate tectonic forces onto the west coast of North America. The name Franciscan was first applied to bedrock of Jurassic and Cretaceous age in the San Francisco region, but the name is commonly used throughout much of coastal central and northern California. frost wedging—the shattering, fracturing, and moving rock and soil caused by the expansion of freezing water turning into ice. Frost wedging is a major force in seasonally wet regions where daytime temperatures rise above freezing and sink below freezing at night. fumerole—an opening or vent in or near a volcano, through which hot sulfurous gases, steam, and other gases emerge. gabbro— A group of dark-colored, basic intrusive igneous rocks composed principally of calcic-plagioclase minerals (labrodorite or bytonite) and augite, and with or without olivine and orthopyroxene. It is the approximate intrusive equivalent of basalt. galaxy—a system of millions to billions of stars, together with gas and dust, held together by gravitational attraction. Earth is in the Milky Way galaxy. garnet—any of several common, widespread crystalline aluminum or calcium silicate minerals, often embedded in igneous and metamorphic rocks, and colored red, brown, black, green, yellow, or white and used both as gemstones and as abrasives. Garnet is an indicator mineral of high-grade metamorphic rocks (such as eclogite facies). geologic time scale—Geologists have subdivided periods in Earth's history is measured periods spanning millions of years (Ma). Segments of time periods have been named to help define the chronology of events (such as mountain range formation), the formation of rock units (such as the age of a lava flow), the age of fossils, organizing geologic map units, and other purposes. Below is a standard geologic time scale listing names of major time periods with time span information. geology —The study of the Earth.The scientific study of the origin, history, and structure of the earth. The structure of a specific region of the earth's crust. And, the scientific study of the origin, history, and structure of the solid matter of a celestial body. geomorphology — the study of the earth's surface including classification, description, nature, origin, and development of landforms and their relationships to underlying structures and the history of geologic changes as recorded by these surface features. Examples of geomorphic features associated with faults are illustrated below. geyser—a hot spring in which water intermittently boils and erupts, sending a tall column of water and steam into the air. glaciation—a period when the ice or glaciers cover or alter the land's surface, resulting in erosion by flowing ice. glacier—a slowly moving mass or river of ice formed by the accumulation and compaction of snow over many years, forming on mountains or land masses near the Earth's poles. gneiss—a metamorphic rock with a banded or foliated structure, typically coarse-grained (crystalline) and consisting mainly of feldspar, quartz, and mica. gneissic texture—a coarsely foliated texture in which the minerals have been segregated into discontinuous bands, each of which is dominated by one or two minerals, giving the rock a striped appearance. graben—an elongate, structurally depressed crustal area or block of crust that is bounded by faults on its long sides. A graben may be geomorphically expressed as a rift valley or pull-apart basin. granite—a common, coarse-grained (crystalline), light-colored, hard plutonic igneous rock consisting chiefly of quartz, orthoclase or microcline (feldspars), and mica. granodiorite—a coarse-grained (crystalline) plutonic igneous containing quartz and plagioclase, between granite and diorite in composition Great Valley Sequence— ACalifornia geologic formation name; a thick sequence of late Mesozoic age sedimentary rocks (150 to 65 million years old). These rocks consist mostly shale, sandstone, conglomerate and are exposed throughout parts of California’s Coast Ranges and underlies much of the Great Valley west of the Sierra Nevada Range. The Great Valley Sequence represents sedimentary material deposited in shallow shelf to deep-sea environments along the western continental margin mostly before the development of the modern San Andreas Fault System. greenstone—a metamorphic rock derived from any basic igneous rocks (typically altered basalt) colored green by the minerals chlorite, hornblende, or epidote. graywacke—(greywacke or grauwacke, a German word signifying a grey, earthy rock) is a variety of sandstone or mudrock generally characterized by its dark color and poorly sorted angular grains including a mix of quartz, feldspar, dark mafic minerals, and tiny rock fragments cemented in a compact, clay-fine matrix. groundwater—Water beneath the land's surface, filling pore spaces in saturated soil and rock; water that supplies wells and springs. grus—grainy sand and fine gravel (sediments) derived from the weathing of granitic rocks, typically in arid or semiarid regions. guyot—a submarine mountain (seamount) with a flat top. Most guyots are ancient submarine volcanoes that have been beveled by wave action before sinking into ocean depth and may lack the fringing limestone reefs associated with atolls. gypsum—a mineral composed of hydrous calcium sulfate (CaSO4-2H20); an evaporite mineral used in the manufacture of plaster. hanging wall—the rocks on the upper side of an inclined fault plane. head—the height that groundwater will rise in a confined well under artesian water pressure. hematite—A reddish, steel gray, or black mineral consisting of ferric oxide (Fe2O3). historical geology—A branch of geology concerned with the systematic study of bedded rocks and their relations in time and the study of fossils and their locations in a sequence of bedded rocks. Holocene—The name applied to the time span that corresponds with the post-glacial warming period in which we now live. The Holocene Epoch began about 11,000 years ago (at the end of the Pleistocene Epoch of the Quaternary Period), about the time that human population growth and distribution expanded worldwide. horn—a pointy mountain peak having concave faces carved by glaciation. horst—a raised elongated block of the earth's crust lying between two faults. hotspot—a place in the upper mantle of the Earth at which extremely hot magma from the lower mantle upwells to melt through the crust usually in the interior of a tectonic plate to form a volcanic feature. Examples include the Hawaii or Yellowstone hotspots. hotspring—a spring that is produced by the emergence of geothermally heated groundwater from the Earth's crust, and usually defined as spring water warmer than the human body. hydrology—the science concerned with the properties of the earth's water, especially its movement in relation to the land's surface. The study of groundwater is geohydrology. hydrosphere—All the waters on the Earth's surface, such as oceans, lakes, rivers, and streams. hydrothermal veins—fractures in rock that have been filled with minerals (commonly quartz and/or calcite) precipitated from groundwater or hot fluids of magmatic origin. hypothesis—A tentative explanation for an observation, phenomenon, or scientific problem that can be tested by further investigation. ice age—a period in Earth's history when the global temperatures cooled enough for glaciers (both alpine and continental glaciers) to form. Note that parts of the world, e.g. Greenland and Antarctica, are still experiencing ice-age-like conditions. ice cap—an extensive dome-shaped or platelike perennial cover of ice and snow that spreads out from a center and covers a large area, especially of land. ice sheet—an ice sheet is the layer of ice covering extensive regions of the world, notably Antarctica and Greenland. The ice sheets form from the accumulation of thousands or millions of years of snowfall. With compaction, the snow turns to glacial ice. ice shelf—An ice shelf is a thick floating platform of ice that forms where a glacier or ice sheet flows down to a coastline and onto the ocean surface. igneous—A rock or mineral that solidified from molten or partly molten material (referring to magma underground or lava on the surface). The word igneous also applies to the processes related to the formation of such rocks. Examples of igneous rocks include granite, gabbro, and basalt. igneous rocks—A rock formed from molten materials, includes intrusive rocks (rocks cooled below the surface) and rocks formed on the Earth's surface by volcanism (and from melting associated with extraterrestial impacts). impact crater—a bowl-shaped depression created by the explosion of a massive meteorite or asteroid body with the surface of a planet. inselberg—an isolated rocky hill or mountain rising above a plain-like landscape in a typically hot, dry region. intensity—A measure of ground shaking describing the local severity of an earthquake in terms of its effects on the Earth’s surface and on humans and their structures. The Modified Mercalli Intensity (MMI) scale, which uses Roman numerals, is one way scientists measure intensity. intrusion—liquid (molten) rock that forms under the surface of the earth that typically migrates upward, displacing and/or melting other rock as it moves. intrusive igneous rocks—intrusive igneous rocks form in naturally insulated settings (rock is a poor conductor of heat) so that minerals crystallize slowly, forming large, visible crystals. intrusive—Igneous rocks that forms from the process of emplacement of magma in pre-existing rock. Intrusive igneous rocks typically cool slowly compared to extrusive igneous rocks formed on the Earth’s surface and therefore commonly have a coarse crystalline texture (like granite or gabbro). The word intrusive applies to both the intrusion process and the rock so formed. isostacy—the state of balance, or equilibrium, which sections of the earth's lithosphere (whether continental or oceanic crust) are thought ultimately to achieve when the vertical forces upon them remain unchanged. The lithosphere floats upon the semifluid asthenosphere below. If a section of lithosphere is loaded, as by ice, it will slowly subside to a new equilibrium position; if a section of lithosphere is reduced in mass, as by erosion, it will slowly rise to a new equilibrium position. joint—a fracture in rock where the displacement associated with the opening of the fracture is greater than the displacement due to movement in the plane of the fracture (up, down or sideways) of one side relative to the other. Cracks in rocks that do not show apparant offset are joints. Jurassic—The second period of the Mesozoic Era (after Triassic Period and before Cretaceous Period) and spans the period of time between about 206 and 144 million years ago. karst—A landscape underlain by limestone and is characterized by numerous caves, sinkholes, fissures, and underground streams. laccolith—a mass of igneous rock, typically lens-shaped, that has been intruded between rock strata causing uplift in the shape of a dome. lahar—A landslide or mudflow of volcanic materials on the flanks of a volcano. Also the name of the deposit created by a landslide or mudflow on a volcanic landscape. laminae (lamination)—a layer of sediment or sedimentary rock only a small fraction of an inch (less than a centimeter) in thickness. landslide— A general term covering a wide variety of mass-movement landforms and processes involving the down slope transport of soil and rock under the influence of gravity. Usually the displaced material moves over a relatively confined zone or surface of shear. Landslides have a great range of morphologies, rates, patterns of movement, and scale. Their occurrence reflects bedrock and soil characteristics and material properties affecting resistance to shear. Landslides are usually preceded, accompanied, and followed by perceptible creep along the surface of sliding and (or) within the slide mass. Slumps, debris flows, rockfalls, avalanches, and mudflows are all forms of landslides. lava—molten rock flowing on the land's surface. Underground, molten rock is called magma. lava flows—a deposit of volcanic rock formed from lava flowing and cooling on the land's surface; also applies to the action of flowing lava on the land's surface. lava tube—a natural tunnel within a solidified lava flow, formerly occupied by flowing molten lava. leaching—the process of dissolving and removing the soluble constituents of soil or rock near the land's surface; associated with the chemical weathering of rock and the formation of soil. lignite—an organic deposit of soft brownish coal preserving traces of plant structure, intermediate between peat and bituminous coal. lime mud—sediment composed of calcium carbonate (CaCO3) derived from the skeletal remains of shelled organisms, coral, and calcareous algae; the sediment that with compaction and cementation (lithification) become limestone. limestone—a sedimentary rock consisting predominantly of calcium carbonate (CaCO3) derived from the skeletal remains of marine marine microorganisms, shells and coral. Limestone is commonly used in the manufacture of lime for cement and used as building stone. limonite—An amorphous orange to brownish mineral consisting of a mixture of hydrated ferric oxides, important as an iron ore. Rust on iron vehicles is essentially limonite. linear drainage— A stream drainage that follows the trace of a fault. Stream alignment may be a result of strike-slip fault motion or the erosion of sheared and pulverized rock along a fault zone. linear ridge— A long hill or crest of land that stretches in a straight line. It may indicate the presence of a fault or a fold (such as an anticline or syncline). If it is found along a strike-slip fault it may be a shutter ridge or a pressure ridge. linear scarp— A straight escarpment where there is a vertical component of offset along a fault (either normal or reverse). Linear scarps may also form when preferential erosion removes softer bedrock or soil along one side of a fault. linear trough— A straight valley that may be bounded by linear fault scarps. A linear trough may be a graben or a rift valley and may be modified by erosion. liquefaction—the conversion of poorly consolidated sediment into a flowing liquid caused by earthquake shaking. lithosphere—the rocky outer portion of the Earth, consist of the crust and upper mantle (about the upper 60 miles below the Earth's surface). loess—A tan, buff to gray windblown deposit of fine-grained, loamy, calcareous silt or clay; fine-grained deposits typically derived from glacial outwash plains or dust derived from arid regions. longshore drift—the process by which sediments (sand and gravel) move along a beach shoreline, caused by currents created by waves appoaching the shore at an oblique angle. mafic rocks—mafic rocks (rich in iron and magnesium) are denser than felsic rocks (rich in silica and aluminum). mafic— A mnemonic term combining and “Ma” (for magnesium) and “Fe” (for ferric iron). The term is used to describe dark-colored igneous minerals rich in iron and magnesium, as well as the rocks that bear those minerals. See also felsic and ultramafic. magma—hot, fluid or semimolten rock material underground (within the earth's crust). Magma that reaches the land's surface is called lava. magmatic differentiation—processes by which chemically different igneous rocks, such as basalt and granite, can form from the same initial magma. High-temperature minerals can crystallize and settle out, causing the molten material to be concentrated with component that may later form rock enriched in low temperature minerals (such as granite). The last rocks to crystallize in a magmatic intrusion will be enriched in low temperature minerals (quartz, mica, and potassium- and sodium feldspars). magnetite—a gray-black magnetic mineral that consists of iron oxide (Fe3O4) and is an important form of iron ore. magnitude (M)—A numeric measure that represents the size or strength of an earthquake, as determined from seismographic observations. mantle—an inner layer of a terrestrial planet or other rocky body large enough to have differentiated in composition by density. On Earth, the mantle is a highly viscous layer between the crust and the outer core. marble—a crystalline metamorphic rock composed primarily of calcium carbonate (CaCO3). A product of metamorphism of limestone. mass wasting—a general name for processes by which soil, regolith, and rock move downslope under the force of gravity. Types of mass wasting include creep, landslides, mudflows, debris flows, lahars, topples, rock falls, and avalanches—each with its own geomorphic characteristics, and taking place over timescales ranging from seconds to years. meandering—A meander is a bend in a sinuous watercourse. Meandering is the process when the faster-moving water in a river erodes the outer banks and widens its valley, and the slower-moving water on the inner side of the bend becomes a place where sediments are deposited. As a result, rivers tend to constantly change their course over a floodplain over time. mechanical weathering—All processes that collectively break rocks into smaller pieces. Examples include breaking rocks by water expansion during freezing in cracks, plant root expansion, all forms of mass wasting, and rock particles breaking as they tumble down stream beds during floods or get battered by wave action along a shoreline. Mesozoic—The era of geologic time spanning about 248 to 65 million years ago. The Mesozoic Era follows the Paleozoic Era and precedes the Cenozoic Era. The Mesozoic Era is subdivided into the Triassic, Jurassic, and Cretaceous Periods. The term also applies to rocks that formed and accumulated in that time period. metachert—extremely hard, brecciated, and recrystallized chert that still retains its microcrystalline texture. metaconglomerate—conglomerate that has been partially metamorphosed, retaining some of the distinct character of original gravel clasts, although they may be stretched or recrystallized. metamorphic—Pertaining to the process of metamorphism or to its results. Metamorphism is the mineralogical, chemical, and structural adjustment of solid rocks to physical and chemical conditions imposed at depth below the surface and below surficial zones where processes of sedimentation, compaction, and cementation take place. Metamorphism may take place where a rock is subjected to conditions unlie those in which it formed. Examples of metamorphic rocks include slate, marble, quartzite, greenstone, gneiss, and schist. metamorphic rocks—Rock that was once one form of rock but has changed to another under the influence of heat, pressure, or fluids without passing through a liquid phase (melting). metasandstone—sandstone that has undergone partial metamorphism, but retains enough characteristics to show that it was derived from meteor—a streak of light generated by a particle of rock as it burns up as it passes through the atmosphere. meteorite—a stone of extraterrestrial origin that survives passage through the atmosphere and collision with the earth. mid-ocean ridge—an undersea mountain system that consists of various mountain ranges and volcanoes, typically having a valley known as a rift running along its spine, formed by tectonic plates moving apart; regions along separating plate boundaries where new ocean crust is forming. migmatite—rock intermediate between metamorphic igneous character. Migmatite shows irregular banding and much recrystallization, typical of metamorphic gneisses that have taken on igneous character through partial melting. mineral—Any naturally occurring, homogeneous, inorganic solid substance having a definite chemical composition and characteristic crystalline structure, color, and hardness. mineral precipitation—the process of mineral formation directly from a fluid (a water solution and/or hydrothermal gases) such as calcite from seawater or groundwater. mineral—a naturally occurring, homogeneous inorganic solid substance having a definite chemical composition and characteristic crystalline structure, color, and hardness. Miocene—an epoch of the late Tertiary Period, after the Oligocene Epoch and before the Pliocene Epoch, representing the time span between about 23.8 and 5.3 million years ago. moraine—accumulations of rocks and sediment deposited by a glacier, typically as ridges at its edges or its terminal boundary of flow and zone of wastage. mudflow—a downhill movement of soft wet mud and rock debris, made fluid by rain or melted snow, and capable of moving downslope at great speed (also see debris flow). mudstone—a fine-grained sedimentary rock formed from the compaction and cementation (litification) of muddy sediments. muscovite—a silver-gray form of mica (platy sheet silicate mineral) occurring in many igneous and metamorphic rocks. mylonite—a fine-grained metamorphic rock, typically banded, resulting from the grinding or crushing of other rocks in a fault zone. neap tide—the lowest level of high tide; a tide that occurs when the difference between high and low tide is least. Neap tide comes twice a month, in the first and third quarters of the moon. nonconformity—an unconformity that separates crystalline rocks, either igneous or metamorphic, from younger sedimentary rocks. normal fault—a fault in which the hanging wall appears to have moved downward relative to the foot wall. The dip angle of the slip surface is between 45 and 90 degrees. Many normal faults in mountainous regions form from gravitational pull along mountainsides and may be associated with the headwall escarpment of slumps. oasis—a fertile or green spot in a desert or wasteland, made so by the presence of water. oblique-slip faults—faults that display significant components of both horizontal (strike-slip) and vertical (dip-slip) motion. observation—the act of noting and recording something, such as a phenomenon, with instruments, in order to gain information. obsidian—a dark, glasslike volcanic rock formed by the rapid solidification of lava without crystallization (natural glass). ocean crust—part of Earth's lithosphere that underlies ocean basins. Oceanic crust is primarily composed of mafic rocks (rich in iron and magnesium) and are less dense than rocks that underlie continents (continental crust is enriched in silica and aluminum). Ocean crust around the world is significantly younger (less than 200 million years) relative to continental crust which has typically accumulated through the natural refining processes associated with plate-tectonics over many hundreds of millions to several billion years. offset drainage— A stream that displays offset by relatively recent movement along a strike-slip fault. A better term is deflected drainage. oil—the liquid component of petroleum (as opposed to gas or asphalt or tar). Petroleum is the derivative of the metamorphism of organic-rich sedimentary rocks rich in volatile components, especially lipids. olivine—a mineral silicate of iron and magnesium, principally (Mg,Fe)2SiO4, found in igneous and metamorphic rocks occurring in basalt, peridotite, and other basic igneous rocks. ooze—wet mud or slime found at the bottom of an ocean, lake, or river composed mostly of organic and skeletal remains of plankton. ophiolite— an assemblage of mafic and ultramafic igneous rocks ranging from basalt to gabbro and peridotite, including rocks derived from them by later metamorphism (such as serpentinite), and whose origin is associated with the upper mantle and the formation of oceanic crust at spreading centers in deep ocean basin settings. organic maturation—the gradual metamorphic processes that take place over time, involving burial and geothermal heating, that convert organic remain preserved in sediments into petroleum (oil, gas, and tar) or coal (conversion of plant material to peat, lignite, subbituminous coal, and anthracite coal, in increasing order of maturation. orogenesis—the process of mountain range formation, especially by a folding and faulting of the earth's crust under compressional forces. oxbow—a crescent lake on a stream floodplain formed when a meandering stream channel is cut off and isolated by changes in a stream channel. P wave—a compressional wave (P) is a seismic body wave that shakes the ground back and forth in the same direction and the opposite direction as the direction the wave is moving. pa'hoe'hoe—textural description basaltic lava forming smooth undulating or ropy masses on the surface of a rapidly cooling lava flow. paleomagnetism—the study of the fixed orientation of a rock's magnetic minerals as originally aligned at the time of the rock's formation. Paleomagnetism is usually the result of thermo-remanent magnetization (magnetization that occurs in igneous rocks as they cool below the Curie Point). Igneous rocks may keep their magnetic orientation they obtain at the time they form (if they are not altered). This magnetic signature is preserved, even if the landmass they are is moving. Paleozoic—the era of geologic time spanning about 543 to 248 million years ago. The Paleozoic Era follows the Precambrian Era and precedes the Mesozoic Era. The term also applies to rocks that formed and accumulated in that time period. Pangaea—a supercontinent comprising all the continental crust of the earth, theorized to have existed in late Paleozoic and through early Mesozoic times before the component continents separated and migrated into their current configuration. passive continental margin—a passive margin is the transition between oceanic and continental crust which is not an active plate margin. Examples of passive margins are the Atlantic and Gulf coastal regions which represent setting where thick accumulations of sedimentary materials have buried ancient rifted continental boundaries formed by the opening of the Atlantic Ocean basin. pater noster lakes—a series of moraine-dammed lakes formed by the intermittent retreat of a valley glacier in a mountainous region. peat—an accumulation of partially decayed vegetation matter that has a brown, soil-like character typical of boggy, acid ground or swampy setting. pediment—a gently inclined erosional surface carved into bedrock, typically covered with stream gravel that has developed at the foot of mountains. It develops when running water erodes most of the mass of the mountain down to a base-level consistent with surrounding alluvial fans in an arid or semiarid region. pegmatite—a coarsely crystalline granite or other igneous rock with crystals several centimeters in length, and sometimes containing rare minerals rich in rare elements such as uranium, tungsten, beryllium and tantalum. peridotite—a dense, coarse-grained plutonic rock containing a large amount of olivine, considered to be the main constituent of the earth's mantle. permeability—a measure of the ability of a porous material (rock or unconsolidated sediments) to transmit fluids. petroleum—a natural flammable liquid mixture of hydrocarbons that is present in certain rock strata and can be extracted and refined to produce fuels including gasoline, kerosene, diesel oil, or chemically converted to other materials, such as plastics, and other petroleum-based byproducts. phaneritic—a term usually used to refer to igneous rock grain size and texture. It means that the size of matrix grains in the rock are large enough to be distinguished with the unaided eye as opposed to aphanitic (which is too small to see with the naked eye). phenocryst—a large or conspicuous crystal in a porphyritic volcanic or igneous rock, distinct from a more fine-grained groundmass (mineral matrix). phreatic zone—the zone of saturated rock or sediment below the water table where pore spaces between grains or within fractures are mostly filled with water. phyllite—a fine-grained metamorphic rock with a well-developed laminar structure, intermediate between slate and schist. physical geology—the branch of geology concerned with understanding the composition of the earth and the physical changes occurring in it, based on the study of rocks, minerals, and sediments, their structures and formations, and their processes of origin and alteration. physiographic province—a geographic region with a specific geomorphology and often specific subsurface rock type, age, or structural elements. piedmont glacier—a thick, continuous ice sheet formed along the base of a mountain range formed by the spreading out and coalescing of valley glaciers supplying ices from higher mountain elevations. pillow basalt—a volcanic rock formation consisting of stacked pillow-shaped pods of basaltic lava formed by lava flowing and rapidly cooling on the surface of a subaerial lava flow. planet—a celestial body moving in an elliptical orbit around a star that is large enough to have a round shape due to internal gravitational forces. planktonic ooze—slimy mud on the bottom of an ocean or lakebed formed from the accumulation of skeletal and organic remains of microscopic organisms. plate tectonics—the scientific theory that the Earth’s outer shell is composed of several large, thin, relatively strong “plates” that move relative to one another. Movements on the faults that define plate boundaries produce most earthquakes. playa—an ephemeral (intermittently flooded) lake bed that occupies the lowest part of a internally drained, isolated valley in an arid or semiarid region. Pleistocene—the Quaternary Period is subdivided into the Pleistocene Epoch and the Holocene Epoch. The Pleistocene Epoch represents the time span of about 1.8 million to about 11,000 years ago. Many episodes of continental glaciation and intervening ice-free periods occurred within the Pleistocene Epoch. The Holocene Epoch began about 11,000 years ago, about the time that human population growth and distribution expanded worldwide. Pliocene—an epoch of the late Tertiary Period following the Miocene Epoch and proceeding the Quaternary Period (or Pleistocene Epoch) and representing the time span from about 5.3 to 1.8 million years ago. The cycles of ice-age glaciations and intervening warming periods began in Pliocene time. pluton—a body of intrusive igneous rock (plutonic rock) that crystallized from magma slowly cooling below the surface of the Earth. Types of plutons include batholiths, dikes, sills, laccoliths, stocks, and other igneous bodies. plutonic rock—A rock formed at considerable depth by crystallization of magma and/or by chemical alteration. It is usually medium- to coarse-grained with a granitic (phaneritic) texture. plutonism—formation of intrusive igneous rock by the genesis, movement and solidification of magma beneath the earth's surface. porosity—the state of being porous, or the ratio of the volume of all the pores (gas- or fluid-filled space) in a material to the volume of the whole. porphyry—A hard igneous rock containing visible crystals, usually of feldspar, in a fine-grained (microcrystalline), typically dark gray, reddish, or purplish groundmass. precipitation—in meteorology usage: rain, snow, sleet, or hail that falls to the ground; in geology usage: the action or process of precipitating a substance from a solution. pressure ridge—a topographic ridge produced by compressional forces along a strike-slip fault zone. Pressure ridges typically are located where there are bends along a fault or where faults intersect or stepover. Pressure ridges can be shutter ridges and can occur on one or both sides of a fault or within a fault zone. pull-apart basin—a surface depression will form along a fault where down warping of the surface occurs, such as from a developing fold or a fault-bounded graben. Closed depressions can form where extensional bends or stepovers occur along a strike-slip fault zone. pyroclastic flow—a dense cloud of very hot ash, lava fragments, and gases ejected explosively from a volcano and typically flowing downslope at great speed and with destructive force. pyroxene—Any of a large class of rock-forming silicate minerals, generally containing containing two metallic oxides combining magnesium, iron, calcium, sodium, or aluminum and typically occurring as prismatic crystals. pyroxenite—a dark gray or greenish, granular intrusive igneous rock consisting chiefly of pyroxenes and olivine; a dominant rock type found in intrusive igneous rocks associated with oceanic crust. quartz—a hard colorless or white mineral consisting of silicon dioxide (silica), found widely in igneous, metamorphic, and sedimentary rocks. Pure silica forms clear quartz crystals in unconfined spaces, such as geodes or open fissures in rock; inclusion of traces of other element in quartz's crystalline structure produces varieties of semiprecious gems varieties including amethyst, citrine, rose quartz, and smoky quartz. Microcrystalline varieties of sedimentary rock composed dominantly of quartz include chert, jasper, flint, agate, and chalcedony. quartzite—a rock formed from the metamorphism of quartz sandstone or quartz-rich volcanic ash. Quaternary Period—the period of time spanning about 1.8 million years ago to the present. The Quaternary Period is subdivide into two unequal epochs–the Pleistocene Epoch extends from about 1.8 million years ago to about 11,000 years ago, and the Holocene Epoch that extends from about 11,000 years ago to the present. The Quaternary Period encompassed many cycles of ice-age continental glaciations and intervening warming periods. The Holocene Epoch corresponds with the last warming period in which we now live. rainshadow—the downwind side of a mountain range (or high volcano) that partially blocks the the flow of moist air, forcing precipitation on the prevailing windward side, and creates more arid conditions on the downwind side. recrystallization—a metamorphic process that occurs under situations of intense temperature and pressure where grains, atoms or molecules of a rock or mineral are packed closer together, creating a new crystal structure. The basic composition remains the same. reef—a ridge of jagged rock, coral, or sand just above or below the surface of the sea. regolith—a layer of loose rock debris resting on bedrock, constituting the surface of most land. Regolith can become soil with the introduction of organic residues and ongoing weathering. relative dating—the science determining the relative order of past events, without necessarily determining their absolute age. retrograde metamorphism—metamorphic changes that take place when rocks formed at great depths migrate to the surface via tectonic uplift and are exposed to lower pressure and more fluid-rich geologic settings, causing minerals to change to match surficial geologic environments. reverse fault—a fault in which the hanging wall has moved up relative to the foot wall. rhyolite—a pale fine-grained volcanic rock of granitic composition. rift valley—a valley that has formed along a tectonic rift. Rift valleys may be grabens or pull-apart basins, may be structurally complex, and are typically modified by erosion. Ring of Fire—an extensive zone of volcanic and seismic activity that coincides roughly with the borders of the Pacific Ocean basin. roche moutonnee—an elongate mound of bedrock worn smooth and rounded by glacial abrasion, typically with a steep slope of cliff on the downhill side formed by the plucking away of blocks of bedrock by the moving glacial ice. rock—relatively hard (consolidated), naturally formed mineral or petrified matter; stone; a naturally formed aggregate of mineral matter constituting a significant part of the earth's crust. rock cleavage—The capacity of a rock to split along certain parallel surfaces more easily than along others, such as bedding planes. Not all rocks have rock cleavage, but it is perhaps most common in low-grade to moderate-grade metamorphic rocks with a high mica content, such as slate or phyllite where crystalline structure of platy or sheet silicate minerals have been reoriented by metamorphic processes in an alignment perpendicular to the principle vector direction of stress caused by compression. rock cycle—the series of events in which a rock of one type is converted to one or more other types and then back to the original type. rock formation—The primary unit of stratigraphy, consisting of a succession of strata useful for mapping or description. A rock formation typical consists of a unique lithology (rock type) that has a relatively defined geologic age and is considered "mappable" (occurs throughout area or region, both on the surface and in the subsurface. rock salt—a rock dominantly composed of sodium chloride (NaCl - the mineral halite). Rock salt is an evaporite formed in restricted basins with an inflow of seawater located in an arid environmental setting. rock slide—the usually rapid downslope movement of newly detached segments of bedrock. rockfall—The relatively free falling or precipitous movement of a newly detached segment of bedrock of any size from a cliff or very steep slope; it is most frequent in mountainous areas during spring when there is repeated freezing and thawing of water in cracks in rock. Movement may be straight down or in a series of leaps and bounds down the slope; it is not guided by an underlying slip surface (like a slump). rupture zone—the area of the Earth through which fault movement occurred during an earthquake. For large earthquakes, the section of the fault that ruptured may be several hundred miles in length. Ruptures may or may not extend to the ground surface. sag pond—a natural depression associated with a fault or associated with a pull-apart basin along a fault system can hold water, even temporarily. S wave—a shear wave (S) is a seismic body wave that shakes the ground back and forth perpendicular to the direction the wave is moving. salt pan—a shallow basin, usually in a desert region, containing salt, gypsum, sodium carbonate, or other evaporite minerals that was deposited from an evaporated salt lake (playa) setting. sandstone—a sedimentary rock formed by the consolidation and compaction of sand and held together by a natural cement, such as silica, calcite, and iron-oxide minerals. scarp—a line of cliffs or a steep slope produced by faulting, slumping, or erosion. Scarp is an abbreviation for the word escarpment—meaning essentially the same thing. schist—any medium-grained to coarse-grained metamorphic rocks composed of laminated, often flaky parallel layers of chiefly micaceous minerals. schistocity—the type of rock foliation that characterizes schist, resulting from the parallel arrangement of coarse-grained platy minerals, such as mica, chlorite, and talc. science—The systematic knowledge of the physical or material world gained through observation and experimentation. The overall goal of science is to discover underlying patterns in the natural world. The fundamental assumption of science—"The natural world behaves in a consistent and predictable manner." scientific method—The principles and empirical processes of discovery and demonstration considered characteristic of or necessary for scientific investigation, generally involving the observation of phenomena, the formulation of a hypothesis concerning the phenomena, experimentation to demonstrate the truth or falseness of the hypothesis, and a conclusion that validates or modifies the hypothesis. sea level—the average level of the sea's surface (including tides or seasonal changes), used in reckoning the height of geographical features such as hills and as a barometric standard. seafloor spreading—the process by which new oceanic crust is formed by the convective upwelling of magma at mid-ocean ridges, resulting in the continuous lateral displacement of existing oceanic crust. seamount—an underwater mountain rising from the ocean floor and having a peaked or flat-topped summit below the surface of the sea. sedimentary—Materials consisting of sediments or formed by deposition. The word sedimentary applies to both the processes and the products of deposition. Examples of sedimentary rocks include shale, sandstone, conglomerate, limestone, and chert. sedimentary rock—rock that has formed through the deposition and solidification of sediment, especially sediment transported by water (rivers, lakes, and oceans), ice ( glaciers), and wind. Sedimentary rocks are often deposited in layers, and frequently contain fossils. sediments—solid fragments of inorganic or organic material that come from the weathering of rock and soil erosion, and are carried and deposited by wind, water, or ice. seismic hazard—The potential for damaging effects caused by earthquakes. The level of hazard depends on the magnitude of likely quakes, the distance from the fault that could cause quakes, and the type of ground materials at a site. seismic waves—shock wave and vibrations in the Earth which issue from the focus of an earthquake—; a result of an earthquake, impact, or explosion, or some other process that imparts low-frequency acoustic energy. seismicity—The likelihood of an area being subject to earthquakes, or the phenomenon of earth movements. Seismograph—a device used to record earthquake shaking, used to determine the distance, magnitude and intensity of earthquakes. Compression (P) waves travel faster than shear (S) waves. P waves travel faster than S waves—P waves move about 4 miles ( 7 km) per second. whereas. Using a precision clock and three seismographs, the location of an earthquake epicenter can be precisely located. serpentinite—a metamorphic ultramafic rock consisting almost entirely of serpentine group minerals (such as antigorite and chrysotile). Serpentinite forms from the alteration of mafic silicate materials, such as olivine and pyroxene (rocks, peridotite and pyroxenite) during metamorphism. Accessory chlorite, magnetite, and talc may be present. The State rock of California. shale—a soft, finely stratified sedimentary rock that formed from consolidated mud or clay and can be split easily into fragile plates, such as along bedding plains. sheeted dike—an igneous dike in which the molten material has squeezed into expanding vertical fractures so that it takes on a layered appearance, commonly associated with volcanism along spreading centers along mid-ocean ridges. shield—a large area of exposed Precambrian-age crystalline igneous and high-grade metamorphic rocks that form tectonically stable areas. In all cases, the age of these rocks is greater than 570 million years and sometimes dates back 2 to 3.5 billion years. shutter ridges—A shutter ridge is a ridge formed by vertical, lateral, or oblique displacement on a fault that crosses an area having ridge and valley topography, with the displaced part of the ridge “shutting in” the valley. Shutter ridges typically are found in association with offset drainages. sidehill benches—A step-like surface on the side of a hill or mountain. Both recent fault activity or erosional differences of bedrock lithology across a fault may produce sidehill benches and associated linear scarps. Sidehill benches may also form from slumping that may or may not be associated with faulting. silicate minerals—the largest and most important class of rock-forming minerals, constituting approximately 90 percent of the crust of the Earth. They are classified based on the structure of their silicate group. Silicate minerals all contain silicon and oxygen. sill—a tabular, typically more horizontal than vertical, sheet of intrusive igneous rock that has intruded between older layers of sedimentary rock, beds of volcanic lava or tuff, or even along the direction of foliation in metamorphic rock. slate—a fine-grained gray, green, or bluish metamorphic rock easily split into smooth, flat plates along cleavage planes. slickensides—a polished and striated rock surface produced by friction along a fault. slip—the relative displacement of formerly adjacent points on opposite sides of a fault, measured along the fault surface. slump— a type of landslide where the downward slipping mass of unconsolidated material or rock moves as a unit. A slump block usually displays backward rotation and on a more or less horizontal axis parallel to the slope or cliff from which it descends. Slumps typically form a fault-like escarpment and may occur at the head of a landslide. soil—The unconsolidated mineral and organic material on the immediate surface of the Earth that serves as a natural medium for the growth of land plants. Soil is the unconsolidated mineral or organic matter on the surface of the Earth that has been subjected to and shows effects of genetic (source material composition) and environmental factors such as climate (including water and temperature effects), and macro- and microorganisms acting on parent material over a period of time. A product-soil differs from the material from which it is derived in many physical, chemical, biological, and morphological properties and characteristics. solifluction—the slow, downhill movement of soil or other material in areas typically underlain by frozen ground. sorting—process by which sedimentary particles of similar size, shape, or density are selected and separated from associated but dissimilar particles by the agent of transportation (water and wind). speleothem—a structure formed in a cavern by the deposition of minerals (usually calcite) from water, including such features as stalactites, stalagmites, columns, flowstone, or other features found in caverns that form above the water table. splay—a small fan-shaped or outspread alluvial deposit formed where an overloaded stream breaks through a levee (artificial or natural) and deposits its material (often coarse-grained) on the floodplain. spreading center— A linear area where new crust forms where two crustal plates are moving apart, such as along a mid-oceanic ridge. Spreading centers are typically seismically active regions in ocean basins and may be regions of active or frequent volcanism. spring—any natural occurrence where water flows to the surface of the earth from below the surface, typically in locations where the water table in an aquifer meets the ground surface. spring tide—the exceptionally high and low tides that occur at the time of the new moon or the full moon when the sun, moon, and earth are approximately aligned. stalactite—a tapering structure hanging like an icicle from the roof of a cave, formed of calcium salts deposited by dripping water. stalagmite—A mound or tapering column rising from the floor of a cave, formed of calcium salts deposited by dripping water and often eventually uniting with a stalactite to form a column. star dune—a dune with three or four arms radiating from its usually higher center so that it resembles a star in shape. Star dunes form when winds blow from three or four directions, or when the wind direction shifts frequently. stepover—Closely spaced strike-slip faults within a greater fault zone over which the total displacement is distributed. steppe—a large area of flat unforested grassland, such as the Great Plains region of the United States and Canada. stock—a stock is a discordant igneous intrusion having a surface exposure of less than 40 square miles, differing from batholiths only in being smaller. Circular or elliptical stocks may have been vents feeding former volcanoes strain—the amount of deformation an object experiences compared to its original size and shape. stratigraphy—the study of the composition, relative positions, etc., of rock strata in order to determine their geological history. stratum— A bed or layer of sedimentary rock having approximately the same composition throughout (plural is strata). stream—a flow of water in a channel or bed, as a brook, rivulet, or small river. stream discharge—the volume of water to pass a given point on a stream bank per unit of time, usually expressed in cubic meters of water per second. stream gradient—the grade (slope) measured by the ratio of drop in a stream per unit distance, usually expressed as feet per mile or meters per kilometer. stream terrace—one of a possible series of level surfaces on a stream valley flanking and parallel to a stream channel and above that marks the level of a floodplain in the geologic past. stress—the force acting on a rock or another solid to deform it, measured in kilograms per square centimeter or pounds per square inch. striations—parallel grooves such as: the scratches left by a glacier on rocks strike-slip fault—A generally vertical fault along which the two sides move horizontally past each other. If the block opposite an observer looking across the fault moves to the right, the slip style is termed “right lateral.” If the block moves to the left, the motion is termed “left lateral.” California’s San Andreas Fault is the most famous example of a right-lateral strike-slip fault. Strike-slip faults produce produce a variety of landforms including shutter ridges, pull-apart basins, sag ponds, and deflected streams. strike—The direction taken by a structural surface, such as a layer of rock or a fault plane, as it intersects the horizontal. structure of the earth—The earth's lithosphere has a central core (solid & liquid), the mantle (including asthenosphere), and the crust. subduction zone—A plate boundary along which one plate of the Earth’s outer shell descends (subducts) at an angle beneath another. A subduction zone is usually marked by a deep trench on the sea floor. An example is the Cascadia Subduction Zone offshore of Washington, Oregon, and northern California. Most tsunamis are generated by subduction-zone-related earthquakes. subsidence—the lowering of the land surface, examples include downwarping by folding, crustal extension, gravitational collapse or other tectonic forces. Subsidence also occur in areas where extensive extraction of water or petroleum allows pore spaces between grains or fractures in rock to collapse, reducing volume, and resulting in subsidence of the land's surface. susceptibility—the state or fact of being likely or liable to be influenced or harmed by a particular thing. In geology, the term is used as a means of classifying areas that are prone to natural hazards, such as landsliding, liquefaction, flooding, etc. syncline—a trough or fold of stratified rock in which the strata slope upward from the axis; opposite of an anticline. tafoni— small, fist- to head-sized, cave-like features found in granular rock such as sandstone, appearing tiny pits, rounded entrances and smooth concave walls. They often occur in groups, forming a honeycomb-like form, typically occurring of cliff faces, in overhanging vertical places, on large boulders, and rocky outcrops.and are that can riddle a hillside. talus—a sloping mass or cone-shaped deposit of rock fragments at the foot of a cliff. tarn—a small mountain lake, especially one formed by glaciers; typically found within the basin of a cirque. tectonism—the cause, or result of, structural deformation of the earth's crust. tephra—rock fragments and particles ejected by a volcanic eruptions. terrace—a relatively level bench or step-like surface breaking the continuity of a slope. Natural bench-like terrace features include elevated-marine terraces (along rising sea coasts), stream terraces (along incising streams), or structural terraces (such as along a fault). terrain—a stretch or area of land that shares common physical features: examples: hilly terrain, rocky terrain, flat terrain. terrane—a fault-bounded area or region with a distinctive stratigraphy, structure, and geological history. Tertiary—the first period of the Cenozoic Era (after the Cretaceous Period of the Mesozoic Era). The Tertiary Period spans the time of about 65 to 1.8 million years ago. The Tertiary Period is subdivided into 5 epochs—Paleocene, Eocene, Oligocene, Miocene, and Pliocene). It is followed by the Pleistocene Epoch of the Quaternary Period. theory—a set of statements or principles devised to explain a group of facts or phenomena, especially one that has been repeatedly tested or is widely accepted and can be used to make predictions about natural phenomena. (A theory is also defined as an assumption based on limited information or knowledge.) thrust fault—a fault with a dip angle of 45º or less over its extent on which the hanging wall appears to have moved upward relative to the foot wall. Horizontal compression or rotational shear is responsible for displacement. (See also reverse fault and oblique-slip fault.) tidal flat—a nearly flat coastal area (at or near sea level) that is alternately covered and exposed by the tides, and consisting of unconsolidated sediments. till—unsorted material deposited directly by glacial ice and consisting of rock fragments ranging from large boulders to sand, fine silt, and clay. trace fossil—a fossil impression of a footprint, trail, burrow, or other trace of an animal rather than of the animal itself. transform boundary—when plates slide past each other creating fault systems along plate margins. Examples include theSan Andreas Fault and major faults in Pakistan, Turkey, and along the Jordan River/Dead Sea. transform fault— a special variety of strike-slip fault along which the displacement suddenly stops or changes form. Many transform faults are associated with mid-oceanic ridges and plate boundaries that show pure strike-slip displacement, like the San Andreas Fault. transpiration—The process by which water in plants is transferred as water vapor to the atmosphere. travertine—White or light-colored calcareous rock deposited from mineral springs; or a common name for freshwater limestone deposits. Cavern speleothems are typically consist of travertine. trophic respiration—processes in organisms that result in release of energy related to the consumption of substances that go through a chemical changes. These processes may result in the excretion of substances that can alter and/or accumulate in the environment. tsunami—a very long and/or high sea wave or coastal serge of water caused by an earthquake or other disturbance. tufa—calcareous and siliceous rock deposits of springs, lakes, or ground water. tundra—A vast, flat, treeless Arctic region of Europe, Asia, and North America in which the subsoil is permanently frozen. turbidity flows—a turbid, dense current of sediments in suspension moving along downslope and along the bottom of a ocean or lake. ultramafic—a rock composed chiefly of mafic minerals (rich in iron and magnesium, and less than about 45 percent silica, such as olivine, augite, or hypersthene. Pyroxene and serpentinite are ultramafic rocks. unconformity—a buried erosion surface separating two rock masses or strata of different ages, indicating that sediment deposition was not continuous. uniformitarianism—the theory that all geologic phenomena may be explained as the result of existing forces having operated uniformly from the origin of the earth to the present time. unloading—expansion of compressed rocks (previously deeply buried) by the removal of overburden, allowing rocks to expand and fracture, commonly resulting in the sheeting off of layers of rocks. uplift—geologic processes that cause the land to rise in elevation, examples include vertical movement along a fault, compressional folding of the crust, or underground intrusion of magma beneath a volcano. vadoze zone—also termed the unsaturated zone, is the typically shallow subsurface interval between the land surface and the underlying phreatic zone or zone of saturation). The vadose zone extends from the top of the ground surface to the water table. ventifact—a stone on the surface in a desert environment that is unusually shaped, abraded by wind-blown sediment. Markings on ventifacts typically reflect seasonal prevailing wind patterns. volcanic arc—a generally curved linear belt of volcanoes above a subduction zone, including the volcanic and plutonic rocks formed there. volcanic tuff—a term describing rocks composed of volcanic ejecta, such as broken pieces of volcanic glass, phenocrysts, rock fragments, etc. volcanism—Any of various processes and phenomena associated with the surface discharge of molten rock or hot water and steam, including volcanoes, geysers, and fumaroles. volcano—a hill or mountain, typically conical in shape, having a crater or vent through which lava, rock fragments, hot vapor, and gas are or have been erupted from the earth's crust. water table—the level below which the ground is saturated with water. The water table is influenced by the gravitational flow of water underground, typically following the general topography of a landscape, but can be changed by the extraction of water from a well, or construction of a dam. wave diffraction—refers to various phenomena which occur when a wave encounters an obstacle or change in geometry of the seabed. For example waves are defracted when they approach a beach at an oblique angle, when the pass an island, or when they pass a point or other structure at the mouth of a harbor. wave of oscillation—a wave in the open ocean where movement in the water below a passing wave is in a vertical circular motion. wave of translation—a tumbling wave that continues onshore after it crests when entering a shallow coastal setting. weathering—the gradual destruction of rock under surface conditions. Weathering may involve physical processes (mechanical weathering) or chemical activity (chemical weathering). Biological activity can also result in weathering the can be construed as mechanical, biological, or both. Wisconsin Stage—The last, most recent glaciation period within the current ice age occurring in the geologic time interval about 110,000 to 10,000 years ago, at the end of the Pleistocene Epoch. Note that Antarctica and Greenland are still enduring ice-age conditions, whereas continental glaciers on North America and northern Europe vanished at the end of the Wisconsin Stage. wrackline—an accumulation of shell material and debris that typically marks the location of the last high tide cycle on a beach or after a storm. xenolith—A rock fragment foreign to the igneous mass in which it occurs. Xenoliths are commonly composed of rock derived from the sides or roof of a magma chamber. zone of accumulation (glacial term)—the upper part of a glacier where snow accumulation and ice formation takes place faster that it melts, forming the glacier. zone of wastage (glacial term)—The downslope end of a mountain glacier where melting outpaces the accumulation of new ice and snow. http://geologycafe.com/home/glossary.html	i don't know
When measured in metres per second, in a vacuum, what's the speed of light to the nearest million ?	How Fast Does Light Travel? \| The Speed of Light How Fast Does Light Travel? \| The Speed of Light By Nola Taylor Redd, Space.com Contributor \| May 22, 2012 08:37pm ET MORE Einstein's theory of special relativity sets of the speed of light, 186,000 miles per second (300 million meters per second). But some scientists are exploring the possibility that this cosmic speed limit changes. Credit: Iscatel \| Shutterstock The speed of light in a vacuum is 186,282 miles per second (299,792 kilometers per second), and in theory nothing can travel faster than light. In miles per hour, light speed is, well, a lot: about 670,616,629 mph. If you could travel at the speed of light, you could go around the Earth 7.5 times in one second. Early scientists, unable to perceive light’s motion, thought it must travel instantaneously. Over time, however, measurements of the motion of these wave-like particles became more and more precise. Thanks to the work of Albert Einstein and others, we now understand light speed to be a theoretical limit: light speed — a constant called "c" — is thought to be not acheivable by anything with mass, for reasons explained below. That doesn’t stop sci-fi writers, and even some very serious scientists, from imagining alternative theories that would allow for some awfully fast trips around the universe. Speed of light: History of the theory The first known discourse on the speed of light comes from the ancient Greek philosopher Aristotle, who penned his disagreement with another Greek scientist, Empedocles. Empedocles argued that because light moved, it must take time to travel. Aristotle, believing light to travel instantaneously, disagreed. In 1667, the Italian astronomer Galileo stood two people on a hill at a distance of less than a mile, each holding a shielded lantern. One uncovered his lantern; when the second saw the flash, he uncovered his, as well. By observing how long it took for the light to be seen by the first lantern-holder (and factoring out reaction times), he thought he could calculate the speed of light. Unfortunately, Galileo's distances were too small to see a difference, so he could only determine that light traveled at least ten times faster than sound. In the 1670s, Danish astronomer Ole Römer used eclipses of Jupiter 's moon, Io, as a chronometer for the speed of light. Over the course of several months, as Io passed behind the giant gas planet, Römer found that the eclipses came later than calculations anticipated, although over the course of several months, they drew closer to the predictions. He determined that light took time to travel from Io to Earth. The eclipses lagged the most when Jupiter and Earth were farthest apart, and were on schedule as they were closer. He concluded that light took ten to eleven minutes to travel from the sun to Earth, an overestimate since it in fact takes 8 minutes and 19 seconds. But at last scientists had a number to work with — his calculation presented a speed of 125,000 miles per second (200,000 km/s). In 1728, English physicist James Bradley based his calculations on the change in the apparent position of the stars due Earth's travels around the sun. He put the speed of light at 185,000 miles per second (301,000 km/s), accurate to within about 1 percent. Two attempts in the mid-1800s brought the problem back to Earth. French physicist Hippolyte Fizeau set a beam of light on a rapidly-rotating toothed wheel, with a mirror set up 5 miles away to reflect it back to its source. Varying the speed of the wheel allowed Fizeau to calculate how long it took for the light to travel out of the hole, to the adjacent mirror, and back through the gap. Another French physicist, Leon Foucault, used a rotating mirror rather than a wheel. The two independent methods each came within about 1,000 miles per second of the speed of light measured today. Prussian-born Albert Michelson, who grew up in the United States, attempted to replicate Focault's method in 1879, but used a longer distance, as well as extremely high-quality mirrors and lenses. His result of 186,355 miles per second (299,910 km/s) was accepted as the most accurate measurement of the speed of light for 40 years, when Michelson remeasured it. Einstein and special relativity In 1905, Albert Einstein wrote his first paper on special relativity . In it, he established that light travels at the same speed no matter how fast the observer moves. Even using the most precise measurements possible, the speed of light remains the same for an observer standing still on the face of the Earth as it does for one traveling in a supersonic jet above its surface. Similarly, even though the Earth is orbiting the sun, which is itself moving around the Milky Way, which is a galaxy traveling through space, the measured speed of light coming from our sun would be the same whether one stood inside or outside of the galaxy to calculate it. Similarly, Einstein calculated that the speed of light doesn't vary with time or place. What is a light-year? The speed of light can cause the universe to seem to host a time machine. The distance light travels in the course of a year is called a light-year. A light-year is a measure of both time and distance. It is not as hard to understand as it seems. Think of it this way: Light travels from the moon to our eyes in about 1 second, which means the moon is about 1 light-second away. Sunlight take about 8 minutes to reach our eyes, so the sun is about 8 light-minutes away. Light from the nearest star system, Alpha Centauri , is requires roughly 4.3 years to get here, so that star system is said to be 4.3 light-years away. Stars and other objects beyond our solar system lie anywhere from a few light-years to a few billion light-years away. Thus, when astronomers study objects that lie a light-year away or more, they are seeing it as existed at the time that light left it, not as it would appear if they stood near its surface today. In this sense, everything we see in the distant universe is, literally, history . This principle allows astronomers to see how the universe as it looked after the Big Bang, which took place about 13.7 billion years ago. Examining objects that are, say, 10 billion light-years away, we see them as they looked 10 billion years ago, relatively soon after the beginning of the universe, rather than how they appear today. Is the speed of light really constant? Light travels in waves, and, like sound, can be slowed depending on what it is traveling through. Nothing can outpace light in a vacuum. However, if a region contains any matter, even dust, light can bend when it comes in contact with the particles, which results in a decrease in speed. Light traveling through Earth's atmosphere moves almost as fast as light in a vacuum, while light passing through a diamond is slowed to less than half that speed. Still, it travels through the gem at over 277 million mph (almost 124,000 km/s) — not a speed to scoff at. Can we travel faster than light? Science fiction loves to speculate about this, because “warp speed,” as faster-than-light travel is popularly known, would allow us to travel between stars in time frames otherwise impossibly long. And while it has not be proven to be impossible, the practicality of traveling faster than light renders the idea pretty farfetched. According to Einstein's general theory of relativity , as an object moves faster, its mass increases, while its length contracts. At the speed of light, such an object has an infinite mass, while its length is 0 — an impossibility. Thus, no object can reach the speed of light, the theory goes. That doesn’t stop theorists from proposing creative and competing theories. The idea of warp speed is not impossible , some say, and perhaps in future generations people will hop between stars the way we travel between cities nowadays. One proposal would involve a spaceship that could fold a space-time bubble around itself in order to exceed the speed of light. Sounds great, in theory. Further Reading:	300 million
Where would you find the hardest substance in the human body ?	How Fast Does Light Travel? \| The Speed of Light How Fast Does Light Travel? \| The Speed of Light By Nola Taylor Redd, Space.com Contributor \| May 22, 2012 08:37pm ET MORE Einstein's theory of special relativity sets of the speed of light, 186,000 miles per second (300 million meters per second). But some scientists are exploring the possibility that this cosmic speed limit changes. Credit: Iscatel \| Shutterstock The speed of light in a vacuum is 186,282 miles per second (299,792 kilometers per second), and in theory nothing can travel faster than light. In miles per hour, light speed is, well, a lot: about 670,616,629 mph. If you could travel at the speed of light, you could go around the Earth 7.5 times in one second. Early scientists, unable to perceive light’s motion, thought it must travel instantaneously. Over time, however, measurements of the motion of these wave-like particles became more and more precise. Thanks to the work of Albert Einstein and others, we now understand light speed to be a theoretical limit: light speed — a constant called "c" — is thought to be not acheivable by anything with mass, for reasons explained below. That doesn’t stop sci-fi writers, and even some very serious scientists, from imagining alternative theories that would allow for some awfully fast trips around the universe. Speed of light: History of the theory The first known discourse on the speed of light comes from the ancient Greek philosopher Aristotle, who penned his disagreement with another Greek scientist, Empedocles. Empedocles argued that because light moved, it must take time to travel. Aristotle, believing light to travel instantaneously, disagreed. In 1667, the Italian astronomer Galileo stood two people on a hill at a distance of less than a mile, each holding a shielded lantern. One uncovered his lantern; when the second saw the flash, he uncovered his, as well. By observing how long it took for the light to be seen by the first lantern-holder (and factoring out reaction times), he thought he could calculate the speed of light. Unfortunately, Galileo's distances were too small to see a difference, so he could only determine that light traveled at least ten times faster than sound. In the 1670s, Danish astronomer Ole Römer used eclipses of Jupiter 's moon, Io, as a chronometer for the speed of light. Over the course of several months, as Io passed behind the giant gas planet, Römer found that the eclipses came later than calculations anticipated, although over the course of several months, they drew closer to the predictions. He determined that light took time to travel from Io to Earth. The eclipses lagged the most when Jupiter and Earth were farthest apart, and were on schedule as they were closer. He concluded that light took ten to eleven minutes to travel from the sun to Earth, an overestimate since it in fact takes 8 minutes and 19 seconds. But at last scientists had a number to work with — his calculation presented a speed of 125,000 miles per second (200,000 km/s). In 1728, English physicist James Bradley based his calculations on the change in the apparent position of the stars due Earth's travels around the sun. He put the speed of light at 185,000 miles per second (301,000 km/s), accurate to within about 1 percent. Two attempts in the mid-1800s brought the problem back to Earth. French physicist Hippolyte Fizeau set a beam of light on a rapidly-rotating toothed wheel, with a mirror set up 5 miles away to reflect it back to its source. Varying the speed of the wheel allowed Fizeau to calculate how long it took for the light to travel out of the hole, to the adjacent mirror, and back through the gap. Another French physicist, Leon Foucault, used a rotating mirror rather than a wheel. The two independent methods each came within about 1,000 miles per second of the speed of light measured today. Prussian-born Albert Michelson, who grew up in the United States, attempted to replicate Focault's method in 1879, but used a longer distance, as well as extremely high-quality mirrors and lenses. His result of 186,355 miles per second (299,910 km/s) was accepted as the most accurate measurement of the speed of light for 40 years, when Michelson remeasured it. Einstein and special relativity In 1905, Albert Einstein wrote his first paper on special relativity . In it, he established that light travels at the same speed no matter how fast the observer moves. Even using the most precise measurements possible, the speed of light remains the same for an observer standing still on the face of the Earth as it does for one traveling in a supersonic jet above its surface. Similarly, even though the Earth is orbiting the sun, which is itself moving around the Milky Way, which is a galaxy traveling through space, the measured speed of light coming from our sun would be the same whether one stood inside or outside of the galaxy to calculate it. Similarly, Einstein calculated that the speed of light doesn't vary with time or place. What is a light-year? The speed of light can cause the universe to seem to host a time machine. The distance light travels in the course of a year is called a light-year. A light-year is a measure of both time and distance. It is not as hard to understand as it seems. Think of it this way: Light travels from the moon to our eyes in about 1 second, which means the moon is about 1 light-second away. Sunlight take about 8 minutes to reach our eyes, so the sun is about 8 light-minutes away. Light from the nearest star system, Alpha Centauri , is requires roughly 4.3 years to get here, so that star system is said to be 4.3 light-years away. Stars and other objects beyond our solar system lie anywhere from a few light-years to a few billion light-years away. Thus, when astronomers study objects that lie a light-year away or more, they are seeing it as existed at the time that light left it, not as it would appear if they stood near its surface today. In this sense, everything we see in the distant universe is, literally, history . This principle allows astronomers to see how the universe as it looked after the Big Bang, which took place about 13.7 billion years ago. Examining objects that are, say, 10 billion light-years away, we see them as they looked 10 billion years ago, relatively soon after the beginning of the universe, rather than how they appear today. Is the speed of light really constant? Light travels in waves, and, like sound, can be slowed depending on what it is traveling through. Nothing can outpace light in a vacuum. However, if a region contains any matter, even dust, light can bend when it comes in contact with the particles, which results in a decrease in speed. Light traveling through Earth's atmosphere moves almost as fast as light in a vacuum, while light passing through a diamond is slowed to less than half that speed. Still, it travels through the gem at over 277 million mph (almost 124,000 km/s) — not a speed to scoff at. Can we travel faster than light? Science fiction loves to speculate about this, because “warp speed,” as faster-than-light travel is popularly known, would allow us to travel between stars in time frames otherwise impossibly long. And while it has not be proven to be impossible, the practicality of traveling faster than light renders the idea pretty farfetched. According to Einstein's general theory of relativity , as an object moves faster, its mass increases, while its length contracts. At the speed of light, such an object has an infinite mass, while its length is 0 — an impossibility. Thus, no object can reach the speed of light, the theory goes. That doesn’t stop theorists from proposing creative and competing theories. The idea of warp speed is not impossible , some say, and perhaps in future generations people will hop between stars the way we travel between cities nowadays. One proposal would involve a spaceship that could fold a space-time bubble around itself in order to exceed the speed of light. Sounds great, in theory. Further Reading:	i don't know
Which Radio 2 programme was presented for many years by Alan Keith ?	BBC NEWS \| Entertainment \| Obituary: Alan Keith Obituary: Alan Keith Alan Keith: Veteran broadcaster Alan Keith was a familiar voice for three generations of BBC radio listeners, and he presented the BBC Radio 2 music programme, Your Hundred Best Tunes, for 44 years. For more than 43 years, Alan Keith delighted his many listeners with his selection of popular and light classical music, his clipped tones instantly recognisable to all who heard them. He was born Alec Kossoff, in October 1908, when King Edward VII was still on the throne. The brother of the actor and broadcaster, David Kossoff and the uncle of the late rock guitarist, Paul Kossoff, he changed his name to Alan Keith in the 1920s. He studied at the prestigious Royal Academy of Dramatic Art (Rada), where he won a silver medal in 1928. Soon afterwards, he was appearing in George Bernard Shaw's own production of Major Barbara in London's West End. By 1935, Alan Keith was already an established voice on BBC radio. His career also featured a spell as a stand-up comic at London's Windmill Theatre and he worked, for three years, as an interviewer for BBC radio's In Town Tonight. Alan Keith came up with the idea for Your Hundred Best Tunes, and the programme's first edition broadcast on the Light Programme, later to become BBC Radio 2, on 15 November 1959. Little did anyone know at the time that it would keep him employed well into his 90s. Alan Keith graced the airwaves since 1935 The show was originally commissioned for a 13-week run, but its huge success, and positive feedback from listeners, led to an open-ended run which has continued right up to today. Alan Keith selected his own music, regularly visiting the listening room at the BBC's gramophone library to choose his favourite tracks. Interviewed by the Radio Times, Alan Keith spoke frankly about his programme. "It was a very tentative choice and likely to arouse listeners as much as the planners," he said. "I hope people write and tell me their favourites in case I've missed anything. They must, however, bear in mind the standard I used in choosing. "A tune must be popular, and it must be good of its kind - even if it's only a Cockney ballad it must have class." Of all the tunes which Alan Keith played over the years, perhaps the most popular was the duet from Bizet's opera, the Pearl Fishers. But he featured everything from Smoke Gets In Your Eyes, through O Sole Mio and Albinoni's Adagio. The programme's playlist, which changed very little over the years, inspired a number of albums - which sold three million copies between them - and a loyal audience of listeners with whom Alan Keith built his own personal rapport.	Your Hundred Best Tunes
The giant Jurassic plant-eating dinosaur now known as the Apatosaurus was formerly known by what name ?	Obituary: Alan Keith \| Media \| The Guardian The Guardian Mellifluous broadcaster who introduced thousands of best tunes Tim McDonald Tuesday 18 March 2003 19.19 EST First published on Tuesday 18 March 2003 19.19 EST Share on Messenger Close For hundreds of thousands of Radio 2 listeners over more than 40 years, the words "Good evening . . . and welcome," delivered in a grave and immaculately modulated voice, were indelibly associated with a programme that formed the centrepiece of their Sunday night listening. The speaker was the veteran broadcaster Alan Keith, who has died aged 94; the programme - his own idea - was Your Hundred Best Tunes. Keith came up with the format in 1959; he would simply play his 100 favourite records on the air. Initially, it was thought the series could sustain a six-week run - perhaps six months at a push. After the first broadcast, however, listeners wrote in to disagree with the choice of music, and Keith challenged them to submit their own selections. Their tenacity in doing so turned Your Hundred Best Tunes into one of the longest-running radio programmes of all time. For audiences at home, picking their top tunes became a parlour game, but ideas also poured in from factory workers, schools, members of the armed services, prisoners, and even ships' crews at sea. Education authorities used the programme as a learning tool, and many people found an opening to classical music through Keith's brief, but informative, introductions. Somewhat dismissively, the Radio Times described the programme as "pops for squares", but it survived down the years as other programmes vanished. Keith particularly relished Nancy Mitford's remark that her idea of heaven was listening to Your Hundred Best Tunes. Record spin-offs sold 3m copies, and earned him a gold and five silver discs. Born in London, the son of a shopkeeper (and brother of the actor David Kossoff), Keith was educated at Dame Alice Owen's school, Islington. In 1926, he won a scholarship to Rada, where, two years later, he was awarded a silver medal. He understudied in The Moving Finger at the Garrick theatre, performed in George Bernard Shaw's West End production of Major Barbara, and appeared in a number of Basil Dean productions. In 1930, he scored a notable success in America with The Matriarch, and his West End reputation was enhanced in such plays as Late Night Final (Phoenix, 1931), Dinner at Eight (Palace, 1933) and Magnolia Street (Adelphi, 1934). Keith made his radio debut in 1935, presenting a variety show from St George's Hall, the London venue just outside Broadcasting House which was flattened during the second world war. By 1936, he was introducing a record programme and, for three years, he was an interviewer on the weekend magazine In Town Tonight. Always in demand as an actor, he appeared in countless radio plays, including the role of Sgt Braddock in Last Chance, and, in 1950, he featured as Billy the Kid in a number of episodes of Charles Chilton's Riders Of The Range. Though he also appeared on television, he remained primarily a radio artist, turning up from time to time in Sunday Cinema, the series of Desmond Carrington adaptations of British and American feature films. Keith put a huge amount of preparation into his programmes. Your Hundred Best Tunes only occupied an hour of air time each week, but he would be found in seemingly permanent residence in the BBC record library, painstakingly searching catalogues and listening carefully to select the best performances of each piece. Audiences found his distinctive voice comforting, and it made for perfect evening listening. Although occasionally criticised as dated and formal, Keith knew that excellence and professionalism were timeless qualities, which he also brought to his other programmes, among them Among Your Souvenirs and The Golden Years. After 60 years of almost continuous broadcasting, he was awarded an OBE in 1991; he had intended to announce his retirement on last Sunday's Your Hundred Best Tunes. In 1941, Keith married Pearl Rebuck. They had two children, Brian, who became a distinguished judge, and Linda. · Alan Keith, actor and broadcaster, born October 19 1908; died March 18 2003	i don't know
What feature of Japanese life is the Shinkansen ?	Luxury Shinkansen Train to Feature Foot Baths - Japan Real Time - WSJ Luxury Shinkansen Train to Feature Foot Baths By Jul 2, 2014 10:31 am JST East Japan Railway Co. Japan’s shinkansen bullet trains are known for being one of the fastest, most efficient and comfortable ways to zoom across the country. But now, one train operating in northeastern Japan is taking the luxury experience to a whole new level, offering traditional-style foot baths, or “ashiyu.” East Japan Railway Co., or JR East, this week unveiled its newest luxury shinkansen cars featuring ashiyu, in which passengers can soak their tired feet while speeding through the beautiful, mountainous, hot-spring-rich region.	Bullet train
Which country is home to a train service known as the Ghan ?	New ultra-stylish, extra-traditional Shinkansen has tatami floors, foot baths \| RocketNews24 New ultra-stylish, extra-traditional Shinkansen has tatami floors, foot baths Tweet The Shinkansen is already a pretty cool way to get around Japan, as it whisks travelers from the country’s cosmopolitan urban centers to its more traditional rural locales. But what if you want to experience a bit of authentic Japanese culture while you’re zipping across Japan at 200 miles per hour? Fear not, Japan Railway has just the thing: a bullet train with tatami reed flooring and a Japanese-style foot bath. When the Yamagata Shinkansen Line began operations in 1992, it not only provided citizens of the Tohoku region easy access to Tokyo, it also made it possible for residents of the capital to travel quickly to the northern reaches of Japan’s main island of Honshu. Even in a country that loves its nostalgia, the Tohoku region is particularly traditional, and many still lead the bucolic lifestyles that were the norm in Japan before the surges of urbanization that came in the early and mid-20th century. JR East is looking to capitalize on this appeal by sprucing up the bullet trains on the Yamagata Line. Heading up the design side of the project is the Yamagata-born, California-educated Kiyoyuki Okuyama, who also goes by the name given name Ken in his international professional dealings. Okuyama served as creative director of Italian automobile design firm Pininfarina from 2004 to 2006, and his designs have been used for Ferrari’s exotic sports cars, as well as other Shinkansen coaches. Among the overhauls many points is a new paintjob which replaces the current subdued silver and green tones. The new scheme is much more colorful, not to mention meaningful. The colors are officially known as mandarin duck purple, safflower yellow, safflower red, and Zao bianco, in reference to Yamagata’s Prefectural bird and flower, plus the snowy landscape of Mt. Zao, which sits on the border between Yamagata and neighboring Miyagi Prefecture. Insignias placed on the outside of the train advertise the renowned produce and natural beauty of Yamagata throughout the year, with apples and rice for fall, ice-covered trees for winter, cherry blossoms for spring, and cherries themselves along with blooming safflowers symbolizing summer. More dramatic artistic flourishes are found inside, where the passenger coaches’ ceilings and seatbacks are decorated with reliefs once again representing the bounty of Yamagata’s harvest. Things start to get really special with the tatami lounge, however. Featuring the traditional reed flooring which can contradictorily be found in both high-class manors and low-rent apartments in Japan, passengers can sit and relax at tables carved from the wood of Japan’s famed sakura cherry trees. Cut-outs in the floor below the tables mean that your rump can enjoy the feel of tatami without the danger of your feet falling asleep from having to kneel Japanese-style and fold them under yourself. Best of all though, is the new Shinkansen’s foot bath. Featuring two stone-lined tubs, this is a great way to literally dip your toes into Japan’s bathing culture, without having to disrobe for a communal hot spring soak. The new Shinkansen carriages are scheduled to be gradually phased into service on the Yamagata Line starting next month. This means they’ll be just in time for Yamagata’s comparatively late cherry blossom season, and with its onsite bath facilities, travelers can look forward to arriving at their destination with their feet actually feeling better than before they started their journey hundreds of miles away.	i don't know
In literature, what was Lady Chatterley's first name ?	SparkNotes: Lady Chatterley's Lover: Characters Lady Chatterley's Lover Summary Section I: Chapters 1-3 Lady Chatterley - The protagonist of the novel. Before her marriage, she is simply Constance Reid, an intellectual and social progressive, the daughter of Sir Malcolm and the sister of Hilda. When she marries Clifford Chatterley, a minor nobleman, Constance--or, as she is known throughout the novel, Connie--assumes his title, becoming Lady Chatterley. Lady Chatterley's Lover chronicles Connie's maturation as a woman and as a sensual being. She comes to despise her weak, ineffectual husband, and to love Oliver Mellors, the gamekeeper on her husband's estate. In the process of leaving her husband and conceiving a child with Mellors, Lady Chatterley moves from the heartless, bloodless world of the intelligentsia and aristocracy into a vital and profound connection rooted in sensuality and sexual fulfillment. Oliver Mellors - The lover in the novel's title. Mellors is the gamekeeper on Clifford Chatterley's estate, Wragby. He is aloof, sarcastic, intelligent and noble. He was born near Wragby, and worked as a blacksmith until he ran off to the army to escape an unhappy marriage. In the army he rose to become a commissioned lieutenant--an unusual position for a member of the working classes--but was forced to leave the army because of a case of pneumonia, which left him in poor health. Disappointed by a string of unfulfilling love affairs, Mellors lives in quiet isolation, from which he is redeemed by his relationship with Connie: the passion unleashed by their lovemaking forges a profound bond between them. At the end of the novel, Mellors is fired from his job as gamekeeper and works as a laborer on a farm, waiting for a divorce from his old wife so he can marry Connie. Mellors is the representative in this novel of the Noble Savage: he is a man with an innate nobility but who remains impervious to the pettiness and emptiness of conventional society, with access to a primitive flame of passion and sensuality. Clifford Chatterley - Connie's husband. Clifford Chatterley is a minor nobleman who becomes paralyzed from the waist down during World War I. As a result of his injury, Clifford is impotent. He retires to his familial estate, Wragby, where he becomes first a successful writer, and then a powerful businessman. But the gap between Connie and him grows ever wider; obsessed with financial success and fame, he is not truly interested in love, and she feels that he has become passionless and empty. He turns for solace to his nurse and companion, Mrs. Bolton, who worships him as a nobleman even as she despises him for his casual arrogance. Clifford represents everything that this novel despises about the modern English nobleman: he is a weak, vain man, but declares his right to rule the lower classes, and he soullessly pursues money and fame through industry and the meaningless manipulation of words. His impotence is symbolic of his failings as a strong, sensual man. Mrs. Bolton - Ivy Bolton is Clifford's nurse and caretaker. She is a competent, complex, still-attractive middle-aged woman. Years before the action in this novel, her husband died in an accident in the mines owned by Clifford's family. Even as Mrs. Bolton resents Clifford as the owner of the mines--and, in a sense, the murderer of her husband--she still maintains a worshipful attitude towards him as the representative of the upper class. Her relationship with Clifford--she simultaneously adores and despises him, while he depends and looks down on her--is probably the most fascinating and complex relationship in the novel. Michaelis - A successful Irish playwright with whom Connie has an affair early in the novel. Michaelis asks Connie to marry him, but she decides not to, realizing that he is like all other intellectuals: a slave to success, a purveyor of vain ideas and empty words, passionless. Hilda Reid - Connie's older sister by two years, the daughter of Sir Malcolm. Hilda shared Connie's cultured upbringing and intellectual education. She remains unliberated by the raw sensuality that changed Connie's life. She disdains Connie's lover, Mellors, as a member of the lower classes, but in the end she helps Connie to leave Clifford. Sir Malcolm Reid - The father of Connie and Hilda. He is an acclaimed painter, an aesthete and unabashed sensualist who despises Clifford for his weakness and impotence, and who immediately warms to Mellors. Tommy Dukes - One of Clifford's contemporaries, Tommy Dukes is a brigadier general in the British Army and a clever and progressive intellectual. Lawrence intimates, however, that Dukes is a representative of all intellectuals: all talk and no action. Dukes speaks of the importance of sensuality, but he himself is incapable of sensuality and uninterested in sex. Charles May, Hammond, Berry - Young intellectuals who visit Wragby, and who, along with Tommy Dukes and Clifford, participate in the socially progressive but ultimately meaningless discussions about love and sex. Duncan Forbes - An artist friend of Connie and Hilda. Forbes paints abstract canvases, a form of art both Mellors and D.H. Lawrence seem to despise. He once loved Connie, and Connie originally claims to be pregnant with his child. Bertha Coutts - Although Bertha never actually appears in the novel, her presence is felt. She is Mellors' wife, separated from him but not divorced. Their marriage faltered because of their sexual incompatibility: she was too rapacious, not tender enough. She returns at the end of the novel to spread rumors about Mellors' infidelity to her, and helps get him fired from his position as gamekeeper. As the novel concludes, Mellors is in the process of divorcing her. Squire Winter - A relative of Clifford. He is a firm believer in the old privileges of the aristocracy. Daniele, Giovanni - Venetian gondoliers in the service of Hilda and Connie. Giovanni hopes that the women will pay him to sleep with them; he is disappointed. Daniele reminds Connie of Mellors: he is attractive, a "real man."	Konstanz
Which American guitar-maker, who died in 1991, introduced models known as the Telecaster, and the Stratocaster, favoured by many rock guitarists since the 1950s ?	Censorship in Australia - The Case of Lady Chatterley's Lover \| Self-Publishing at GRIN Censorship in Australia - The Case of Lady Chatterley's Lover Essay, 2011, 14 Pages eBook (PDF, ePUB and MOBI) for only US$ 11.99 Download immediately without shipping costs. Readable on tablets and phones. Book for only US$ 20.50 Shipping worldwide Excerpt D.H. Lawrence’s Lady Chatterley’s Lover has courted controversy ever since it was first published in Paris in 1928. Banned from the outset in Australia, its ultimate release proved to be a seminal moment in the country’s secretive censorship regime. Detailing the affair between a frustrated aristocratic housewife and her invalid husband’s gamekeeper, few novels have elicited such scandal upon polite society. Reading Lady Chatterley’s Lover nowadays, the modern reader may find it hard to see what all the fuss was about. Yet, while this subject matter may seem relatively inoffensive by today’s standards, Lady Chatterley’s Lover must be considered within the context of the puritanical Australia of the 1920s-1960s. At this time, Australia had the strictest censorship of any democratic nation. Publications of all kinds were kept under surveillance, and thousands of works were banned as seditious, blasphemous or obscene. Lady Chatterley’s Lover, which ironically enough D.H. Lawrence intentionally wrote to confront the censors, was banned in its original form and instead released in seven different expurgated versions (Moore, 2012: 108). In this essay I will chart the history of Lady Chatterley’s Lover in Australia , from its initial banning to its final release, in light of the environment of censorship. Lady Chatterley’s Lover fell prey to censorship in both the United Kingdom and Australia. Following the novel’s initial publication in Paris, it was sanctimoniously banned in Britain (Lee, 2011a: 28). Australian censors were quick to respond to the uproar and the Customs service was duly alerted to watch out for it on importation. Resultantly, it came as no surprise when Lady Chatterley’s Lover was intercepted in September 1929. In a ploy to elude censors, the novel was disguised as part of a parcel addressed to a W.A. Webb, South Australian Commissioner for Railways (Lee, 2011a: 28). It transpired that Webb had been sent the package from a Chicago bookseller with whom he had a regular arrangement. Their risk went unrewarded when the novel was declared a prohibited import upon discovery (Lee, 2011a: 30). When Webb, requested his copy back in order to return it to the bookseller, Customs refused. Rather, he was instructed not to become involved with ‘books of that nature’ in the future (Lee, 2011: 30). Not only did importers risk having such works seized at Customs, but to publish them within Australia was punishable under state obscenity laws. Lady Chatterley’s Lover was part of a rush of bannings between 1929 and 1930 of ‘modern’ novels by established authors with strong claims to literary merit, who deliberately pushed the boundaries of the representation of sex (Moore, 2012: 108). In seizing Lady Chatterley’s Lover and other scandal prone titles, the Customs Service acted in the belief of protecting everyday Australians from moral contamination (Lee, 2011: 30). Little did they know that this was to be their first sighting of what was to become the world’s most famous banned book (Moore, 2012: 108). Lady Chatterley’s Lover was banned upon import to Australia on the precedent that it was labelled obscene. Customs Regulations prevented the importation of any publications that were seen to fall foul of certain criteria, namely those of obscenity, blasphemy and sedition (Coleman, 1962: 30). Of these three measures, works of an obscene nature were considered particularly offensive. This was due to the fear that obscenity had the power to threaten the very moral fibre of society (Lee, 2011a: 31). So prevalent was this concern that the war against obscenity extended far beyond the reach of Customs. Literary censorship functioned on both State and Commonwealth levels (Griffith, 2001: 7). Just as the importation of books was regulated federally under the customs scheme, so the censorship regimes in place under State legislation governed all locally produced publications (Griffith, 2001: 7). While Customs banned books on importation, at state level the police force kept abreast of local publications and raided bookshops that were suspected of holding obscene works (Lee, 2011b: 112). In fact, all that was needed was a single complaint for authors to find themselves on trail for obscenity (Lee, 2011b: 108). Yet the concept of obscenity is arguably entirely subjective and as a result difficult to define. According to the censoring authorities of the time, an obscene work was one that had the apparent power to corrupt readers’ morals and supposedly lead them astray (Lee, 2011b: 108). This sentiment was supported by 1946 Comptroller-General of Customs J.J. Kennedy: ‘The Department has a definite duty to protect the morals of the community by exercising censorship ...There is an insidious campaign to glorify promiscuity and make light of sexual offences. This must react unfavourably on immature minds and does, I fear, create desires which lead to unnatural offences’ (Moore, 2010). Considering that obscenity is defined by the moral standards of the time, it is no surprise that Lady Chatterley’s Lover fell foul of censors. Not only did the novel depict numerous scenes of a sexual nature, but it also centred on an adulterous relationship. While this was contentious enough in itself, the affair between the aristocratic Constance Chatterley and a lowly gamekeeper acted as a commentary on the archaic class system. In order to comprehend the furore surrounding Lady Chatterley’s Lover in Australia, the novel must be considered within the confines of the moral standards of the time. The main area of contention appeared to be that the novel’s heroine, Constance Chatterley, embarked upon a passionate affair with a man who was not of her class. What was once so shocking, no longer resonates in a modern society that has been shaped by feminism, the dissolving of class barriers and the sexual revolution. Yet, so fearful were the authorities of the persuasive powers of Lawrence’s novel that they promptly labelled it obscene and kept the ban in place until 1965. In The Censor’s Library, Nicole Moore (2012: 104) explains that modern literature had been experimenting with challenging versions of sex and gender for some time by the early 1930s. She argues that the rejection of such modern culture was a defining feature of the interwar period in Australia, where highbrow modernism was rejected as a threatening foreign impulse (Moore, 2012: 105). As a result Customs were suitably horrified by the explicit representations of sex as an essential part of the “full representation of subjectivity, or character and experience”, evidenced in novels such as Lady Chatterley’s Lover (Moore, 2012: 108). Additionally, it was the potent combination of sex and social class that proved to be so threatening and subsequently lead to D.H. Lawrence being considered to be the ‘most hounded British author of the 20th century’ (Travis). Such was the level of hysteria surrounding the novel in Australia, that Minster for Customs from 1956-1964, Denham Henty, explained on national television that 'normal healthy Australians would not be interested in the works of D.H. Lawrence...anyway' (Bacon, 2011:202). [...] Excerpt out of 14 pages - scroll top eBook (PDF, ePUB and MOBI) for only US$ 11.99 Download immediately without shipping costs. Readable on tablets and phones. Book for only US$ 20.50 Shipping worldwide	i don't know
Which is the longest nerve in the human body ?	Sciatic Nerve - Anatomy Pictures and Information Home > Nervous System > Nerves of the Leg and Foot > Sciatic Nerve Sciatic Nerve The sciatic nerve is the largest and longest spinal nerve in the human body. Extending from the lumbar and sacral plexuses in the lower back, the sciatic nerve runs through the buttocks and into the thighs. It delivers nerve signals to and from the muscles and skin of the thighs, lower legs and feet. The sciatic nerve forms from the merger of the fourth and fifth lumbar nerves with the first, second, and third sacral nerves.... Move up/down/left/right: Click compass arrows Rotate image: Click and drag in any direction, anywhere in the frame Identify objects: Click on them in the image 2D Interactive 3D Rotate & Zoom Change Anatomical System Change View Angle Full Sciatic Nerve Description [Continued from above] . . . From the lower back, the sciatic nerve runs inferiorly into the gluteal region and into the posterior of the femoral region of the leg. Smaller individual nerves branch off from the sciatic nerve to innervate our thigh muscles and skin. At the inferior end of the femoral region, the sciatic nerve branches off into the tibial and common fibular nerves, which continue carrying nerve signals into the lower legs and feet. Histology Like all spinal nerves, our sciatic nerve contains many individual neurons that run along the length of the nerve like strands of thread in a thick yarn. Each neuron is wrapped in a thin layer of connective tissue called the endoneurium. The neurons are bundled together into groups called fascicles, which are further wrapped by connective tissue called the perineurium. Many fascicles are bundled together to form the entire sciatic nerve, which is further wrapped by a sheet of connective tissue known as the epineurium. Blood vessels run between the fascicles to provide oxygen and nutrients to support the nerve cells and remove waste products. Physiology The sciatic nerve innervates many of the posterior muscles of the thighs directly and innervates the muscles of the lower legs and feet indirectly through its branches. Sensory neurons carrying signals from the skin of the hip and thigh also run through the sciatic nerve toward the spinal cord. Prepared by Tim Taylor, Anatomy and Physiology Instructor	Sciatic nerve
What was Mr Darcy's first name in Pride and Prejudice ?	Oscillatory Thoughts: What is the longest axon? What is the longest axon? This is a fascinating question I got over on Quora . Short answer: probably the dorsal root ganglion in the blue whale. Initially I thought it would be a motor axon in the sciatic nerve, but after consideration I'm pretty sure that the dorsal root ganglion (DRG) has a longer axon than the motor information carried in the sciatic nerve (which is the longest nerve in the body, but not axon). The DRG is a weird neuron because it's unipolar, so it's got a loooong axon, where one end has receptors in the skin and the other end enters the spinal cord, ascends in the fasciculus gracilis all the way up to the medulla in the brainstem, and synapses in the nucleus gracilis before then continuing to send information up to the thalamus and, finally the primary somatosensory cortex for "conscious" perception. Note that for the sensations in the toes, this means that the axon goes all the way from the toe to the medulla, which is at about the same height as the mouth. This can be more than 2 meters long in tall people. That's a long axon! Here's my logic for this answer: The DRG is the longest axon in the human body. Humans are mammals. The (confirmed) largest and longest animal to have ever lived is the blue whale. Blue whales are also mammals and thus have nervous systems roughly equivalent to humans. Therefore the longest axon in the blue whale, which is itself the longest animal, is probably the DRG. When trying to confirm my answer, however, I learned a lot of crazy stuff. For example.... The largest blue whales are around 30 m long. This would suggest a DRG axon of at least 25 m, or 75 feet, long. Here's where it gets nuts and things stop making sense to me... Axons typically conduct signals between a wide range of speeds: 0.5 to 100 m/s. This means that if I were to flick a whale's tail (as one tends to do), it could take anywhere from a third of a second (a long time in brain time!) to more than SIX SECONDS to reach the whales' "conscious" perception (assuming they have consciousness). Even more nuts, according to this paper : ...blue whale spinal axons growing at 3 cm/day represent an increase in volume that is likely more than double the volume of the entire neuron cell body—each day. This rapid volume increase for neurons is akin to the peak cellular growth rate observed for rapidly dividing cancerous cells. (bold emphasis mine) Basically, these axons are growing faster than cancerous cells and the speed at which they stretch should cause them to tear or rupture. What? Man, brains are crazy. Smith, D. (2009). Stretch growth of integrated axon tracts: Extremes and exploitations Progress in Neurobiology, 89 (3), 231-239 DOI: 10.1016/j.pneurobio.2009.07.006 Written by	i don't know
Once known as 'the Jerusalem of the North', which city is the capital of Lithuania ?	Grapevine: Paths of Jewish Lithuania - Not Just News - Jerusalem Post Grapevine: Paths of Jewish Lithuania By Greer Fay Cashman 28 July 2016 15:55 On August 1, there will be a premier of the documentary In the Paths of Jewish Lithuania, at the Hibba Center, on Herzog Street near the Jerusalem Botanical Gardens. Stones lie on a tombstone in a Jewish cemetery in Vilnius August 7, 2007. (photo credit:REUTERS) ■ VILNIUS, THE capital of Lithuania, was once known as the Jerusalem of the north, and in the annals of Judaism is referred to as Vilna. This is where Eliahu Ben Shlomo Zalman, better known as the Vilna Gaon, held sway and persuaded many of his followers – including his relatives – to migrate to the Land of Israel, even though he himself did not do so and is buried in Vilnius. Descendants of the Vilna Gaon and his disciples include the Rivlin and Netanyahu families. On August 1, there will be a premier of the documentary In the Paths of Jewish Lithuania, at the Hibba Center, on Herzog Street near the Jerusalem Botanical Gardens. The film will be followed by a panel discussion moderated by well-known radio and television personality Shaul Meisels, a broadcaster who focuses on religious and Jewish folklore topics and who produced and directed the film. Participants will include Supreme Court Justice Elyakim Rubinstein, Prof. Zehavit Gross, Israel Rosenson and Akiva Sela. Reservations can be made at (02) 679-0011. Grapevine: Changes at the TA Museum The film is one of a series of events during the three-week mourning period between 17 Tamuz and Tisha Be’av. With this in mind, there will be a lecture on August 4 on “The Love of Israel (as a people) and Living Together” to be delivered by Rabbi Duki Ben Artzi, followed by a lecture on A Time to Love in Israel by Bat Galim Shaer, the mother of Gil-Ad Shaer, one of the three yeshiva students abducted and murdered by terrorists two years ago. In the interim the unity surrounding the fate of the three boys has to some extent disintegrated, and Sha’ar would like to see it restored. The final lecture in the series on August 11 will naturally be devoted to “The Temple Mount – the realities and the untenable” by Nadav Shragai, journalist, author and a researcher at the Jerusalem Center for Public Affairs. This will be followed by a lecture by Rabbi Menachem Makover on “The Temple Mount in our Times – a Vision or a Dream.” All the above events begin at 8:15 p.m. ■ THE ANNUAL Israel Medical Conference will take place at the Jerusalem International Convention Center on Tuesday, August 16 in the presence of Mayor Nir Barkat and President Reuven Rivlin. Registration is through the Hadassah Medical Center www.hadassah.org.il or (02) 531-5832. Under the heading of 360º of Health, conference participants will discuss specific health issues, technological innovations in medical therapies, the importance of transparency in medical treatments, when and when not to prescribe antibiotics, new techniques in surgery and a topic no less intriguing for lay people than for medical professionals: the relationship between nutrition of the body and health of the soul. Health Minister Rabbi Ya’acov Litzman will present his vision of overall improvements in Israel’s medical services in 2017. ■ IT’S HARD to believe that Khutsot Hayotzer, the annual Jerusalem Arts and Crafts Fair will begin its fifth decade on August 15 at the Mitchell Gardens facing the walls of the Old City. The fair will continue till August 27. Originally an outlet for Israeli exponents of arts and crafts, including artisans from minority communities, the fair gradually grew into a huge international event with leading artists from around the globe performing and exhibiting their works, as well as demonstrating the artistic traditions of their countries. Painters, sculptors and jewelers, along with designers of unique fashions and accessories will show off their creativity. Countries represented at the fair include those of Central and South America, Asia, Europe and Africa. Entry to the fairgrounds is from 6 each evening (except Friday; Saturday from 9 p.m.), with mega performances in the Sultan’s Pool, and performances on a smaller scale in the actual fairgrounds. The big concerts in the Sultan’s Pool begin at 9. Performers include Shalom Hanoch with Shlomi Shabbat, Hadag Nahash with Dudu Tassa, Omer Adam with Liran Danino, Mooki with Static and Ben-El Taboori, Eviatar Banai, Moshe Peretz with Agam Bohbot, Dani Gid and Friends with Efraim Shamir, Rita with Harel Skaat, Peer Tasi with Eden Ben Zaken, and Aviv Gefen, who will be the performer on the closing night. Relevant to your professional network? Please share on Linkedin Tags:	Vilnius
Who was the first British Labour Prime Minister to serve for a full parliamentary term ?	Jewish Vilnius Tour - Vilnius City Tour Jewish Vilnius Tour Price: 130 € (for 1-2 persons) If there are more persons in the group price varies. Price includes: pick up from hotel, guide and transportation. Tour price with Paneriai Memorial: 175 € (for 1-2 persons) If there are more persons in the group price varies. Price includes: pick up from hotel, guide service and transportation. Learn about the Jewish history in Lithuania Walk in the former Bigger and Smaller Ghettos of Vilnius Visit the synagogue* Drive to the Jewish cemetery* where the Gaon of Vilnius was buried Visit the Centre of Jewish Culture and Information * closed for tourist visits on Shabbat and other Jewish holidays Lithuanian Jews can be traced back to the 13th century. The classic Lithuanian Jew (Litvak) is known in folklore for a love of education, no-nonsense straight-talk and certain sardonic wit. Jews were settled in Vilna, as the capital was and still is known in Jewish culture from around the time of its founding in 1323. By the 18th century Vilna had become the world capital of traditional religious (Talmudic) learning, often referred to as the Jerusalem of Lithuania, or Jerusalem of the North. Towering over the many great Jewish figures the city has produced is Gaon of Vilna. Between the wars, Vilna was a bustling international centre of modern Yiddish culture and scholarship. Within a few years 94% of the 250,000 or so Litvaks, including the 80,000 Jews living in Vilnius at that time perished in the Holocaust, the highest percentage of genocide in Europe. Today small community of 5,000 or so Litvaks makes bold efforts to maintain its heritage.	i don't know
Who replaced Hilary Clinton as US Secretary of State in 2013 ?	\| Politics , US & Canada , United States Hillary Rodham Clinton has formally resigned as the 67th United States secretary of state, capping a four-year tenure in the office that saw her travel extensively across the world as the country's top diplomat. In a letter sent to President Barack Obama on Friday shortly before she was to leave the State Department for the last time in her official capacity, Clinton thanked the president for the opportunity to serve in his administration. Clinton said it had been an honour to be part of his cabinet and that she remained convinced of the "strength and staying power" of the US' global leadership. "I am more convinced than ever in the strength and staying power of America's global leadership and our capacity to be a force for good in the world," she said in the letter. Clinton shattered records for the number of countries visited by a US secretary of state. The former First Lady, once considered a divisive figure in American politics, leaves office as one of its most popular. But she remained coy about whether she would run for president in 2016. "I am making no decisions, but I would never give that advice to someone that I wouldn't take myself," she said in an interview with The Associated Press on Thursday. "If you believe you can make a difference, not just in politics, in public service, in advocacy around all these important issues, then you have to be prepared to accept that you are not going to get 100 percent approval." Her resignation became effective at 4pm local time on Friday, when Supreme Court Justice Elena Kagan swore in John Kerry as the new top US diplomat. The former senator and 2004 Democratic presidential candidate is the 68th secretary of state. "I'm just very, very honored to be sworn in and I'm very anxious to get to work," Kerry told reporters after the private ceremony at the Capitol. "I'll be reporting Monday morning at nine o'clock to do my part," he said, but refused to say what global hotspot he would visit first. Source: Al Jazeera and agencies Related	John Kerry
The beggar at the gate of the rich man's house is the only character in any of Jesus's parables to be given a proper name. What name ?	Clinton out, Kerry in as secretary of state \| Fox News Clinton out, Kerry in as secretary of state Published February 01, 2013 Facebook 0 Twitter 0 Email Print Hillary Clinton formally resigned Friday as U.S. America's secretary of state, capping a four-year tenure that saw her shatter records for the number of countries visited. John Kerry was sworn in to replace her. In a letter sent to President Barack Obama shortly before she left the State Department for the last time in her official capacity, Clinton thanked her former foe for the 2008 Democratic presidential nomination for the opportunity to serve in his administration. Clinton said it had been an honor to be part of his Cabinet. "I am more convinced than ever in the strength and staying power of America's global leadership and our capacity to be a force for good in the world," she said in the letter. Her resignations became effective at 4 p.m. Friday, when Supreme Court Justice Elena Kagan swore in John Kerry as the top U.S. diplomat. The former senator and 2004 Democratic presidential candidate is the 68th secretary of state. I'm just very, very honored to be sworn in and I'm very anxious to get to work," Kerry told reporters after the private ceremony at the Capitol. More On This... Secretary Clinton's last day marred by attack on US embassy "I'll be reporting Monday morning at nine o'clock to do my part," he said, but refused to say what global hotspot he would visit first. In the State Department's main lobby, Clinton pushed through a throng of American foreign service workers who clamored for handshakes and smartphone photos with her and gave an emotional goodbye speech. She told them to continue to "serve the nation we all love, to understand the challenges, the threats and the opportunities that the United States faces and to work with all our heart and all of our might to make sure that America is secure, that our interests are promoted and our values are respected." Clinton, however, also left office with a slap at critics of the Obama administration's handling of the September attack on a U.S. diplomatic mission in Libya. She told The Associated Press in an interview Thursday that critics of the administration's handling of the attack don't live in an "evidence-based world," and their refusal to "accept the facts" is unfortunate and regrettable for the political system. Clinton told the AP that the attack in Benghazi was the low point of her time as America's top diplomat. But she suggested that the furor over the assault would not affect whether she runs for president in 2016. Although she insisted that she has not decided what her future holds, she said she "absolutely" still plans to make a difference on issues she cares about in speeches and in a sequel to her 2003 memoir, "Living History," that will focus largely on her years as secretary of state. Clinton spoke to the AP Thursday in her outer office on the seventh floor of the State Department less than 24 hours before she walks out for a final time as boss. She was relaxed but clearly perturbed by allegations from Republican lawmakers and commentators that the administration had intentionally misled the public about whether the attack was a protest gone awry or a terrorist attack, or intentionally withheld additional security for diplomatic personnel in Libya knowing that an attack could happen. An independent panel she convened to look into the incident was scathing in its criticism of the State Department and singled out four officials for serious management and leadership failures. But it also determined that there was no guarantee that extra personnel could have prevented the deaths of the U.S. ambassador to Libya, Chris Stevens, and three other Americans. Clinton herself was not blamed, although she has said she accepted responsibility for the situation. "I was so unhappy with the way that some people refused to accept the facts, refused to accept the findings of an independent Accountability Review Board, politicized everything about this terrible attack," she said. "My job is to admit that we have to make improvements and we're going to." Hours later a suicide bomber linked to a domestic terror group exploded a device just outside the U.S. Embassy in Ankara, Turkey, killing himself and a guard. Clinton told State Department staff on Friday that the attack showed again how "we live in very complex and dangerous times." Clinton faced a barrage of hostile questions about Benghazi from Republican lawmakers when she testified before Congress recently in appearances that were delayed from December because of illness. Afterward, some lawmakers continued to accuse her and the administration of withholding evidence. Sen. Lindsey Graham, a Republican, told a television interviewer that he thought Clinton was getting "away with murder." In the interview, Clinton had little patience for such allegations. "There are some people in politics and in the press who can't be confused by the facts," she said. "They just will not live in an evidence-based world. And that's regrettable. It's regrettable for our political system and for the people who serve our government in very dangerous, difficult circumstances." Because of that, she said, the partisan divide should not dissuade anyone with a cause from getting involved in politics, and she hinted strongly that a divisive atmosphere would not stop her in any future endeavor. "You have to have a thick skin because (politics) is just going to be a contact sport as far as we can look into the future." Clinton is no stranger to partisan politics. As first lady, she railed in 1998 against a "vast right-wing conspiracy" that she asserted had been attacking her husband, Bill Clinton, ever since he had become president. But the woman who was once considered a divisive figure in American politics, yet leaves office as one of its most popular, remained coy about whether she would run for president in 2016. "I am making no decisions, but I would never give that advice to someone that I wouldn't take myself," she said. "If you believe you can make a difference, not just in politics, in public service, in advocacy around all these important issues, then you have to be prepared to accept that you are not going to get 100 percent approval." Advertisement	i don't know
What new name was given to the Chinese Gooseberry by farmers from New Zealand when they started exporting it to the USA in the 1960's ?	70 Interesting Facts about New Zealand \| FactRetriever.com 70 Interesting Facts about New Zealand By Karin Lehnardt, Senior Writer Published November 10, 2016 When it was determined by Dutch explorers that New Zealand was not attached to the South American continent, they changed its name from Staten Landt (South America) to Nova Zeelandia (New Zealand), after the Dutch province of Zeeland.[10] Wellington, New Zealand, is the southernmost national capital in the world at latitude 41.2° South. It also shares the honor of being the most remote capital with Canberra, Australia, over 1,243 miles (2000 km) away.[13] Queen Elizabeth II of the United Kingdom is the official queen of New Zealand. She is represented in the country by a governor general.[14] New Zealand/Māori ex-prostitute Georgina Beyer became the world’s first transsexual Member of Parliament in 1999.[13] New Zealand’s Ninety-Mile Beach is only 56 miles (90 km) long.[8] New Zealanders enjoy one of the world’s highest life expectancy rates—82.3 years for females and 78.3 years for males.[16] The word māori means "normal," "natural," or "ordinary" The Māori name for New Zealand is Aotearoa, which means “Land of the Long White Cloud.”[10] The Pizza Hut restaurant chain does not get its mozzarella cheese from Italy; it buys the cheese from Taranaki, New Zealand.[17] The Auckland City Sky Tower, at 1,076 feet (328 m) high, is the tallest freestanding structure in the Southern Hemisphere.[16] New Zealanders refer to themselves as Kiwis, which probably dates back to World War I when New Zealand soldiers acquired the nickname. The New Zealand dollar is also called the Kiwi in international financial markets. The dollar coin features a kiwi bird on one side.[6] New Zealand is one of the world’s least populated nations with only 4.4 million residents.[11] New Zealanders love their cars. There are 2.5 million cars for 4 million people, giving them one of the highest ownership rates in the world.[7] It is said that a New Zealander can fix anything with a length of Number-8 fencing wire, a testament to the New Zealander spirit of inventiveness and do-it-yourself spirit. This refers to the fact that the most commonly used wire for fences to keep cows and sheep in their paddocks is called Number-8 wire.[15] Two species of bats are New Zealand’s only native land mammals.[11] New Zealand has more Scottish pipe bands per capita than Scotland itself.[11] Popular films made in New Zealand by New Zealand filmmakers include Once Were Warriors, The Whale Rider, The Piano, and the Lord of the Rings trilogy.[11] There are no snakes in New Zealand.[10] New Zealand was the first country in the world to allow universal suffrage, allowing women to vote in 1893.[10] New Zealand's first sheep were set ashore by Captain Cook in 1773 New Zealand has seven times as many sheep and three times as many cows as people.[6] The kauri tree in New Zealand takes about 200 years to mature. The largest kauri tree in the world, Tāne Mahuta (Lord of the Forest), located in the Waipoua Forest, has a circumference of over 43 feet (13 m) and an overall height of 169 feet (51.5 m). It is also reported to be about 2,100 years old.[15] The Pohutukawa tree is New Zealand’s Christmas tree. It blooms crimson red flowers for several weeks each December.[10] New Zealand is said to have more helicopters per capita than any other population on Earth. They were first used during the 1960s to cull deer, with up to 50 copters culling as many as 200 deer each in a day.[9] New Zealand was the first country to have its top three positions of power held simultaneously by women: Prime Minister Helen Clark, Governor General Dame Silvia Cartwright, and Chief Justice Sian Elias.[11] In 2009, New Zealand topped the Global Peace Index earning the distinction of being the world’s most peaceful country.[11] New Zealand is the world’s second-largest producer of wool (after Australia).[9] New Zealanders are addicted to the outdoors, and “tramping” (walking or hiking) is the most popular national pastime.[8] Prostitution is legal in New Zealand New Zealand is one of the most liberal nations in the world with same-sex marriage and prostitution (soliciting and brothel keeping) being legal. The driving age is 15, the consensual age for sex is 16, and the drinking age is 18.[13] No place in New Zealand is more than 87 miles (140 km) from the ocean.[8] New Zealanders have invented the disposable syringe, the nonshortable electrical fence, the Navman GPS, and the child-proof top for pill bottles.[11] New Zealand’s population would hit 11 million if the country would accept everyone who wanted to settle there, according to Gallup, which rated it third in its 2009 Potential Net Migration Index.[11] Situated on 178° latitude, Gisborne is the first city in the world to see the sun rise each day. It is only 308.4 miles (496.3 km) away from the International Date Line. This fortunate accident of geography was made much of on December 31, 1999, when the city led off worldwide television coverage welcoming in the new millennium.[10] New Zealand is one of the top five dairy producers in the world. Dairy farmers produce 220 lb. (100 kg) of butter and 143 lb. (65 kg) of cheese each year for each person living in New Zealand.[10] The first referee in the world to use a whistle to halt a game was William Atack of Christchurch, New Zealand, in 1884.[11] The world’s steepest road is believed to be Baldwin Street, with a 38° gradient, in Dunedin, New Zealand.[10] New Zealand is one of the few countries with two national anthems: “God Defend New Zealand,” which was adopted in 1940 as the national song and in 1977 as the co-national anthem, and “God Save the Queen,” which is normally played only when a member of the royal family is present. The other two countries with a royal and a state anthem are Denmark and Canada.[14] The weta bug is a wingless insect found in New Zealand that has hardly changed in the last 190 million years. The harmless giant weta is the world’s heaviest insect at 2.5 ounces (71 g), almost as much as a thrush.[16] Auckland, New Zealand, is called the “city of sails.” It has the highest boat ownership per capita in the world. On the last Monday of January, the Auckland Anniversary Regatta takes place. With more than 1,000 entries, it is the world’s biggest one-day yachting event.[10] For many sailers, New Zealand is the "promised land" Rugby is by far the most popular sport in New Zealand. It was born at the English school of Rugby in 1823 when a boy by the name of William Webb Willis became bored with kicking a soccer ball and picked it up and rain with it. Today it is the national sport of New Zealand and is played by 250,000 at the club level. The national team is named the All Blacks.[4] The kiwi fruit earns New Zealand over a billion dollars a year. The fruit originated in China where it was called the monkey peach because they were considered ripe when the monkeys ate them. They were renamed first the Chinese gooseberry and then kiwi fruit in New Zealand, and New Zealand began exporting them in the 1950s. Today, the fruit comes in two types: the common, fuzzy-covered green and the gold with its smoother complexion.[11] The best-selling book in New Zealand history is Edmonds Cookery Book, initially published in 1908 to promote the use of Edmonds Baking Powder. By 2003, in its 51st edition, it had sold some four million copies in a population that had just reached that same number.[10] Moa were flightless birds that were native to New Zealand. The largest species, the giant moa, reached about 12 feet (4 m) in height and weighed about 550 lb. (249 kg). Some of the largest birds ever to inhabit the earth, they were the dominant herbivores in the country’s ecosystem for thousands of years before they were hunted to extinction by the Māori by 1500.[16] New Zealand first competed as an independent nation at the 1920 Summer Olympics New Zealand has won more Olympic gold medals, per capita, than any other country.[6] The most celebrated of desserts in New Zealand is the pavlova, a meringue cake topped with whipped cream and fresh fruit slices. It was named in honor of the Russian ballerina Anna Pavlova who visited New Zealand in the 1920s. For decades, there has been controversy between Australia and New Zealand over where it was invented. After years of research, the recipe does indeed seem to be of New Zealand origin (from a New Zealand recipe book), but it was named by the wife of a manager of a hotel pub in Western Australia.[15] New Zealand’s eels live to 80 years old and breed only once, at the end of their life—and they swim all the way to Tonga to do it.[13] New Zealand is the last major land mass outside of the polar regions to be settled by humans. The first settlers were the Māori, who arrived between A.D. 800 and 1200. Māori tradition says they came from an island called Hawaiki, and although the location of the island is unknown, there is strong linguistic connection between the Cook Islands and the New Zealand Māori.[10] Lake Taupo was the source of the world’s largest known volcanic eruption in the last 70,000 years. It is estimated that its violent birth spewed 15,000 times the volume of material ejected when Mount Saint Helens in Washington State erupted in 1980.[16] "Land-diving" originated in New Zealand Bungee jumping may very well have originated in ancient Vanuatu in the Pacific where young men, to prove their manhood, had to climb a bamboo tower, tie some fine ropes around their legs, and jump. Modern-day bungee jumping was started in England by the Oxford Dangerous Sports Club but was commercialized in New Zealand by A.J. Hackett and Henry van Asch, who brought the sport into the spotlight when they bungee jumped off the Eiffel Tower in 1987.[10] The Te Waikoropupū Springs (known as Pupū Springs) discharge 3,698 gallons (14,000 liters) of water per second and are the largest fresh water springs in New Zealand, are the largest cold water springs in the Southern Hemisphere, and contain the clearest water ever measured outside of Antarctica.[18] New Zealand-born astrophysicist Dr. William Pickering was essential to the achievements of NASA’s space program. As director of the Jet Propulsion Lab (JPL) at Cal Tech, Pickering became a key figure in the Mariner II expedition to Venus in 1963 and Ranger VII to Mars in 1965; Ranger VIII, which photographed the moon’s surface, in 1966; and Apollo XI, which placed Neil Armstrong as the first man on the moon in 1969.[2] The glowworm (Arachnocampa luminosa) is actually the larva of the fungus gnat (relative of the mosquito), which attaches itself to cave roofs in New Zealand. The bluish-green glow the larva emits comes from the sticky silk threads on its body, which it uses to trap flying insects. The hungrier the larva is, the brighter it glows.[10] New Zealand’s staunch antinuclear stance has earned it the nickname “the mouse that roared.” Ironically, the person responsible for the nuclear age was a New Zealander. In 1917, nuclear physicist Ernest Rutherford was the first to split the nucleus of an atom and come up with the orbital theory of the atom. He also won the Nobel Prize, and his face appears on the NZ $100 note. He has been featured on stamps in New Zealand, Russia, Sweden, and Canada.[11] A local of Bluff, New Zealand, Jim Burke is the world record holder for opening the most oysters (1,719) in an hour. That equates to opening 28 oysters a minute for a solid hour.[10] New Zealand is a prime golf destination New Zealand boasts over 400 golf courses, both public and private. That’s one for every 9,000 people, the highest number of golf courses per capita in the world.[1] Antarctica is the last great wilderness, with close to 90% of the world’s ice sprawling over an area larger than the United States. New Zealander Alexander von Tunzelmann is believed to be the first person to step ashore on Antarctica at Cape Adare in January 1895. New Zealanders also took part in the explorations by Englishmen Robert Falcon Scott and Anglo-Irish Ernest Shackleton between 1900 and 1917.[10] The song “How Bizarre” was a massive hit in Europe, the UK, the U.S., and Australia during 1996. The song was by the New Zealand band OMC, an acronym for Otara Millionaire’s Club, which made light of OMC’s poverty-stricken home of Otara.[11] Rotorua’s short-lived Waimangu geyser, formed after the Mt. Tarawera eruption, was once the world’s largest, often gushing to a dizzying height of 1,312 feet (400 m). It erupted only from 1900 to 1904.[11] Dame Kiri Te Kanawa may be New Zealand’s most famous daughter, born in Gisborne in 1944. A megastar in the operatic world, she has played leading ladies in the world’s most renowned opera houses and she sang in front of an audience of 600 million at the wedding of Prince Charles and Lady Diana in 1981. In 2005, she pulled out of a concert with Aussie pop star John Farnham after watching a video of him performing. She was put off by the footage of women throwing their underpants on stage at him.[11] Pākehā is the New Zealand Māori word for “foreigner” and is especially used to refer to someone of European descent. It may be derived from the word pakepakeha which means “pale-skinned fairies,” or it might also mean “white pig.”[19] The kiwi is a national symbol of New Zealand The flightless kiwi bird is native to New Zealand. In relation to the bird’s body size, the kiwi’s egg is the largest egg in the world, weighing approximately one-third of the female bird’s weight. The kiwi is the only bird in the world that has a sense of smell. Its name comes from the male’s distinctive, shrill call.[16] New Zealand has 44 native reptile species. The tuatara is the largest, growing up to 2 feet (60 cm) long. It is believed to be the only surviving species of a family of reptiles that became extinct in other parts of the world 60 million years ago.[16] In 1926, a Hunterville, New Zealand, farmer named John Lambert promoted the idea of using small airplanes from which to drop fertilizers. This is believed to be the first use of aerial topdressing, or crop-dusting, in the world.[16] According to witnesses, Richard Pearse—a Canterbury, New Zealand, farmer who began construction on his first aircraft in the late 19th century—flew his aircraft for about 0.6 miles (1 km) on March 31, 1903, months before the famous Wright Brothers made their first flight in America.[16] New Zealander Sir Edmund Hillary became the first man in world, along with Sherpa Tenzing Norgay, to summit Mt. Everest in 1953. He also became the first man to drive overland to the South Pole in 1958. He accomplished that feat driving a specially adapted New Zealand farm tractor. He is featured on the New Zealand $5 note.[16] According to New Zealand Māori legend, the dead leap off the Pohutukawa tree at Cape Reinga’s point to begin their trip to the underworld in the churning waters where the Pacific Ocean and Tasman Sea meet.[4] Cricket has been played in New Zealand for over 150 years and is New Zealand’s oldest organized sport. The country secured its first test win against the West Indies in 1956 and its first test series against Pakistan in 1969.[16] Some experts believe that kumara, a kind of sweet potato that the Māori brought to New Zealand, originated in South America.[19] Nancy Wake was one of the Gestapo's most wanted New Zealand-born Nancy Wake (codenamed White Mouse) led a guerrilla attack against the Nazis with a 7,000-strong army. She had the multiple honors of being the Gestapo’s most-wanted person and being the most decorated Allied servicewoman during World War II.[11] British Explorer Captain James Cook pioneered beer brewing in New Zealand when he established the first brewery in New Zealand at Dusty Sound. Today, there are three breweries in the country.[16] New Zealand Māori revere pounamu (hard green nephrite jade) and tangi wai (softer, translucent bowenite) usually collectively known as greenstone. In Māori, the entire southwest area of New Zealand is known as Te Wāhipounamu (place of greenstone).[13] Herbert James “Burt” Munro of Invercargill, New Zealand, still owns the world land speed record for under-1000 cc motorbikes. His official run clocked in on Utah’s Bonneville Salt Flats in 1967 at 183.567 mph (295.422 kph). His story was told in the 2005 film The World’s Fastest Indian.[5] Important Dates[3][11][12][13][16] Date	Kiwifruit
Films. Give the next title in the following sequence: East of Eden, Rebel Without a Cause - ?	Macclesfield Pub Quiz League: CUP/PLATE QUARTER FINALS Macclesfield Pub Quiz League CUP/PLATE QUARTER FINALS Questions for Cup by The Knot Inn and The Pack Horse Bowling Club 1. The recently released film “Sex and Drugs and Rock and Roll” is a biopic of whom? A. Ian Dury 2. Another recently released film covers the childhood and adolescence of John Lennon. What is it called? A. Nowhere Boy 3. In which war was the battle of Vimy Ridge fought? A. World War One 4. What is the name of the Wigan Athletic player who scored from his own half in the match against Stoke City on December 12th ’09? A. (Maynor) Figueroa. 5. What shape is Farfalle pasta? A. A Bow Tie or a Butterfly (accept either) 6. Who wrote the book “A Farewell to Arms”? A. Ernest Hemingway 7. Which British composer wrote “The Lark Ascending”? A. Ralph Vaughan Williams. 8. Hyde, Denton, Ashton and Stalybridge are in which metropolitan borough? A. Tameside 9. Which place near Macclesfield had the distinction of being the coldest in the country at bracing minus17.6 degrees on the night of 6th January 2010? A. Woodford 10. Which TV show was voted “Best Television of the Noughties” in a recent Channel 4 poll? A. Top Gear 11. Which sculptor created “The Burghers of Calais”? A. (Auguste) Rodin 12. From which country is Bulls Blood wine produced? A. Hungary 13. Why was Arlene Foster in the news on 11th January this year? A. She took over (as Northern Ireland’s First Minister) from Peter Robinson. 14. Also on 11th January, Chris Evans took over the morning show on radio 2. What was the first record he played? A. All You Need Is Love 15. In which U.S. state is Yosemite National Park? A. California 16. Which Band reach Christmas No. 1 last year following an online campaign to keep the X Factor winner from getting there? A. Rage Against the Machine. 17. Which Paralympics sport was originally called Murderball? A. Wheelchair Rugby 18. Who was the first Premier League manager to be sacked this season? A. Paul Hart (Portsmouth) 19. The Australian Ghan train travels between Darwin and which other city? A. Adelaide. 20. Who was the first British Prime Minister to be born in the 20th Century? A. Alec Douglas Home (born 2 July 1903) 21. In which town did Jesus turn water into wine? A. Cana 22. What is the name of Dan Brown's latest book? A. The Lost Symbol. 23. Which former Blue Peter presenter has taken over from Simon Mayo in the afternoon slot on Radio 5 Live? A. Richard Bacon 24. From which Shakespeare play does the phase 'pound of flesh' come from? A. The Merchant of Venice 25. In which BBC comedy are the two title characters played by Matthew Horne and Joanna Page? A. Gavin & Stacey 26. What was the name of the creator of Rumpole of the Bailey who died in 2009? A. John Mortimer 27. In the NATO phonetic alphabet which word represents P? A. Papa 28. 4-4-2 and 4-5-1 be dammed. Where do football teams only ever line up 1-2-5-3? A. On a table football set. 29. Name the British hostage who was released on 30th December 2009 after spending 2½ years captive in Iraq? A. Peter Moore 30. Which town in Tuscany gives its name to a prized form of white marble? A. Carrara. 31. In which specific area of London is a bell foundry, which, at 539 years of continuous production, is said to be Britain’s oldest manufacturing company? A. Whitechapel. (Whitechapel Bell Foundry Ltd) 32. In which European city is the Pirelli skyscraper? A. Milan. 33. In which Ocean are the Comoros Islands? A. The Indian Ocean. 34. Wyndottes, Light Sussex, Lavender Aruncanas and Orpingtons are all rare breeds of which domesticated animal? A. Poultry / chickens. 35. Beltex, Llanwenog, Gotland and Herdwick are all rare breeds of which domesticated animal? A. Sheep. 36. How is the chemical symbol Kr connected to the comic and film hero superman. A. Kr is the symbol for Krypton, which is superman’s home planet. 37. Which mythical object was sought by medieval alchemists trying to make gold? A. The philosopher’s stone. 38. Gambia has a land border with only one other country, which one? A. Senegal. 39. The smallest measurable length is roughly 1.6160 x 10-35 metres, how is it known? A. The Planck Length 40. Which is the largest mammal to build a nest? A. Gorilla. (an overnight sleeping nest) 41. What term is given to the formation or use of words such as buzz, bang and murmur that imitate the sounds associated with the objects or actions they refer to? A. Onomatopoeia. 42. Which film was promoted with the tagline “As far back as I can remember, I’ve always wanted to be a gangster”? A. Goodfellas. 43. Which band had hits in the 1960’s with “Walk Like a Man” and “Big Girls Don’t Cry”? A. The Four Seasons. (accept Frankie Valli and The Four Seasons) 44. The first couplet of which famous song, sung by 15 singers, is translated as “It is death. It is death. It is life. It is life. This is the hairy man who caused the sun to shine again for me”? A. The Haka. 45. There are 4 pairs of them in the human body, the palatine, the lingual, the tubal and the pharyngeal. Their primary function is to combat airborn infections entering the body. What are they? A. Tonsils (The palatine tonsils are the ones we usually just call “the tonsils”.) 46. In which athletics event is the women’s world record better than the men’s? A. The discus ( Men’s 74.08 metres, women’s 76.80 metres both set in the 1980’s by East German athletes! The men’s discus is twice as heavy at 2kg) 47. Who painted The Rokeby Venus, now hung in the National Gallery in London? The painting being badly damaged by a suffragette in1914. A. Velazquez. 48. What term is used to denote a number that cannot be expressed as an exact fraction? For example, the square root of two, three or Pi. A. Irrational. 49. What new name was given by farmers, to the Chinese gooseberry’s being exported to the USA from New Zealand in the 1960’s? A. Kiwi Fruit. 50. What word was on all decimal coins when they were introduced in 1971, and was removed from all decimal coins from 1982 onwards? A. New. 51. What is the name of the small uninhabited island in the middle of the Niagara Falls, named after the animals who used to roam freely there? A. Goat Island. 52. If you suffer from anosmia what have you lost? A. Your sense of smell. 53. Which Olympic swimming medallist became better known as Flash Gordon and Buck Rogers. A. Clarence “Buster” Crabbe 54. In which musical are the gangs the T-Birds and the Scorpions rivals? A. Grease. 55. Which playwright wrote ‘Caesar and Cleopatra’ and ‘Man and Superman’? A. George Bernard Shaw. 56. What was each member of the Waffen SS required to have tattooed on the underside of his left arm, 20 centimetres up from the elbow? A. Their blood group 57. In The Arabian Nights, what kind of bird was so vast and strong it could lift and elephant? A. The Roc. 58. Who gave a lift to Betty Burke in1746? A. Flora Macdonald (Betty Burke was the disguise affected by Bonnie Prince Charlie) 59. Which of Henry VIII’s wives is buried beside him? A. Jane Seymour (She was so rewarded for giving birth to his only son Edward VI) 60. What is a winding hole (wind as in breeze not rotating) on a canal? A. A place where canal boats and barges can turn round 61. Which country contested the War of Jenkins’ Ear with Britain? A. Spain 62. In what year was the Panama Canal formally opened (leeway of +/- 5 years)? A. 1920 – Accept 1915-1925 inclusive 63. Which Austrian psychologist, a collaborator with Freud is most associated with the terms “introvert and extrovert”? A. Carl Gustav Jung 64. What middle name is shared by Bill Clinton and William Hague? A. Jefferson 65 In which city did the England cricket team win their last game of 2009? A. Durban 66. Which non-speaking character in Shakespeare is described as “a fellow of infinite jest, of most excellent fancy”? (Yorick – His skull is famously tossed around in Hamlet) 67. What country includes the Provinces of Carinthia, Styria and Voralberg? A. (Austria) 68. Which sweet cake, popular in Greece and Turkey, consists of filo pastry stuffed with walnuts and almonds and flavoured with honey? A. (Baklava) 69. What is the name of the Greek god of the underworld? A. Hades 70. Which famous figure from the world of boxing passed away on Christmas Eve? A. Terry Lawless (Trainer of Frank Bruno among others) 71. Who is currently the Shadow Foreign secretary? A. William Hague 72. Who is currently the Secretary of State for Children, Schools and Families? A. Ed Balls 73. Which song features the lyric: ‘I kept my promise, don’t keep your distance’? A. Don’t cry for me Argentina 74. Which song features the lyric: ‘A man hears what he wants to hear and disregards the rest’? A. The Boxer 75. In broadcasting, what do the initials CNN stand for? A. Cable News Network 76. Which country’s national TV station is called NHK? A. Japan (Nippon Hoso Kyokai, or Japan Broadcasting Company) 77. Which city is served by Frederic Chopin airport? A. Warsaw 78. Which city is served by Jose Marti Intl Airport? A. Havana 79. Which film is described here, tipped to be nominated for the 2010 Best Picture Oscar? ‘Based on the true story of agribusiness executive Mark Whitacre who exposed his company's price-fixing tactics A. ’ The Informant! 80. Which film, again tipped as a potential 2010 Oscar-winner? A coming-of-age story about a teenage girl in 1960s suburban London, with a screenplay by Nick Hornby. A. An Education 81. In which country is the Africa Cup of Nations football tournament being played this month? A. Angola 82. What anniversary is the cause of the current glut of programmes about Elvis Presley? A. Would have been his 75th birthday on January 8th 83. In which city is the statue known as the Manneken Pis? A. Brussels 84. The locals refer to this statue as the ‘Tart with the Cart’, but which figure is the subject of the statue? A. Molly Malone (in Dublin) 85. Apart from playing music, what could you do with a mandolin? A. Slice food 86. Which on-line gambling company has its HQ in Stoke-on-Trent? A. Bet365 87. Which conflict inspired Hemingway’s a Farewell to Arms, and Picasso’s Guernica? A. Spanish Civil War 88. January King, Hispi and Green Express are all varieties of which vegetable? A. Cabbage 89. Who played the headmistress in the 1950’s St Trinians films? A. Alastair Sim 90. What fish is used to make an Arbroath Smokie? A. Haddock 91. Which river flows through Bordeaux? A. Gironde 92. Which major Southern hemisphere city stands on the river Yarra? A. Melbourne 93. Who wrote the novels Money and the Rachel Papers? A. Martin Amis 94. Who wrote the novels On Green Dolphin Street and the recently published A Week in December? A. Sebastian Faulks 95. Talisker malt whisky is distilled on which island? A. Skye (it’s the only one on Skye) 96. The grape variety Shiraz originated in which country? A. Persia (accept Iran) 97. Who wrote the 1950’s science fiction novels the Chrysalids and The Kraken Wakes? A. John Wyndham 98. Which literature genre is MR James best known for? A. Ghost stories 99. Which philosopher said: I think therefore I am. A. Rene Descartes 100. What is the smallest breed of British duck? A. Teal 101. The river Waveney forms a large part of the boundary between which two counties? A. Need both: Norfolk and Suffolk (this was challenged as it requires two answers) 102. Lost wax technique is used to do what? A. Casting of metal (accept casting) 103. In Greek mythology, who was the father of Hercules? A. Zeus 104. Which breed of dog originated in the North east of England, and was used by miners to hunt vermin? A. Bedlington Terrier 105. Into which sea does the River Jordan flow ? A. Dead Sea 106. What's the name of the parliament of the Isle of Man ? A. Tynwald 107. Which Scandinavian country extends furthest north ? A. Norway 108. Which two colours are found on the Greek national flag ? ( Blue and White ) This too was challenged) 109. Who was the first foreign ( ie. non British ) manager to win the F.A. Cup ? A. Ruud Gullit 110. Who was the famous footballing uncle of Bobby and Jack Charlton ? A. Jackie Milburn 111.On what would you find a bridle, a tail and a wind ? A. a kite 112.In the film,what was the name of the family that Mary Poppins went to work for? A. Banks 113. In which English city would you find the Walker Art Gallery ? A. Liverpool 114. In which century did Chaucer write the Canterbury Tales ? A. 14th 115. Who became king of England in 1016; Denmark in 1018 and Norway in 1028 ? A. Canute 116. Which insect saw Cock Robin die ? A. the fly 117. What was Spike Milligan's real first name ? A. Terence 118. In slang terms, how much money is a "monkey" ? A. £500 119. Which Roman Catholic ceremony uses a bell, book and candle? A. Excommunication 120.Which metal is used to make shoes for racehorses ? A. aluminium 1. Which jazz bandleader's father was a butler in the White House ? A. Duke Ellington 2. What is the name of the disgraced Northern Irish politician, who used her position to obtain money to set up her lover in business (both names needed) A. Iris Robinson 3. Who created the fictional detective The Saint? A. Leslie Charteris 4. Which Victorian art critic said that labour without art is brutality? A. John Ruskin 5. Which famous crime has a possible 324 different combinations ? A. the murder in Cluedo 6. Bronze is an alloy of which two metals ? A. Tin and Copper 7. All racehorses share the same birthday. What date is it ? A. January 1st Tiebreaker: According to Viamichelinn.com, how long does it take to drive from the Waters Green Pub to Dover docks by the quickest route? A. 4 hours and 29 minutes	i don't know
The line "Off with his head ! So much for Buckingham" was added by Colly Cibber in the eighteenth century to which Shakespeare play ?	William Shakespeare Richard III William Shakespeare Richard III You're Reading a Free Preview Pages 7 to 37 are not shown in this preview. You're Reading a Free Preview Pages 44 to 48 are not shown in this preview. You're Reading a Free Preview Pages 60 to 195 are not shown in this preview. You're Reading a Free Preview Pages 202 to 349 are not shown in this preview.	Richard III of England
The character of Beryl the Peril originally appeared in which comic ?	Full text of "The rehearsal" See other formats :CNJ THE REHEARSAL Five hundred and ten copies printed ; type distributed. No. 323 THE APPARITION OF PALLAS. The Rehearsal : Actus IV. Scaena I. (p. 51.) From Vol. ii of Buckingham's Works (1714), [Front. REHEARSAL BY GEORGE VILLIERS, DUKE OF BUCKINGHAM (16251687) EDITED BY MONTAGUE SUMMERS THE SHAKESPEARE HEAD PRESS STRATFORD-UPON-AVON MCMXIV Ti? L .H. C. who has so often trodden the historic boards of Drury Lane, this edition of one of the earliest and greatest successes of the Theatre Royal PREFATORY NOTE THE present text is reprinted from the third edition (4to, 1675), as representing the standard and permanent scrip of The Rehearsal, embodying the Duke of Buckingham's final amplifications and revisions. The fourth edition (4^0, 1683), and the fifth edition 'with amendments and large additions by the author' (4to, 1687) the last to be published during Villiers' lifetime are simply reissues of the 1675 quarto, which takes its place as the sole authoritative and complete version. An exact reprint of the first edition (4to, I672 1 ), errata innumerable and all, is easily procurable in the series, 'English Reprints,' published under the editorship of the late Professor Edward Arber. It has been thought none the less necessary and useful to add in a separate appendix a list of the passages, additions and alterations wherein the third edition differs from the first two quartos. Save, how ever, for the fact of being a word for word reprint Arber's edition is of little value ; and the notes (taken, without original research, from eighteenth-century Keys), so far from illuminating the play, serve only to obscure it. He confesses, moreover, that he could not even learn the dates of the second and third editions, and the floundering bibliography is worse than useless, being erroneous to a degree, full of random guesswork and gaping lacunae. Professor Noyes in his volume, Selected Dramas of John Dryden, a work of great merit and high scholarship, has 1 The second edition (410, 1674) is a replica of the first. vi Prefatory Note reprinted 'The Rehearsal, but here, unfortunately, in spite of much able criticism and excellent editing, he has for Villiers' play relied too implicitly upon Arber. A Key to The Rehearsal was published by Sam Briscoe in 1704, and this was appended to nearly every subsequent edition of the play. To have reprinted this once more were entirely superfluous ; all that it contains of value will be found embodied in the present notes. Bishop Percy 's edition, prepared for the press but never issued, of which a copy c nearly unique' is in the British Museum, is certainly a work of considerable research, but the industry of the good Bishop was greater than his acumen. It has long been felt that a critical edition of The Rehearsal fully annotated was a desideratum. It seems strange that a play of such intrinsic merit and extreme importance in the history of literature, one, moreover, that kept the boards for a century and a half untired, should lack sufficient editing. This reproach is, we trust, now removed. Throughout the whole work 1 have been greatly helped by the valuable advice of Mr. A. H. Bullen, without whose kindly criticism and sound suggestions the edition would be far more faulty than it now stands. I cannot boast that I have cleared up every point of parody to my entire satisfaction. There are, one feels sure, allusions to dramas which, never printed and never recorded, have entirely escaped us. Henry Howard's The United Kingdoms would doubtless prove a happy hunting ground in this respect, but to conclude in the quaint phrasing of old Briscoe, as it miscarried on the stage 'the reader cannot reasonably expect any particular passages of it,' nor yet of those which shared the same fate. INTRODUCTION THE first performance of Buckingham's famous burlesque took place on 7 December, 1671, at the Theatre Royal, Drury Lane. 1 But it is well known that the first draft of the Duke's farce was written and ready for the boards early in the summer of 1665, when it was stopped by the Lord Chamberlain's edict of 5 June, which forbade all stage repre sentations on account of the plague. There can be no doubt that the Duke of Buckingham had initiated a literary campaign against the whole school of dramatists, which in early Restora tion days was represented by Davenant, Stapylton, the four Howards, and a little later by the genius of John Dryden. It was he also who in 1 663 headed the clique of critics banded to drive from the stage, by foul means or fair, Colonel Henry Howard's The United Kingdoms^ put on at the Cockpit in Drury Lane. They performed their task with such unwonted zest and fervour that a riot ensued in the theatre, and Buckingham himself narrowly escaped serious injury. The upshot of it all was that the tragedy was effectually damned, and the author not only (with unusual acumen) refused to print his work but refrained entirely for the future from the pen. Accordingly, all that we actually know of the drama is derived from a note in Briscoe's Key to the Rehearsal (i 704), which states that it commenced with a funeral, duly parodied in Act iv, Scene i, of the Duke's farce, and that there were two kings who afforded the first hint for the twin monarchs of Brentford. Malone has an anecdote which, although accepted by many writers, seems to me in the highest degree suspicious and unlikely. He says that in a certain play of Dryden's an actress, having to speak the following line ' My wound is great because it is so small,' 1 On 14 December, 1671, Evelyn 'went to see the Duke of Buckingham's ridiculous farce and rhapsody, called The Recital, buffooning all plays yet profane enough'. It is not easy to see the force of this stupid criticism. viii Introduction accentuated the absurdity by a long pause and a look of intense pathos, when Buckingham, who was seated in one of the side-boxes, rose, and declaimed in a ridiculous mock-heroic voice, which shrilled through the house, ' Then 'twould be greater were it none at all ! ' The audience promptly burst into fits of laughter, and hooted the piece from the boards. As it was only the second per formance Dryden lost his benefit. There are, however, three points which conclusively prove the above to be mere fiction. In the first place, no such line occurs in any of Dryden's works ; secondly, it is hardly likely that his battalions of enemies, Settle, Shadwell, the Duke himself, Pordage, Henry Care, Rochester and the rest, would have failed to make capital out of such an incident in their ballads and lampoons ; thirdly, there is absolutely no record of Dryden's ever having lost a benefit night, and had such been the case some reference to it must have somewhere survived. In his monograph c Der Angriff George Villiers's, Herzogs von Buckingham' (Halle, 1887; Anglia, x. 38-75), Emil Dohler, in a very vague and thoroughly unsatisfactory manner, would attempt to show that Colonel Henry Howard might have been the original Bayes of the Duke's earliest sketch. Such a theory resting, as it does, upon strained and, in two instances, absolutely mistaken and misleading sug gestions, which owe their initiative to nothing more than the confusion in the critic's mind, can have no weight whatsoever. That Colonel Henry Howard is parodied in The Rebearsalw know, but that he is or ever was even in the original draft a principal object of attack is simply not the case. {Bayes, it is too often forgotten, is a composite figure, and it was not until the brilliant successes of Tyrannic Love and The Conquest of Granada in 1669 and 1670 that Buckingham concentrated upon Dryden as the chief butt, the traits of the four Howards, Davenant, and other dramatists being worked in with telling and distinct, although subsidiary, touches.^ The Duke's satire was aimed at the principal writer of the school he burlesqued, and when he first began to form his farce not Dryden but Sir Robert Howard was pre-eminently Introduction ix the leader and champion of the new style. Sir Robert, indeed, was a fantastic figure who seemed peculiarly vulnerable to the shafts of satire, c pretending,' says Evelyn, ' to all manners of arts and sciences . . . not ill-natured but insufferably boasting.' His eccentricities and whimsicality, his gasconading and en cyclopaedic pretensions to a universality of art, learning and literature, his absurd adventures and quixotic heroism not without some alloy of swashbuckling braggadocio, all would have served the dullest of scribblers for a number of peculiarly happy strokes. In 1668, when Shadwell dragged him across the stage in ^The Sullen Lovers, exquisitely caricatured as Sir Positive Atall, a delighted town (teste Pepys) rocked with laughter. And writing the outlines of his immortal satire about 1663-4 the Duke of Buckingham promptly pricked down Sir Robert as the chief butt of his ridicule under the very pertinent name of Bilboa. When, however, nearly a decade later The Rehearsal was once again being taken in hand and prepared for production, the literary status of Sir Robert had been wholly eclipsed by his own brother-in-law, both laureate and an acknowledged master of the heroic play. The Duke naturally altered his aim and Bilboa became Bayes. Malone has very mistakenly and obtusely tried to show that Davenant was the original hero of The Rehearsal, not Sir Robert Howard, and advances as his most weighty argument the name Bilboa, which he pretends alludes to Sir William's military character. The error is all the stranger because, although Davenant did indeed serve in the royalist army and attained no mean rank, there was nothing in this fact to distinguish him from many of his brother courtiers and poets, and the name Bilboa would have been no more applicable to him than to a hundred beside. In fact, Bayes, which was not used till 1671, would have been infinitely more suitable and would have directly pointed out the laureateship as it did in the case of his successor, but Bilboa is most distinctly appropriate to Sir Robert Howard, one of the most notorious hotspurs of the Restoration court, a trait which Shadwell does not fail to introduce when Sir Positive insists upon duelling with the two clerks who, from the eighteen-penny x Introduction gallery, had railed aloud on the first day of his heroic drama, The Lady in the Lobster, and again when upon a slight con tradiction from the coxcomb Woodcock, he instantly cries, 4 1 will justify with my sword . . . draw ! ' Sir Robert Howard has left three comedies, The Blind Lady (1660), The Surprisal (1665), The Committee (1662), and three tragedies, The Vestal Virgin, or The Roman Ladies (1665), The Great Favourite, or The Duke ofLerma (1668), and, in conjunction with Dryden, The Indian Queen (1664). Although his blank verse often hobbles sadly, and is more than inclined to bombast, this output of dramatic work is by no means to be despised, save, perchance, as has too often been the case with the critics, by those who have no acquaintance therewith. The Blind Lady is not unamusing, and The Surprisal is quite a good play of the romance school of Davenant. The Committee, a rattling satire on the Puritans, has great merit, and maintained its hold on the stage for over a century, the last recorded per formance of the original being at Drury Lane in 1788, a life even prolonged another cycle by its adaptation in 1797 into a farce, Honest Thieves. It was, moreover, frequently reprinted, and is to be found in all the later collections, such as Bell, Sir Walter Scott's Modern British Theatre. The vulgarities of Mr. and Mrs. Day, galloping Abel and Obadiah are still intensely funny, and must have been irresistible to a con temporary, whilst Teague gave Lacy one of his finest character parts. The Festal Virgin is peculiar in being furnished with two conclusions, so that it could be acted either as a tragi comedy or as a pure tragedy. The Great Favourite is the best of Howard's works ; it is full of vigour, and the scene where Lerma, in his newly donned scarlet, faces his enemies as a prince of the Church and defies their utmost is a situation of much power and intensity. In its final revision, as The Rehearsal now stands, there are but few hits at Sir Robert Howard, whilst there is a personal stroke against Davenant at the conclusion of Act ii, where Bayes falls and injures his nose, to re-appear with a piece of brown paper on the bruised organ. Sir William, it is well known, suffered from a marked nasal defect, and, although he had Introduction xi been dead some three years before The Rehearsal v/as actually produced, no doubt the incident was retained on account of its inherent farcical humour. The Siege of Rhodes is parodied in the recitative battle of Act v. John Lacy, the famous low comedian, who created Bayes, was most carefully instructed in all his business and rehearsed by Buckingham himself. Dryden's voice, his mode of dress ing, his gait and manners, were all carefully imitated, so that in representation there must have been a thousand touches now lost to us. This close and, it must be allowed, insolent caricature of well-known contemporaries was no new thing to the Restoration stage, which delighted in mimicry and scurrilities. As early as 1660 Tatham had in his farce, The Rump, introduced the chief living persons of the Common wealth, Bertlam standing for Lambert, Lockwhite for White- lock, Woodfleet for Fleetwood. In the second edition of this play they appear without even this apparent disguise, if disguise it may be termed, along with Hewson, Duckenfield, Mrs. Cromwell, Desbrough, and others. Mrs. Behn revived the piece, with alterations, in 1682, under the title of The Roundheads, or the Good Old Cause, with a prologue ( spoken by the ghost of Hewson ascending from hell dressed as a cobbler.' In 1669 the famous Mrs. Corey, at the instigation of Lady Castlemaine, whilst acting Sempronia in Catiline, gave an imitation of Lady Harvey's oddities throughout the whole part. Furious at the insult, Lady Harvey had the actress imprisoned, but in a few hours she was released by order of the royal mistress and bidden act it over again 'worse than ever, where the King himself was,' whilst the outraged dame hired people to hiss and pelt the stage with oranges. Three weeks later, Pepys and his wife going to see a new play, The Heiress, of which nothing is known, found the theatre closed owing to Ned Kynaston being confined to his bed. It appeared the young actor had played a part c in abuse to Sir Charles Sedley,' and the knight forthwith had him waylaid in the park by bullies and thrashed till he was bruised from head to foot and unable to stir a limb. In 1678 Dryden's Limberbam was prohibited after three days for xii Introduction being too open a satire on the Duke of Lauderdale. In 1676 the gay world was charmed and delighted with Etheredge's The Man of Mode , and smiled applause to see the author had drawn himself as Young Bellair, Rochester in the brilliant Dorimant, Sir Charles Sedley in Medley, and the notorious Beau Hewitt as Sir Fopling Flutter, a very pope of dandies and macaroni for all ages to come. In 1682 again everybody recognized Shaftesbury and his vices when in Venice Preserved the hircose old patrician Antonio ambled across the boards leering filthily at the little Greek courtesan. Sedley, in 1687, went so far as to picture Lady Castlemaine herself and her innumerable frailties in his Bellamira, a subject drawn oddly enough from Terence's Eunucbus^ whilst Crown e confined himself to politics and gave playgoers in 1683 a gallery of Titus Gates, his lawyer the half-crazed Aaron Smith, Stephen Colledge and half a score more hated whigs, in 1689 the elusive Father Petre in The English Friar. Enough has been said to show how common and popular was personality upon the Restoration stage, but there was probably no mimicry more bitter, no satire more merciless and unmistakable than Lacy's presentation of John Dryden. John Lacy was recognized by all as an actor of the very highest rank, especially in farce and low comedy. Born near Doncaster, according to Aubrey, he came to London to ye playhouse 1631 ' at an early age. During the Civil War he, like his brethren, supported the Royal Cause, and served not without distinction. At the Restoration he speedily rejoined the stage, and became a universal favourite. There are many notices of him in Pepys, and the diarist seldom neglects an opportunity of praising his abilities. On 12 June, 1663, he witnesses The Committee ', and c Lacy's part, an Irish foot man, is beyond imagination.' At another time c Lacy's part is ... the best in the world ' ; again, when he saw Love in a Maze he found the play had c little in it, but Lacy's part of a country fellow, which he did to admiration.' In July, 1667, Lacy seems to have suffered from a serious illness, and his life was despaired of, but recovering, he lived to an advanced age. In Wilkes' View of the Stage (1759, 8vo), the following Introduction xiii notice of him occurs : 'The famous Mr. Lacy was an excellent low comedian and so pleasing to King Charles.' Even the captious Rymer could not withhold his compliment, whilst Langbaine declares * he performed all parts that he undertook to a miracle, insomuch that I am apt to believe that as this age never had, so the next never will have, his equal, at least not his superior,' and Downes bursts into rhyme * For his just acting all gave him due praise, His part in "The Cheats," 1 Johnny Thump, 2 Teague, 3 and Bayes In these four excelling; the Court gave him the bays/ There is at Windsor Castle a picture painted by express command of Charles II which, divided into three compart ments, depicts Lacy as Scruple, Teague, and Galliard in the Duke of Newcastle's Variety. Geneste gives the following list of his chief r61es : 1662, Scruple in Wilson's The Cheats ; Johnny Thump in Shirley's Changes ; 1 663, Teague in Howard's Committee ; 1 664, Captain Otter in The Silent Woman \ Ananias in The Alchemist ; 1665, Sir Politic Would-be in Volpone ; Monsieur Raggou in his own Old Troop; 1666, Sir Roger in The Scornful Lady ; 1667, Sauny the Scot in his own poor adaptation of The Taming of the Shrew ; Country Gentleman in Edward Howard's The Change of Crowns ; 1669, Drench in his own The Dumb Lady\ 1671, Bayes in The Rehearsal; 1672, Alderman Gripe in Wycherley's Love in a Wood\ 1673, Intrigo in Sir Francis Fane's Love in the Dark. According to our stage historian, he probably acted also the following : Frenchlove in James Howard's English Monsieur ; Pinguister in the same author's All Mistaken ; Tartuffe in Medbourne's Tartuffe^ or the French Puritan ; the French valet in The Mock Duellist \ The Lawyer in Ravenscroft's The English Lawyer ; Bobadill in Every Man in His Humour. Lacy has left four farces, 4 The Dumb Lady, or the Farrier made Physician (4to, 1672), an adaptation from Le Medecin 1 Scruple in Wilson's The Cheats (1662). * In Shirley's The Changes (1662). * Howard's Committee (1663). 4 There is a collected edition by Maidment and Logan, Edinburgh, 1875. xiv Introduction Malgre Lui ; The Old Troop , or Monsieur Raggou (410, 1672) ; Sir Hercules Buffoon, or the Poetical Squire (4to, 1684); Sauny the Scot, or the Taming of the Shrew (4to, 1698), a crude and ungainly tinkering with Shakespeare. Langbaine tells us that both Old Troop and The Dumb Lady were acted 'with universal applause', and on 31 July, 1668, Pepys saw the King and all the court at Monsieur Raggou 'mighty merry', but all four pieces are far too rude and farcical to have any real value, although some scenes cannot be denied a certain rough and ready bustle and verve. Sir George Etheredge insinuates that Lacy participated with Charles Hart in the favours of Nell Gwynne, which is probable enough, as he is known to have been one of her instructors in the arts of acting and dancing. He died on Saturday, 17 September, 1681, and on the following Monday was buried in the churchyard of St. Martin's-in- the-Fields. The exquisite wit, the irresistible humour, the mordant satire, the inimitable parodies and banter of The Rehearsal silenced for the moment even the most ardent supporters of the heroic drama. Thronged houses shook with laughter that almost drowned the thunders of applause as point after point went home and Lacy, in the exact tones of Dryden, repeated some peculiarly happy travesty of the great laureate's flamboyant couplets. Buckingham's comedy at once took its place as a stock piece in the English Theatre among the masterpieces of the greatest dramatists, long surviving the tragedies it burlesqued and the poets it caricatured. It was continually performed during the theatrical seasons, and Bayes, who has given his name as a household word to literature, has been played by the most famous of our actors, including Gibber, Garrick, Henderson, King, Farren, and the arch-mocker Foote. The last recorded performance seems to have been at Covent Garden, as late as 22 June, 1819, when it was given for the benefit of Farley. Such longevity in a burlesque, which must of its very subject and nature be ephemeral, is in itself a sign that genius went to its making. Amongst the more memorable productions of Introduction xv The Rehearsal was a performance given with a star cast at the Haymarket, 18 November, 1709. Bayes was played by Estcourt, an actor c mostly indebted for applause to his powers of mimicry, in which he was inimitable'; Johnson, by Wilks ; Smith, Mills ; Prince Prettyman, Powel ; Volscius, Colley Gibber ; the two Kings, Bullock and Bowen ; Gentle man-Usher, Pinkethman ; Physician, Cross ; Thunder and the Fisherman, Johnson ; Tom Thimble, Dogget. Estcourt is said to have so excelled in Bayes that Gibber, better actor as he was, who afterwards frequently played the part, did not attempt it during the lifetime of the former. On 8 September, 1732, at Drury Lane, The Rehearsal with Theophilus Gibber and Kitty Clive preceded The Mock Doc for. It was repeated several times during the ensuing season 'by desire'. On 10 October, 1739, ^ was given at Covent Garden for the first time with young Gibber as Bayes ; Johnson, Ryan ; Smith, Delane. An additional attraction was c an epilogue written by J. Haines, comedian, of facetious memory, to be spoken by Mr. Gibber riding on an ass'. It was acted no less than ten times in succession and proved the draw of that season. On 3 February, 1742, Garrick, who had made his first appearance the previous October, appeared as Bayes at the Goodman's Fields Theatre. It is said that at first he disliked the part and declined to play it, but urged by Giffard, the manager, he essayed it with the most over whelming success, and it afterwards remained one of his favourite r61es. As Bayes he delighted to mimic the principal actors of the day, and the house rang with the various names of players whose voices and gestures he copied with faultless precision, as the audience quickly recognized Quin, Ryan, Delane and all the favourites of the town. In the autumn Garrick repeated his impersonation and had the help of Mills and Macklin in the cast ; he also chose Bayes to open the autumn of 1744 at Drury Lane. In 1755 we find Theophilus Gibber as Bayes at the Haymarket, with Fanny Farren, the original Lady Teazle, as Prince Prettyman. In 1767 The Rehearsal was put on at xvi Introduction Covent Garden, 'not acted twelve years' at this house. On 6 April, 1771, King played Bayes at Drury Lane for the benefit of his wife. Baddeley, Palmer, Parsons and Moody were in the cast, but it was only given once that season. Indeed, as soon as we enter on the reign of the third George there are signs of fast waning popularity. It is billed for ' the only time this season ', * this one occasion by desire ', ' not acted these seven years '. On 1 1 October, 1 774, a performance was given at Covent Garden, 'not acted eight years', with Lee Lewis, Dunstall, Quick and Miss Barsanti. Foote gave his version of Bayes on 2 August, 1776, at the Hay- market, but he is said to have mutilated the text, and to have gagged unmercifully. In the following year Henderson, who had previously played the poetaster at Bath, gave it for the first time to his London audience. He had to support him Parsons, Edwin, and other well-known names and met with considerable success. At Covent Garden, 20 January, 1778, we find 'The Rehearsal billed c not acted these three years '. In 1785 it follows The Constant Couple, but cut down to an afterpiece of three acts, 'not acted these seven years'. Henderson is the Bayes. At the Haymarket, 9 August, 1792, The Rehearsal not acted fifteen years' is put on by Wilson, who has transformed it into three acts, a version he afterwards printed. The adapter is Bayes ; Baddeley, Gentleman Usher ; Wewitzer, Physician ; R. Palmer, Volscius ; Palmer, junior, Prettyman ; Edwin, Drawcansir. Finally, reduced to one meagre act, The Rehearsal is played by Farren at Covent Garden, 22 June, 1819, with Blanchard as Pretty man and Liston as Volscius. This seems to be the last recorded London performance. A prompt copy (third edition, 4to, 1675) of The Rehearsal, now in my private possession, formerly used by James Whitley, manager and proprietor of the Midland Circuit Theatres, marked by him and dated 1755 with his signature, shows signs of constant professional handling. The Rehearsal was immensely popular also in Dublin, most theatre-loving of cities. 'If it be true, as I am told,' writes Professor Saintsbury in his Life of Dry den, 'that The Rehearsal does not now Introduction xvii make a good acting play, the fact does not bear favourable testimony to the culture and receptive powers of modern audiences.' This adverse criticism, however, of The Rebearsars London stage effect, incredible on the face of it, seems amply belied by the fact that when Buckingham's play was put on under the auspices of the Sheffield Playgoers' Society for one performance at Sheffield, 20 November, 1912, it proved so great a success that it would have been definitely included in the Repertory Season had not some minor difficulties as to costumes and production prevented. But in the latter half of the eighteenth century the place of Buckingham was taken by Sheridan, and The Critic, directly derived from The Rehearsal, when produced in 1779 naturally gave its parent piece a final cong. Hereafter the place of Bayes, Smith, Johnson, the Brentford Kings, Volscius, Amarillis and the rest must be taken by Puff, Dangle, Sneer, Don Ferolo Whiskerandos, Tilburina, and the Nieces twain. Amusing as Sheridan is and full of smartness, even his wit and humour pale before the brilliance of the Restoration Duke. It may be advanced, however, that Buckingham cannot strictly claim to be regarded as the sole author of The Rehearsal, as there is evidence that he was assisted by his chaplain, Thomas Sprat, afterwards Dean of Westminster and Bishop of Rochester, and by Martin Clifford, afterwards Master of the Charterhouse. These two passionate and lifelong adversaries of Dryden gave Settle ample help in his Absalom Senior or Achitophel ^ransposd (1682). It is weak and vapid enough to make it pretty clear that their part in 'The Rehearsal must have been small indeed. Wood (Athenae Oxonienses, 1721, vol. ii.) mentions Butler as a collaborator with the Duke, and Professor Saintsbury finds that his 'hand is indeed traceable in many of the parodies of heroic diction '. This opinion, probably due to the extreme cleverness of c Repartees between Cat and Puss at a Cater wauling', which burlesques the heroic love of rounded antithesis and nice reply with extraordinary wit and point, must not, I think, be pressed too far. The claims of Waller and Cowley to be added to the list of contributors, as b xviii Introduction formulated in the preface to the 1711 edition of Waller, can be dismissed without much consideration. It is not impossible that many of the wits and writers of the time suggested points to the Duke, but beyond this it is useless to theorize. Various lampoons in Poems on State Affairs (vol. ii, 1703) refer to the heterogeneous authorship. Thus one ballad sings : 'With help of pimps, plays, and table chat, And the advice of his own canonical Sprat, And his family scribe antichristian Mat, With transcribing of these and transversing those, With transmitting of rhyme and transversing prose, He has dressed up his farce with other men's clothes.' And another writer says : f l confess the dances are very well writ, And the time and the tune by Haines are well set.' In The Duke of Buckingham's Litany also, the following petition occurs : 'From owning twenty other men's farce, Libera nos.' Doubtless there is gross exaggeration in these attacks. The minor satirists of the Restoration knew neither truth nor decency, and Buckingham was often as vile a sinner as any. They had yet to learn that there is no sharper weapon than restraint. Dryden did not immediately reply to the attack. Wisely he waited, and more than amply repaid the author by the portrait of Zimri in Absalom and Achitophel^ drawn with the fullest power of his brilliant genius. In his Discourse con cerning Satire (1692) he has these words, C I answered not The Rehearsal because I knew the author sate to himself when he drew the picture, and was the very Bayes of his own farce/ Nor can it be too clearly insisted upon that The Rehearsal did not inflict a death-blow on the heroic play. It is true that Marriage a la Mode acted in May, 1672, shows unmistakeable signs of having been a proper heroic play to Introduction xix which Dryden, writing in the full flush of the effect of Buckingham's satire, hastily added comic scenes and so made a tragi-comedy, as Sir Walter Scott has ably pointed out with some detail, but beyond this actual instance, The Rehearsal had no influence on Dryden's work whatsoever. Nor does there appear any sufficient reason why it should, for, to quote a very apt remark of Professor Noyes, c Clever as the farce was, it could not and did not overthrow an established reputation. Just as we ourselves can enjoy Calverley's parodies of Browning without one whit abating our admiration of their original, so "gentlemen of wit and sense " in the seventeenth century could laugh at Drawcansir and applaud Almanzor.' In The Reformation, a good comedy by Arrowsmith, pro duced at the Duke's Theatre, 1673, although the scene is laid at Venice, an English Tutor is introduced (Act iv, scene i), who makes some very pertinent remarks on the popular tragedy of the day. * Write a tragedy ! ' he cries, c I take you some three or four or half-a-dozen kings, but most commonly two or three serve my turn.' He goes on to speak of c opportunity for love and honour and fighting and all that,' moreover, c you must have a hero that shall fight with all the world ; yes, i'gad, and beat them too and half the gods into the bargain if occasion serve . . . last of all, be sure to raise a dancing, singing ghost or two, court the players for half- a-dozen new scenes and fine clothes (for take me if there ben't much in that, too), put your story into rhyme and kill enough at the end of the play and probatum est.' The subject is to be c the siege of Candy, or the conquest of Flanders, and by the way, sir, let it always be some warlike action ; you can't imagine what a grace a drum and trumpets give a play.' There are more than echoes of The Rehearsal here. The sterling value of Buckingham's comedy can be soon seen if it be but for a moment compared with the insipid productions of other lampooners of his time. Thomas Buffet, a milliner in the New Exchange, emboldened no doubt by the success of The Rehearsal, undertook to ridicule Settle's The Empress of Morocco, which, when produced in xx Introduction 1673 at the Duke's Theatre in Dorset Gardens, with a star cast, had achieved, for various reasons of puffing and patron age, an astonishing popularity unmerited by the play itself, far from bad though it be of its own kind. Accordingly, the new parodist wrote for the King's Theatre, The Empress of Morocco. A Farce (^.to, 1674). It is a miserable piece of doggrel dulness without a saving particle of wit or humour. The Dramatis Personae are described in the following manner : Muly Labas, a corn-cutter ; Muly Hamet, a drayman ; Crimalhaz, a strong water man ; Hamet Alhaz, a country vicar ; Abdrahaman, a chimney sweep ; Laula, a hostess ; Mariamne, a cinder-wench ; Morena, an apple-woman. The scene opens with the Moorish court playing at hot-cockles. The epilogue is more curious than the farce itself, being a burlesque of the witch portion of Macbeth. Incidentally the praises of the notorious Mother Cresswell and other harri dans, Mrs. Gifford, Mrs. Temple, Mrs. Betty Buly, Mrs. Mosely, belonging to the same iniquitous sisterhood, are sung by Hecate and her attendants. Encouraged by some ephemeral applause, Duffet travestied The 'Tempest in the following year, and in 1678 wrote Psyche Debauch* d^ a skit on Shadwell's opera. The Mock 'Tempest commences with a prentice riot of the same nature as when the city lads threatened to pull down * the big brothel ' of Whitehall. Prospero appears as Prospero Whiffe, head-keeper of Bride well, * an enchanted castle', wherein various characters, including Quakero, a canting quaker meant to represent Ferdinand, are imprisoned. It is all very confused and absurd. Psyche Debauched is by far the best of Duffet's burlesques. It is at times astonishingly akin to modern pantomime. Several male r61es were, it may be noted, acted by women and vice versa. Thus Mrs. Corbet appeared as King Andrew, Prince Nicholas was taken by Pepys' favourite, Mrs. Knipp, whilst Princess None-so-Fair, a name strangely reminiscent of Planche, was none other than Joe Haines in petticoats. The scenes where he is carried off by the magic Wishing-Chair to c an arbour dressed up with gaudy play games for children', the realms of c Bruin, the White Bear of Introduction xxi Norwich ' (acted by another friend of Pepys, the airy Harry Harris), must have been really funny in the hands of such an irresponsible scaramouch. The Inferno of the original opera appropriately enough appears as a prison. The follow ing allusion to Gates is not without point and interest. When the Princess remarks, * The bushes break no trust, though walls have ears,' her maid promptly replies, c No, Missy None-so-Fair, they are not of Oatalian mind.' Coarse and puerile, DufFet's farces fully deserve the oblivion into which they have fallen. Even in their own day they were speedily forgotten, as is evidenced by the following lines from Sir William Soame's Art of Poetry (1683), revised by Dryden : 4 The dullest scribblers some admirers found, And the Mock Tempest was awhile renown M : But this low stuff the town at last despis'd, And scorned the folly that they once had priz'd.' As might well have been expected, however, The Rehearsal had a numerous and a worthier progeny. It can, I think, hardly be claimed that Beaumont and Fletcher's exquisite fantasy, The Knight of the Burning Pestle , produced, according to Malone, in 1611, and a rare favourite with Restoration playgoers, or Davenant's brief c Tragedy Travestie' of Caesar and Cleopatra, which afterwards became the fifth Act of A Playhouse to be Let, have any real connection with The Rehearsal, beyond the broadest common ground of burlesque, that could enable them to be ranked as the play's direct predecessors in any true sense. In subsequent dramatic history the case is far different. Often the parentage is openly acknowledged by the very titles, as in the case of D'Urfey, who, publishing in 1721 a collection of New Operas with Comical Stories, included therein The Two Queens of Brentford: or, Bayes no Poetaster ; a Musical Farce or Comical Opera, being the Sequel of the Famous Rehearsal, written by the late Duke of Buckingham. It is, the author informs us, ( a piece of humour and grotesque wit,' but his word seems the only grounds for attributing to it either characteristic. It was never performed, and one is not a little surprised to learn that xxii Introduction it got as far as c being rehears'd upon the stage '. As might have been expected, lyric Tom interlarded his farce with songs and catches, some two or three of which are tolerable, the rest execrable. Smith, Johnson, Bayes and other personages from The Rehearsal are introduced, but it is of all pieces the dullest and most entirely worthless. There is one solitary gleam of humour perhaps in this galimaufry, a parody on Italian opera in a recitative combat between a hero and a melodious lion (Act v, scene i), and even this is feeble enough. Various quips and tags from Buckingham appear strange and uncouth among the lees of moribund burlesque. Charles Montagu, future Earl of Halifax, and Mat Prior in their parody of Dryden, entitled 'The Hind and the Panther transversed to the story of the Country Mouse and the City Mouse, a most mediocre effusion, have for their personas, Bayes, Smith, and Johnson, but the satire, stupid and pointless stuff, is not dramatic, and a copious sprinkling of 'egads' ill supplies the lack of wit and jest. Gildon's New Rehearsal, or Bayes the Tounger, although divided into three set acts, is nothing more than a dialogue held at the Rose, Covent Garden, criticising and jeering at the tragedies of Rowe. On 15 March, 1750, there was played at Drury Lane a farce by Kitty Clive the actress, entitled Bayes in Petticoats. The theme is simple. Mrs. Hazard has written a burletta, and in Act ii we are shown the stage during a rehearsal. Various mishaps occur, and at length, after a message has been brought from Kitty Clive to say she is unable to attend, Mrs. Hazard, beside herself at the continuous interruptions, flies off in a violent passion, and the piece concludes. The authoress herself acted Mrs. Hazard, and the whole jest goes with considerable verve and spirit. Amongst the more noteworthy mock-dramas owing their inspiration to Buckingham are Gay's What d'ye Call It? a Tragi-Comi-Pastoral-Farce, John Durant de Breval's amusing The Play is the Plot, Fielding's well-known Tom 'Thumb, Foote's The 'Tailors, T. Carey's Chrononhotonthologos, and his burlesque opera The Dragon ofWantley, The Court of Alexander the Great and Distress upon Distress of Saville Carey, Introduction xxiii Eombastes Furioso of Rhodes, and the most perfect and com plete, perhaps because the most restrained, of all, Sheridan's The Critic. Even to-day we have had A Pantomine Rehearsal and The Poet and the Puppets, parodies both of actors and authors alike, pieces which made a considerable hit at the moment and perpetuate the tradition of old. The first performance of What d'ye Call It? was at Drury Lane, 23 February, 1715. Shakespeare, Dryden, Addison's Cato, Otway, Southerne, Rowe, are all parodied. There is a * Ghost of Child Unborn ' and much mock-melodrama. When the heroine, Kitty Carrot, declaims with wild and frantic gesture such lines as * Bagpipes in butter, flocks in fleecy fountains, Churns, Sheep-hooks, seas of milk and honey mountains,' we recognize Belvidera's raving * Murmuring streams, soft shades, and springing flowers, Lutes, laurels, seas of milk and ships of amber ! ' Lovers are torn asunder, exclaiming in the orthodox way, * He. To part is death ! She. 'Tis death to part. He. Ah ! She. Oh ! ' The Play is the Plot, which had the advantage of Pinketham and Cibber in the original cast, was turned into a farce, The Strollers, and so acted with good success at Drury Lane in July, 1723. Tom Thumb has some specially good skits on the Thom son and Hill stilted and grandiose tragedy which so often falls into bathos and tedium. Cbrononhotonthologos produced at the Haymarket, 22 February, 1734, claims to be but half an act. Eombastes Furioso, first performance 7 August, 1810, at the same house, is described as a burlesque of burlesques', and must indeed have proved so in the able hands of Liston, Munden, and Matthews. All these and others have been reprinted time after time in the copious collections of Farces, Interludes, Burlettas, and the rest which comprise the Minor British Theatre. Clever and witty as most of them undeniably xxiv Introduction are, they have not one tithe of the real literary power and incisive vital satire which render The Rehearsal immortal. It has been only too truly said by a recent critic of no mean order that 'The English authors of the period from 1660 to 1700, with the exception of Milton and Bunyan, are probably less read than those of any other epoch since the Renaissance,' and so long as the above statement cannot be denied, so long will there be a standing reproach against all lovers of literature. The reasons for this neglect arise from many causes. A tremendous and perhaps exaggerated vogue brought the inevitable turn of the scale. Again, a whole tribe of critics, following with blind confidence in the steps of the prejudiced and partial Macaulay, contented themselves with echoing his pedantic and priggish criticisms as the infallible utterances of some Hildebrand of letters. They were satisfied to quote from Dryden odd lines and phrases rancourously remembered for their faults, and entirely to shut their eyes to the genius and brilliance of the great laureate. They exclaimed with the true accent of the canter and puritan at the looseness of comedies they had not read, and decried authors they did not know. And the world accepted their estimate. But there are not wanting signs of reaction. Authors long since confined to the dustiest shelves of the library are being rendered accessible, either wholly or in good part unemasculated, to the general reader who is waking, gradually it may be, but none the less surely, to the fact that, despite change of custom and manners, despite faults and freedoms impossible to-day, there are to be found therein no little power and strength, whilst the repartee, wit and humour are unsurpassed in our dramatic literature. Sheridan, so commonly quoted as the very apogee of verbal brilliance, is dull beside the sparkling comedy of Etheredge, Wycherley, Vanbrugh, and the supreme Congreve. The Rivals is heavy work compared to The Country Wife ; The School for Scandal vapid and forced when we think of Love for Love and The Way of the World \ whilst a A Trip to Scarborough shows only too clearly how, when profane hands were laid upon The Relapse, its careless freedom was not Introduction xxv pruned without its wit and genius being lost in the process. The water of Tbe Critic is a mean thing to place beside the strong wine of The Rehearsal. That our Restoration literature will ever prove widely popular is not to be expected and perhaps not to be desired. But it is hardly too much to hope that the professed student and lover of literature will no longer crassly write across the period of forty years that succeeded the recall of Charles II <non legenda', as he has far too often been wont to do in years gone by. It was a time of hot passion and wild gallantry which men cared little to disguise or conceal, a time of keen political and fierce religious strife, a time of much genius and much knavery ; for all its faults an hour of crowded events, years of full-blooded strife, hate, mis trust, dark shadows and lurid lights, all pregnant with a throbbing vital interest, every detail of which, good and bad, is reflected in the literature, flamboyant mayhap, but virile and strenuous withal, that had its day of favour and applause, before we settle down to the bourgeois classicism and dull decorum of the reign of 'good Queen Anne'. POSTSCRIPT THE editor would like with sincere apologies to point out two errors which he has unfortunately allowed to remain on pp. 77 and 79. p. 77. The couplet c And Vortigern . . .' does not actually occur in The British Princes, but is itself a parody of lines in that poem. p. 79. The 'best good man with the worse natured muse' is of course applied by Rochester in his Horace's Tenth Satire of the First Book imitated to Dorset himself, and does not refer to Edward Howard. Dorset's mordant lines on Howard, To a Person of Honour, on bis incomparable Incomprehensible Poems ( The British Princes), begin : 4 Come on, yc critics, find one fault who dare; For, read it backward like a witch's pray'r, 'Twill do as well.' BIBLIOGRAPHY OF The Rehearsal (1) 1672,410. Editio princeps. (2) 1673, 4to. Second edition. (3) 1675, 410. Third edition, 'with amendments and large additions by the author.' (4) 1683, 4to. Fourth edition. (The Bodleian contains a copy.) (5) 1687, 4to. Fifth edition. (6) 1692, 4to. Sixth edition. (7) 1701, 4to. Seventh edition. (8) 1704, 8vo. In the first edition of Villiers' Collected Works. (9) 1709, I2mo. 'With a Key and remarks . . . never printed with it before/ (10) 1710, 8vo. 'With a Key/ (n) 1711, 1 2 mo. In volume iv of A Collection of the Best English Plays. (12) 1715, 8vo. In volume ii of The Works of His Grace George Villiers, late Duke of Buckingham . . . adorn' d with cuts. (13) 1723, 8vo. Two Plays written by His Grace, George, late Duke of Buckingham, viz. : I The Rehearsal, to w ch is added the Key to it, and II The Chances. (14) 1735, I2mo. The thirteenth edition. (15) 1735, I2m o. (Dublin.) (16) 1754, 1 2 mo. In The Genuine Works of His Grace George Villiers, Duke of Buckingham . . . (Edinburgh). (17) 1755, 8vo. Fifteenth edition. (18) 17? Sixteenth edition. (Of this I can learn no particulars.) (19) 1768, I2mo. Seventeeth edition. With the new occasional prologue, written by Paul Whitehead, Esq., on opening Coven t Garden Theatre, Sept the i^.th, 1767. (20) 1775, 8vo. In the Works, 2 vols. xxviii Bibliography (21) 1777, 8vo. (22) 1787, 8vo. Theatrical Magazine. (23) 1797, 8vo, In vol. xxix of Bell's British Theatre. (24) 1761-1 808, 8vo. Bishop Percy's edition, commenced by agreement with Tonson in 1761. The sheets were never published. The work, after being discontinued for many years, was resumed in 1795, but practically the whole impression was consumed by fire in Red Lion Passage in 1808. In the British Museum are two volumes of this edition, described as ( unique or very nearly so'. They have MS. title-pages, and are incomplete, vol. i, p. 464, having catchword 'poor'; vol. ii, p. 240, catchword c to\ They have been bound in red morocco. (25) 181 1, 8vo. In vol. iii of The Modern British Drama. (26) 1868, 8vo. Professor Arber's replica of the first edition. (27) 1885. In Morleys Universal Library. (28) 1895. A reprint of Arber. (29) 1904. The Rehearsal, mit einleitung herausgegeben von F. Linden. (30) 1909. A second reprint of Arber. (31) 1910, 8vo. Selected Dramas of John Dry den, with The Rehearsal by George Villiers, Duke of Buckingham. Edited by G. R. Noyes. (Chicago and New York.) THE REHEARSAL, As it is now A<Sted at the Theatre-Royal. The third Edition with a mendments and large Additions by the Author. LONDON, Printed for TbomtfDring at the Harrow at the Comer of Chancery-lane mFleet- Jkeet. i 6 7 5. PROLOGUE WE might well call this short Mock-play of ours A Posie made of Weeds instead of Flowers ; Tet such have been presented to your noses, And there are such, I fear, who thought them Vw Roses, Would some of 'em were here, to see, this night, What stuff it is in which they took delight. Here brisk insipid Rogues, for wit, let fall Sometimes dull sence ; but offner none at all: There, strutting Heroes, with a grim-fac'd train, Shall brave the Gods, in King Cambyses vein. For (changing Rules, of late, as if men writ * In spite of Reason, Nature, Art and Wit) Our Poets make us laugh at Tragcedy, And with their C[o\moedies they make us cry. Now, Critiques do your worst, that here are met; For, like a Rook, I have hedged in my Bet. If you approve ; I shall assume the state Of those high-flyers whome I imitiate : And justly too, for I will teach you more 'Than ever they would let you know before : I will not only shew the feats they do, But give you all their reasons for 'em too. Some honour may to me from hence arise. But if, by my endeavours, you grow wise, And what you once so prais'd, shall now despise ; Then Til cry out, swell* d with Poetic rage, "Tis I, John Lacy, have reformed your Stage. Actors Names. BATES. Johnson. Smith. Two Kings of Brentford. Prince Pretty-man. [Prince Folscius.~\ Gentleman Usher. Physician. Drawcansir. General. Lieutenant General. Cordelio. Tom nimble. [Harry.} Fisherman. Sun. Thunder. Players. \Sbirly.] [Stage-keeper.] Souldiers. Two Heralds. Four Cardinals. \ Mayor. Judges. V Mutes. Serjeants at Arms. [Three Fiddlers.] / Women. Amaryllis. Cloris. Partbenope. Pallas. ^ Lightning. Moon. Earth. Attendants of Men and Women, Scene Brentford. THE REHEARSAL. ACTUS I. Sc^NA I. \A Street near the Theatre Royal \ Drury Lane.] Johnson and Smith. Johns. T T ONEST Frank \ I'm glad to see thee with JL JL all my heart : how long hast thou been in Town ? Smi. Faith, not above an hour: and, if I had not met you here, I had gone to look you out ; for I long to talk with you freely, of all the strange new things we have heard in the Country. Johns. And, by my troth, I have long'd as much to laugh with you, at all the impertinent, dull, fantastical things, we are tir'd out with here. Smi. Dull, and fantastical ! that's an excellent com position. Pray, what are our men of business doing? Johns. I ne'er enquire after 'em. Thou knowest my humour lyes another way. I love to please my self as much, and to trouble others as little as I can : and there fore do naturally avoid the company of those solemn Fops; who, being incapable of Reason, and insensible of Wit and Pleasure, are always looking grave, and troubling one another, in hopes to be thought men of Business. Smi. Indeed, I have ever observed, that your grave lookers are the dullest of men. 2 The Rehearsal Johns. I, and of Birds, and Beasts too : your gravest Bird is an Owl, and your gravest Beast is an Ass. Smi. Well ; but how dost thou pass thy time ? Johns. Why, as I use to do ; eat and drink as well as I can, have a she-friend to be private with in the afternoon, and sometimes see a Play : where there are such things (Frank) such hideous, monstrous things, that it has almost made me forswear the Stage, and resolve to apply my self to the solid nonsense of your Men of Business, as the more ingenious pastime. Smi. I have heard, indeed, you have had lately many new Plays ; and our Country-wits commend 'em. Johns. I, so do some of our City-wits too ; but they are of the new kind of Wits. Smi. New kind ! what kind is that ? Johns. Why, your Virtuosi, your civil persons, your Drolls : fellows that scorns to imitate Nature ; but are given altogether to elevate and surprise. Smi. Elevate, and surprise! pr'ytheemake me under stand the meaning of that. Johns. Nay, by my troth, that's a hard matter : I don't understand that my self. 'Tis a phrase they have got among them, to express their no-meaning by. Fl tell you, as near as I can, what it is. Let me see: 'tis Fighting, Loving, Sleeping, Rhyming, Dying, Danc ing, Singing, Crying ; and every thing, but thinking and Sence. Mr. Bayes passes o'er the Stage. Bayes. Your most obsequious, and most observant, very servant, Sir. Johns. Godso, this isan Author: Fl fetch him to you. The Rehearsal 3 Smi. No, pr'ythee let him alone. Johns. Nay,bytheLord,rihavehim. [Goes after him. Here he is. I have caught him. Pray, Sir, now for my sake, will you do a favour to this friend of mine ? Bayes. Sir, it is not within my small capacity to do favours, but receive 'em; especially from a person that does wear the honourable Title you are pleas'd to impose, Sir, upon this. Sweet Sir, your servant. Smi. Your humble servant, Sir. Johns. But wilt thou do me a favour, now ? Bayes. I, Sir : what is't ? Johns. Why, to tell him the meaning of thy last Play. Bayes. How, Sir, the meaning ? do you mean the Plot? Johns. I, I ; any thing. Bayes. Faith, Sir, the Intrigo's now quite out of my head ; but I have a new one, in my pocket, that I may say is a Virgin ; 't has never yet been blown upon. I must tell you one thing. Tis all new Wit ; and tho I say it, a better than my last : and you know well enough how that took. In fine, it shall read, and write, and act, and plot, and shew, ay, and pit, box and gallery, I gad, with any Play in Europe. This morning is its last Rehearsal, in their habits, and all that, as it is to be acted ; and if you, and your friend will do it but the honour" to see it in its Virgin attire ; though, per haps, it may blush, I shall not be asham'd to discover its nakedness unto you. I think it is in this pocket. [Puts his hand in his pocket. Johns. Sir, I confess, I am not able to answer you in this new way ; but if you please to lead, I shall be glad to follow you ; and I hope my friend will do so too. 4 'The Rehearsal Smi. Sir, I have no business so considerable, as should keep me from your company. Bayes. Yes, here it is. No, cry you mercy: this is my book of Drama Common places \ the Mother of many other Plays. Johns. Drama Common places ! pray what's that ? Bayes. Why, Sir, some certain helps, that we men of Art have found it convenient to make use of. Smi How, Sir, helps for Wit ? Bayes. I, Sir, that's my position. And I do here averr, That no man yet the Sun e'er shone upon, has parts sufficient to furnish out a Stage, except it were by the help of these my Rules. Johns. What are those Rules, I pray ? Bayes. Why, Sir, my first Rule is the Rule of Trans- version, or Regu/a Duplex : changing Verse into Prose, or Prose into Verse, alternative as you please. Smi. Well; but how is this done by a Rule, Sir? Bayes. Why,thus,Sir; nothing so easie when under stood : I take a book in my hand, either at home or elsewhere, for that's all one, if there be any Wit in't, as there is no book but has some, I Transverse it ; that is, if it be Prose put it into Verse, (but that takes up some time), and if it be Verse, put it into Prose. Johns. Methinks,Mr. Bayes, that putting Verse into Prose should be call'd Transprosing. Bayes. By my troth, Sir, 'tis a very good Notion, and hereafter it shall be so. Smi. Well, Sir, and what d'ye do with it then ? Bayes. Make it my own. 'tis so chang'd that no man can know it. My next Rule is the Rule of Record, by way of Table Book. Pray observe. The Rehearsal 5 Johns. We hear you Sir : go on. Bayes. As thus. I come into a Coffee-house, or some other place where witty men resort, I make as if I minded nothing ; (do you mark ?) but as soon as any one speaks, pop I slap it down, and make that, too, my own. Johns. But, Mr. Bayes, are you not sometimes in danger of their making you restore, by force, what you have gotten thus by Art ? Bayes. No, Sir; the world's unmindful: they never take notice of these things. Smi. But pray, Mr. Bayes, among all your other Rules, have you no one Rule for invention ? Bayes. Yes, Sir ; that's my third Rule that I have here in my pocket. Smi. What Rule can that be, I wonder? Bayes. Why, Sir, when I have any thing to invent, I never trouble my head about it, as other men do ; but presently turn over this Book, and there I have, at one view, all that Perseus, Montaigne, Seneca's Tragedies, Horace, Juvenal, Claudian, Pliny, Plutarch's fives, and the rest, have ever thought upon this subject: and so, in a trice, by leaving out a few words, or put ting in others of my own, the business is done. Johns. Indeed, Mr. Bayes ', this is as sure, and com pendious a way of Wit as ever I heard of. Bayes. Sirs, if you make the least scruple of the efficacy of these my Rules, do but come to the Play house, and you shall judge of 'em by the effects. Smi. We'l follow you, Sir. [Exeunt. 6 The Rehearsal [Sc^ENA II.] [The Theatre Royal.} Enter three Players upon the Stage. 1 Play. Have you your part perfect ? 2 Play. Yes, I have it without book; but I don't understand how it is to be spoken. 3 Play. And mine is such a one, as I can't guess for my life what humour I'm to be in: whether angry, melancholy, merry, or in love. I don't know what to make on't. 1 Play. Phoo ! the Author will be here presently, and he'l tell us all. You must know, this is the new way of writing ; and these hard things please forty times better than the old plain way. For, look you, Sir, the grand design upon the Stage is to keep the Auditors in suspence ; for to guess presently at the plot, and the sence, tires 'em before the end of the first Act : now, here, every line surprises you, and brings in new matter. And, then, for Scenes, Cloaths and Dances we put 'em quiet [sic] down, all that ever went before us : and those are the things, you know, that are essential to a Play. 2 Play. Well, I am not of thy mind ; but, so it gets us money, 'tis no great matter. Enter Bayes, Johnson and Smith. Bayes. Come, come in Gentlemen. Y'are very wel come Mr. a Ha' you your part ready ? i Play. Yes Sir. Bayes. But do you understand the true humor of it ? i Play. I, Sir, pretty well. The Rehearsal 7 Bayes. And Amarillis^ how does she do ? Does not her Armor become her? 3 Play. O, admirably ! Bayes. I'l tell you, now, a pretty conceipt. What do you think I'l make 'em call her anon, in this Play ? Smi. What, I pray ? Bayes. Why, I make J em call her Armarillls^ because of her Armor : ha, ha, ha. Johns. That will be very well, indeed. Bayes. Ay, it's a pretty little rogue; I knew her face would set off Armor extreamly : and, to tell you true, I write that Part only for her. You must know she is my Mistress. Johns. Then, I know another thing, littleBayes, that thou hast had her, I gad. Bayes. No, I gad, not yet; but I'm sure I shall: for I have talkt bawdy to her already. Johns. Hast thou, faith ? Pr'ythee how was that ? Bayes. Why, Sir, there is, in the French Tongue, a certain Criticism, which, by the variation of the Masculine Adjective instead of the Fceminine, makes a quite different signification of the word : as, for ex ample, Ma vie is my life ; but if, before vie you put Mon instead of Ma, you make it bawdy. Johns. Very true. Bayes. Now, Sir, I, having observ'd this, set a Trap for her, the other day in the Tyring-Room ; for this said I, Adieu be I esperansa de ma vie ; (which I gad is very pretty) to which she answer'd, I vow, almost as prettily, every jot ; for said she, Songes a ma vie Moun- sieur\ whereupon I presently snapt this upon her; Non, non, Madam Songes vous a won, by gad, and nam'd the thing directly to her. 8 The Rehearsal Smi. This is one of the richest Stories, Mr. Bayes, that ever I heard of. Bayes. I, let me alone, I gad, when I get to 'em ; I'l nick 'em, I warrant you : But I'm a little nice ; for you must know, at this time, I am kept by another woman, in the City. Smi. How kept ? for what ? Bayes. Why, for a Beau Gerson : I am, ifackins. Smi. Nay, then we shall never have done. Bayes. And the Rogue is so fond of me, Mr. Johnson, that I vow to gad, I know not what to do with my self. Johns. Do with thy self! no ; I wonder how thou canst make a shift to hold out, at this rate. Bayes. O Devil, I can toil like a Horse; only, some times, it makes me melancholy : and then I vow to gad, for a whole day together, I am not able to say you one good thing if it were to save my life. Smi. That we do verily believe, Mr. Bayes. Bayes. And that's the only thing, I gad, which mads me, in my Amours; for I'l tell you, as a friend, Mr. Johnson, my acquaintances, I hear, begin to give it out that I am dull: now I am the farthest from it in the whole World, I gad ; but only, forsooth, they think I am so, because I can say nothing. Johns. Phoo pox. That's ill natur'dly done of 'em. Bayes. Ay gad, there's no trusting o' thefe Rogues ; but a Come, let's sit down. Look you, Sirs, the chief hinge of this Play, upon which the whole Plot moves and turns, and that causes the variety of all the several accidents, which, you know, are the things in Nature that make up the grand refinement of a Play, is, that I suppose two Kings to be of the same place : as, The Rehearsal 9 for example, at Brentford \ for I love to write familiarly. Now the people having the same relations to 'em both, the same affections, the same duty, the same obedience, and all that ; are divided among themselves in point of devoir and interest, how to behave themselves equally between 'em: these Kings differing sometimes in particular; though, in the main, theyagree. (I know not whether I make my self well understood.) Johns. I did not observe you, Sir : pray say that again. Bayes. Why, look you, Sir, (nay, I beseech you, be a little curious in taking notice of this, or else you'l never understand my notion of the thing) the people being embarrast by their equal tyes to both, and the Soveraigns concerned in a reciprocal regard, as well to their own interest, as the good of the people ; may make a certain kind of a you understand me upon which, there does arise several disputes, turmoils, heart-burnings, and all that In fine, you'l apprehend it better when you see it. [Exif, to call the Players. Smi. I find the Author will be very much oblig'd to the Players, if they can make any sence out of this. Enter Baves. * Bayes. Now, Gentlemen, I would fain ask your opinion of one thing. I have made a Prologue and an Epilogue, which may both serve for either : [that is, the Prologue for the Epilogue, or the Epilogue for the Prologue]: (do you mark?) nay, they may both serve too, I gad, for any other Play as well as this. Smi. Very well. That's indeed, Artificial. Bayes. And I would fain ask your judgements, now, which of them would do best for the Prologue ? For, io The Rehearsal you must know there is, in nature, but two ways of making very good Prologues. The one is by civility, by insinuation, good language, and all that, to a in a manner, steal your plaudit from the courtesie of the Auditors: the other, by making use of some certain personal things, which may keep a hank upon such cen suring persons, as cannot otherways, A gad, in nature, be hindred from being too free with their tongues. To which end, my first Prologue is, that I may come out in a long black Veil, and a great Huge Hang-man behind me, with a Furr'd-cap, and his Sword drawn ; and there tell 'm plainly, That if, out of good nature, they will not like my Play, I gad, I'l e'en kneel down, and he shall cut my head off. Whereupon they all clapping a Smi. I, But suppose they don't. Bayes. Suppose ! Sir, you may suppose what you please, I have nothing to do with your suppose, Sir; nor am not at all mortifi'd at it ; not at all, Sir ; I gad, not one jot, Sir. Suppose quoth a! ha, ha, ha. \Walks away. Johns. Phoo ! pr'ythee, Bayes, don't mind what he says: he is a fellow newly come out of the Country, he knows nothing of what's the relish, here, of the Town. Bayes. If I writ, Sir, to please the Country, I should have follow'd the old plain way ; but I write for some persons of Quality, and peculiar friends of mine, that understand what Flame and Power in writing is : and they do me the right, Sir, to approve of what I do. Johns. I, I, they will clap, I warrant you; never fear it. Bayes. I'm sure the design's good : that cannot be denyd. And then, for language, I gad, I defie 'em all, The Rehearsal 1 1 in nature, to mend it. Besides, Sir, I have printed above a hundred sheets of papyr, to insinuate the Plot into the Boxes : and, withal, have appointed two or three dozen of my friends, to be ready in the Pit, who, I'm sure, will clap, and so the rest, you know, must follow ; and then, pray, Sir, what becomes of your suppose ? ha, ha, ha. Johns. Nay, if the business be so well laid, it cannot miss. Bayes. I think so, Sir : and therefore would chuse this to be the Prologue. For, if I could engage 'em to clap, before they see the Play, you know 'twould be so much the better ; because then they were engag'd : for let a man write never so well, there are, now-a- days, a sort of persons, they call Critiques, that, I gad, have no more wit in them than so many Hobby-horses; but they'll laugh you, Sir, and find fault, and censure things, that, I gad, I'm sure, they are not able to do themselves. A sort of envious persons, that emulate the glories of persons of parts, and think to build their fame, by calumniating of persons, that, I gad, to my knowledge, of all persons in the world are, in nature, the persons that do as much despise all that as a In fine, I'll say no more of 'em. Johns. Nay, you have said enough of 'em, in all conscience : I'm sure more than they'll e're be able to answer. Bayes. Why, I'll tell you, Sir, sincerely, and bona fide\ were it not for the sake of some ingenious persons, and choice female spirits, that have a value for me, I would see 'em all hang'd, I gad, before I would e'er more set pen to papyr ; but let 'em live in ignorance like ingrates. i 2 The Rehearsal Johns. I marry ! that were a way to be reveng'd of 'em indeed : and, if I were in your place, now, I would do so. Bayes. No, Sir ; there are certain tyes upon me, that I cannot be disingag'd from ; otherwise, I would. But pray, Sir, how do you like my hang-man ? Smi. By my troth, Sir, I should like him very well. Bayes. But how do you like it Sir? (for, I see, you can judge) Would you have it for a Prologue, or the Epilogue? Johns. Faith, Sir, 'tisso good, let it e'en serve forboth. Bayes. No, no; that wont do. Besides I have made another. Johns. What other, Sir ? Bayes. Why, Sir, my other is Thunder and Lightning. Johns. That's greater: I'd rather stick to that. Bayes. Do you think so? I'l tel you then; tho there have been many witty Prologues written of late, yet, I think, you'l say this is a non pareillo : I'm sure no body has hit upon it yet. For here, Sir, I make my Prologue to be Dialogue ; and as, in my first, you see I strive to oblige the Auditors by civility, by good nature, good language, and all that ; so, in this, by the other way, in Terrorem, I chuse for the persons Thunder and Lightning. Do you apprehend the conceipt ? Johns. Phoo, Pox ! then you have it cock-sure. They'l be hang'd before they'l dare to affront an Author, that has 'em at that lock. Bayes. I have made, too, one of the most delicate dainty Simile's in the whole world, I gad, if I knew but how to applie it. Smi. Lets hear it, I pray you. Bayes. 'Tis an allusion to love. The Rehearsal \ 3 So Boar and Sow, when any storm is nigh, Snuff up, and smell it gathering in the sky; Boar beckons Sow to trot in Chestnut Groves, And there consummate their unfinished Loves : Pensive in mud they wallow all alone, And snore and gruntle to each others moan. How do you like it now, ha ? Johns. Faith, 'tis extraordinary fine: and very applic able to Thunder and Lightning^ methinks, because it speaks of a storm. Bayes. I gad, and so it does, now I think on't Mr. Johnson, I thank you ; and 11 put it in profecto. Come out, Thunder and Lightning. Enter Thunder and Lightning. Thun. I am the bold Thunder. Bayes. Mr. Cartwright, pr'ythee speak that a little louder, and with a hoarse voice. I am the bold Thunder \ Pshaw ! speak it me in a voice that thunders it out indeed : I am the bold Thunder. Thun. I am the bold Thunder. Light. The brisk Lightning, I. Bayes. Nay, you must be quick and nimble. The brisk Lightning, I. That's my meaning. Thun. I am the bravest Hector of the Sky. Light. And I fair Helen that made Hector die. Thun. I strike men down. Light. I fire the Town. Thun. Let the Critiques take heed how they grumble, For then begin I for to rumble. Light. Let the Ladies allow us their Graces. Or I'l blast all the paint on their faces, And dry up their Peter to Soot. 14 The Rehearsal Thun. Let the Critiques look to't. Light. Let the Ladies look to't. 'Thun. For Thunder will do't. Light. For Lightning will shoot. Thun. Fl give you dash for dash. Light. Fl give you flash for flash. Gallants I'l singe your Feather. Thun. PI Thunder you together. Both. Look to't, look to't; we'l do't, we'l do't: look to't, we'l do't. [Twice or thrice repeated. [Exeunt ambo. Bayes. There's no more. 'Tis but a flash of a Pro logue : a Droll. Smi. Yes, 'Tis short indeed ; but very terrible. Bayes. Ay, when the similes in, it will do to a Miracle, I gad, Come, come begin the Play. Enter first Player. i Play. Sir, Mr. Ivory is not come yet ; but hee'l be here presently, he's but two doors off. Bayes. Come then, Gentlemen, let's go out and take a pipe of Tobacco. [Exeunt. Finis Actus Primi. ACTUS II. SC^ENA I. [The Theatre Royal.] Bayes, Johnson and Smith. Bayes. ^vT^^' ^ r ' because, I'll do nothing here 1. ^1 that ever was done before, instead of beginning with a Scene that discovers something of the Plot, I begin this Play with a whisper. The Rehearsal i 5 Smi. Umph ! very new, indeed. Bayes. Come, take your seats. Begin, Sirs. Enter Gentleman-Usher and Physician. Phys. Sir, by your habit, I should ghess you to be the Gentleman-Usher of this sumptuous place. Us/i. And, by your gait and fashion, I should almost suspect you rule the healths of both our noble Kings, under the notion of Physician. Phys. You hit my Function right. Us/i. And you, mine. Phys. Then let's embrace. Us/i. Come. Phys. Come. Johns. Pray, Sir, who are those so very civil persons ? Bayes. Why, Sir, the Gentleman-Usher, and Phy sician of the two Kings of Brentford. Johns. But, pray then, how comes it to pass, that they know one another no better? Bayes. Phoo ! that's for the better carrying on of the Plot. Johns. Very well. Phys. Sir, to conclude. Smi. What, before he begins ? Bayes. No, Sir ; you must know, they had been talking of this a pretty while without. Smi. Where? in the Tyring-room? Bayes. Why ay, Sir. He's so dull ! Come, speak again. Phys. Sir, to conclude, the place you fill, has more than amply exacted the Talents of a wary Pilot, and all these threatning storms, which, like impregnate 1 6 'The Rehearsal Clouds, hover o'er our heads, will (when they once are grasp'd but by the eye of reason) melt into fruitful showers of blessings on the people. Bayes. Pray mark that Allegory. Is not that good? Johns. Yes; that grasping of a storm, with the eye, is admirable. Phys. But yet some rumours great are stirring; and if Lorenzo should prove false (which none but the great Gods can tell) you then perhaps would find that [Whispers. Bayes. Now he whispers. Us/i. Alone, do you say ? Phys. No ; attended with the noble [Whispers. Bayes. Again. Us/i. Who, he in gray ? Phys. Yes ; and at the head of [Whispers. Bayes. Pray mark. Ush. Then, Sir, most certain, 'twill in time appear. These are the reasons that have mov'd him to't ; First, he [Whispers. Bayes. Now the other whispers. Ush. Secondly, they [Whispers. Bayes. At it still. Ush. Thirdly, and lastly, both he, and they [Whispers. Bayes. Now they both whisper. [Exeunt Whispering. Now, Gentlemen, pray tell me true, and without flattery, is not this a very odd beginning of a Play? Johns. In troth, I think it is, Sir. But why two Kings of the same place ? Bayes. Why? becase it's new; and that's it I aim at. I despise your Johnson and Beaumont, that borrow'd all The 'Rehearsal 17 they writ from Nature : I am for fetching it purely out of my own fancy, I. Smi. But what think you, Sir, of Sir John Suckling} Bayes. By gad, I am a better Poet than he. Smi. Well, Sir, but pray why all this whispering? Bayes. Why, Sir, (besides that it is new, as / told you before) because they are suppos'd to be Politicians; and matters of State ought not to be divulg'd. Smi. But then, Sir, why Bayes. Sir, if you'l but respite your curiosity till the end of the fifth Act, you'l find it a piece of patience not ill recompenc'd. [Goes to the door. Johns. How dost thou like this, Frankl Is it not just as I told thee? Smi. Why, I did never, before this, see any thing in Nature, and all that, (as Mr. Bayes says) so foolish, but I could give some ghess at what mov'd the Fop to do it ; but this, I confess, does go beyond my reach. Johns. It is all a like : Mr. Winter shul has inform 'd me of this Play already. And 11 tell thee, Franck^ thou shalt not see one Scene here worth one farthing, or like any thing thou canst imagine has ever been the practice of the World. And then, when he comes to what he calls good language, it is, as I told thee, very fantastical, most abominably dull, and not one word to the purpose. Smi. It does surprise me, I'm sure, very much. Johns. I, but it won't do so long : by that time thou hast seen a Play or two, that I'l shew thee, thou wilt be pretty well acquainted with this new kind of Foppery. Smi. Pox on't but there's no Pleasure in him : he's too gross a fool to be laugh'd at. c 1 8 The Rehearsal Enter Bayes. Johns. Fl swear, Mr. Bayes you have done this Scene most admirably ; tho, I must tell you, Sir ; it is a very difficult matter to pen a Whisper well. Bayes. I, Gentlemen, when you come to write your selves, O' my word, you'l find it so. Johns. Have a care of what you say, Mr. Bayes, for Mr. Smith there ; I assure you, has written a great many fine things already. Bayes. Has he, ifackins ? Why then Pray, Sir, how do you do, when you write ? Smi. Faith, Sir, for the most part, I am in pretty good health. Bayes. I but I mean, what do you do, when you write? Smi. I take Pen, Ink, and Paper, and Sit down. Bayes. Now, I write standing ; that's one thing : and then, another thing is, with what do you prepare your self? Smi. Prepare my self! what, the Devil, does the fool mean ? Bayes. Why, Fl tell you, now, what I do. If I am to write familiar things, as Sonnets to Armida, and the like, I make use of Stew'd Prunes only ; but when I have a grand design in hand, I ever take Phisic, and let blood : for, when you would have pure swift ness of thought, and fiery flights of fancy, you must have a care of the pensive part. In fine, you must purge the Belly. Smi. By my troth, Sir, this is a most admirable Receipt, for writing. Bayes. Ay, 'tis my Secret ; and, in good earnest, I think, one of the best I have. The Rehearsal 19 Smi. In good faith, Sir, and that may very well be. Bayes. May be, Sir? I gad, I'm sure on't : Experto crede Roberto. But I must give you this caution by the way, be sure you never take snuff, when you write. Smi. Why so Sir ? Bayes. Why, it spoil'd me once, I gad, one of the sparkishest Playes in all England. But a friend of mine, at Gresham Cot/edge, has promis'd to help me to some spirit of Brains, and, I gad, that shall do my business. II. Enter the two Kings^ band in hand. Bayes. /^\H, These now are the two Kings of Brent- V^/ ford\ take notice of their stile: 'twas never yet upon the Stage ; but, if you like it, I could make a shift, perhaps, to shew you a whole Play, writ all just so. 1. King. Did you observe their whisper, Brother King? 2. King. I did ; and heard, besides, a grave bird sing. That they intend, sweet-heart, to play us pranks. Bayes. This is now, familiar, because they are both persons of the same Quality. Smi. 'Sdeath, this would make a man spew. 1. King. If that design appears, I'l lug 'em by the ears Until I make 'em crack. 2. King. And so will I, i'fack. 1. King. You must begin, Monfoy. 2. King. Sweet, Sir, Pardonncs moy. 20 The Rehearsal Bayes. Mark that : I makes 'em both speak French, to shew their breeding. Johns. O, 'tis extraordinary fine ! 2. King. Then, spite of Fate, we'll thus combined stand; And like true brothers, walk stil hand in hand. [Exeunt Reges. Johns. This is a very Majestic Scene indeed. Bayes. Ay, 'tis a crust, a lasting crust for your Rogue Critiques, I gad : I would fain see the proudest of 'em all but dare to nibble at this ; I gad, if they do, this shall rub their gums for 'em, I promise you. It was I, you must know, that have written a whole Play just in this very same stile ; but it was never Acted yet. Johns. How so ? Bayes. I gad, I can hardly tell you, for laughing (ha, ha, ha) it is so pleasant a story : ha, ha, ha. Smi. What is't ? Bayes. I gad, the Players refus'd to act it, Ha, ha, ha. Smi. That's impossible. Bayes. I gad they did it, Sir, point blank refus'd it, I gad, Ha, ha, ha. Johns. Fie, that was rude. Bayes. Rude ! Ay, I gad, they are the rudest, uncivilest persons, and all that, in the whole world, I gad : I gad, there's no living with 'em, I have written, Mr. Johnson, I do verily believe, a whole cart-load of things, every whit as good as this, and yet, I vow to gad, these insolent Raskals have turned 'em all back upon my hands again. Johns. Strange fellows indeed ! Smi. But pray, Mr. Bayes, how came these two The Rehearsal 2 i Kings to know of this whisper ? for, as I remember, they were not present at it. Bayes. No, but that's the Actors' fault, and not mine ; for the two Kings should (a pox take 'em) have pop'd both their heads in at the door, just as the other went off. Smi. That, indeed, would ha' done it. Bayes. Done it ! Ay, I gad, these fellows are able to spoil the best things in Christendome. I'l tell you, Mr. Johnson, I vow to gad I have been so highly disoblig'd by the peremptoriness of these fellows, that I'm resolv'd hereafter, to bend my thoughts wholly for the service of the Nursery^ and mump your proud Players, I gad. So ; now Prince Pretty- man comes in, and falls a sleep, making love to his Mistress, which, you know, was a grand Intrigue in a a late Play, written by a very honest Gentleman : a Knight. III. Enter Prince Pretty-man. Pref. T T O W strange a captive am I grown of late ! A A Shall I accuse my Love, or blame my Fate ? My Love, I cannot ; that is too Divine : And, against Fate, what mortal dares repine ? Enter Cloris. But here she comes. Sure 'tis some blazing Comet is it not ? [Lyes down. Bayes. Blazing Comet ! mark that, I gad, very fine ! Pret. But I am so surpris'd with sleep, I cannot speak the rest. [Sleeps. 22 The Rehearsal Bayes. Does not that, now, surprise you, to fall a sleep in the nick? His spirits exhale with the heat of his passion, and all that, and swop falls a sleep, as you see. Now, here, she must make a simile. Smi. Where's the necessity of that Mr. Bayes ? Bayes. Because she's surprised. That's a general Rule, you must ever make a simile, when you are surpris'd ; 'tis the new way of writing. Claris. As some tall Pine, which we, on ffLtna, find T" have stood the rage of many a boist'rous wind, Feeling without, that flames within do play, Which would consume his Root and Sap away ; He spreads his woorsted Arms unto the Skies, Silently grieves, all pale, repines and dies: So, shrowded up, your bright eye disappears. Break forth, bright scorching Sun, and dry my tears. {Exit* Johns. Mr. Bayes, Methinks, this simile wants a little application too. Bayes. No, faith ; for it alludes to passion, to con suming, to dying, and all that ; which, you know, are the natural effects of an Amour. But I'm afraid, this Scene has made you sad ; for, I must confess, when I writ it, I wept my self. Smi. No, truly, Sir, my spirits are almost exhal'd to, and I am likelier to fall a sleep. Prince Pretty-man starts up, and says Pret. It is resolv'd. [Exit. Bayes. That's all. Smi. Mr. Bayes, may one be so bold as to ask you a question, now, and you not be angry? The Rehearsal 23 Bayes. O Lord, Sir, you may ask me any thing ; what you please; I vow to gad, you do me a great deal of honour : you do not know me, if you say that, Sir. Smi. Then, pray, Sir, what is it that this Prince here has resolv'd in his sleep ? Bayes. Why, I must confess, that question is well enough ask'd, for one that is not acquainted with this new way of writing. But you must know, Sir, that, to out-do all my fellow- Writers, whereas they keep their Intrigo secret, till the very last Scene before the Dance; I now, Sir, (do you mark me) a Smi. Begin the Play, and end it, without ever opening the Plot at all? Bayes. I do so, that's the very plain troth on't ; ha, ha, ha ; I do, I gad. If they cannot find it out themselves, e'en let 'em alone for Bayes^ I warrant you. But here, now, is a Scene of business: pray observe it ; for I dare say you'l think it no unwise discourse this, nor ill argu'd. To tell you true, 'tis a Discourse I over-heard once betwixt two grand, sober, governing persons. SC^ENA IV. Enter Gentleman- Usher and Physician. Us/i. /^OME, Sir; let's state the matter of Fact, \^4 and lay our heads together. Phys. Right : lay our heads together. I love to be merry sometimes ; but when a knotty point comes I lay my head close to it, with a snuffbox in my hand, and then I fegue it away, i'faith. Bayes. I do just so, I gad, alwayes. 24 The Rehearsal Us/i. The grand question is, whether they heard us whisper? which I divide thus. Pbys. Yes, it must be divided so indeed. Smi. That's very complaisant, I swear, Mr. Bayes, to be of another man's opinion, before he knowes what it is. Bayes. Nay, I bring in none, here, but wel-bred persons, I assure you. Ush. I divided the question into when they heard, what they heard, and whether they heard or no. Johns. Most admirably divided, I swear ! Ush. As to the when ; you say, just now : So that is answer'd. Then, as for what ; why, what answers it self: for what could they hear, but what we talk'd of? So that, naturally, and of necessity, we come to the last question, Videlicet^ whether they heard or no. Smi. This is a very wise Scene, Mr. Bayes. Bayes. Ay, you have it right : they are both Politicians. Ush. Pray then to proceed in method, let me ask you that question. Phys. No, you'lanswer better, pray let me ask it you. Ush. Your will must be a Law. Phys. Come then, what is it I must ask? Smi. This Politician, I perceive, Mr. Bayes, has somewhat a short memory. Bayes. Why, Sir, you must know, that t'other is the main Politician, and this is but his pupil. Ush. You must ask me whether they heard us whisper. <Pbys. Well, I do so. Ush. Say it then. The Rehearsal 25 Smi. Hey day ! here's the bravest work that ever I saw. Johns. This is mighty methodical ! Bayes, Ay, Sir ; that's the way : 'tis the way of Art ; there is no other way, I gad, in business. Phys. Did they here [sic] us whisper? Ush. Why, truly, I can't tell; there's much to be said upon the word Whisper: to whisper, in Latin is Susurrare, which is as much as to say, to speak softly ; now, if they heard us speak softly, they heard us whisper: but then comes in the Quomodo^ the how; how did they hear us whisper? Why, as to that, there are two wayes ; the one, by chance, or accident : the other, on purpose; that is, with design to hear us whisper. Phys. Nay, if they heard us that way, I'll never give 'em Physic more. Us/2. Nor I e'er more will walk abroad before 'em. Bayes. Pray mark this; for a great deal depend upon it, towards the latter end of the Play. Smi. I suppose, that's the reason why you brought in this Scene Mr. Bayes? Bayes. Partly, it was, Sir; but, I confess, I was not unwilling, besides, to shew the world a pattern, here, how men should talk of business. Johns. You have done it exceeding well indeed. Bayes. Yes, I think, this will do. Phys. Well, if they heard us whisper, they'l turn us out, and no body else will take us. Smi. Not for Politicians, I dare answer for it. Phys. Let's then no more our selves in vain bemoan: We are not safe until we them unthrone. 26 "The Rehearsal Ush. 'Tis right : And, since occasion now seems debonair, ri seize on this, and you shall take that Chair. "They draw their Swords, and sit down in the two great Chairs upon the Stage. Bayes. There's now an odd surprize ; the whole State's turn'd quite topsie-turvy, without any puther or stir in the whole world, I gad. Johns. A very silent change of a Government, truly, as ever I heard of. Bayes. It is so. And yet you shall see me bring 'em in again, by and by, in as odd a way every jot. "The Usurpers march out flourishing their Swords. Enter Shirly. Shir. Hey ho, hey ho : what a change is here ! Hey day, hey day ! 1 know not what to do, nor what to say. [Exit. Johns. Mr. Bayes, in my opinion, now, that Gentle man might have said a little more, upon this occasion. Bayes. No, Sir, not at all ; for I under writ his Part, on purpose to set off the rest. Johns. Cry you mercy, Sir. Swi. But, pray, Sir, how came they to depose the Kings so easily ? Bayes. Why, Sir, you must know, they long had a design to do it before ; but never could put it in practice till now : and, to tell you true, that's one reason why I made 'em whisper so at first. Smi. O very well: now I'm fully satisfied. Bayes. And then to shew you, Sir, it was not done so very easily neither ; in this next Scene you shall see some fighting. The Rehearsal 27 Smi. O, ho : so then you make the struggle to be after the business is done ? Bayes. Aye. Smi. O, I conceive you : that, I swear, is very natural. V. Enter four men at one door, and four at another, with their Swords drawn. I Soldier. QTAND. Who goes there? O 2 Sol. A Friend. 1 Sol. What Friend ? 2 Sol. A Friend to the House. 2 Sol. Fallen. \hey all kill one another. Music strikes. Bayes. Hold, hold. \To the Music. It ceaseth. Now here's an odd surprize : all these dead men you shall see rise up presently, at a certain Note that I have made, in JLffaut flat, and fall a Dancing. Do you hear, dead men ? remember your note in Effaut flat. Play on. [To the Music. Now, now, now. O Lord, O Lord ! The music play his Note, and the dead men rise, but cannot get in order. Out, out, out ! Did ever men spoil a good thing so ? no figure, no ear, no time, no thing? Udzookers, you dance worse than the Angels in Harry the Eight, or the fat Spirits in The Tempest, I gad. i Sol. Why, Sir, 'tis impossible to do any thing in time, to this Tune. Bayes. O Lord, O Lord ! impossible ? why, Gentle men, if there be any faith in a person that's a Christian, I sate up two whole nights in composing this Air, 28 The Rehearsal and apting it for the business : for, if you observe, there are two several Designs in this Tune ; it begins swift, and ends slow. You talk of time, and time ; you shall see me do't. Look you now. Here I am dead. [Lies down flat on his face. Now mark my Note ILffaut flat. Strike up Music. Now. [As he rises up hastily^ he falls down again. Ah, gadsookers, I have broke my Nose. Johns. By my troth, Mr. Bayes^ this is a very unfortunate Note of yours, in Effaut. Bayes. A plague of this damn'd Stage, with your nails, and your tenter-hooks, that a Gentleman cannot come to teach you to Act, but he must break his nose, and his face, and the devil and all. Pray, Sir, can you help me to a wet piece of brown paper ? Smi. No indeed, Sir ; I don't usually carry any about me. 2 Sol. Sir, I'l go get you some within presently. Bayes. Go, go then ; I follow you. Pray dance out the dance and I'l be with you in a moment. Remember you dance like Horsmen. [Exit Bayes. Smi. Like Horsemen ! what, a plague, can that be? They dance the Dance ^ but can make nothing of it. i Sol. A Devil ! let's try this no longer : play my Dance that Mr. Bayes found fault with so. [Dance & exeunt. Smi. What can this fool be doing all this while about his Nose ? Johns. Pr'ythe lets go see. [Exeunt. Finis Actus secundi. The Rehearsal 29 ACTUS III. Sc^NA I. [The Same.] Bayes with a Papyr on bis Nose^ and the two Gentlemen. Bayes. ^^T^W, Sirs, this I do, because my Fancy, in 1 \\| this Play, is to end every Act with a Dance. Smi. Faith, that Fancy is very good, but I should hardly have broke my Nose for it, tho. Johns. That Fancy, I suppose, is new too. Bayes. Sir, all my Fancies are so, I tread upon no mans heels: but make my flight upon my own wings, I assure you. Now, here comes in a Scene of sheer Wit, without any mixture in the whole World, I gad, between Prince Pretty-man and his Taylor : it might properly enough be call'd a prize of Wit ; for you shall see 'em come in upon one another snip snap, hit for hit, as fast as can be. First one speaks, then presently t'others upon him, slap, with a Repartee ; then he at him again, dash with a new conceipt ; and so eternally, eternally, I gad, till they go quite off the Stage. Goes to call the Players. Smi. What a plague, does this Fop mean by his snip snap, hit for hit, and dash ? Johns. Mean ! why, he never meant any thing in's life : what dost talk of meaning for ? Enter Bayes. Bayes. Why don't you come in ? Enter Prince Pretty-man and Tom Thimble. This Scene will make you dye with laughing, if it be well Acted ; for 'tis as full of Drollery [sic] as ever it 30 The Rehearsal can hold : 'tis like an Orange stuff'd with Cloves, as for conceit. Pref. But pr'ythee, Tom Thimble^ why wilt thou needs marry ? if nine Taylors make but one man ; and one woman cannot be satisfied with nine men : what work art thou cutting out here for thy self, trow? Bayes. Good. Thim. Why, an't please your Highness, if I can't make up all the work I cut out, I shan't want Journey men enough to help me, I warrant you. Bayes. Good again. Pref. I am afraid thy Journey-men tho, Tom^ wont work by the day, but by the night. Bayes. Good still. Thim. However if my wife sits but cross-leg'd, as I do, there will be no great danger : not half so much as when I trusted you, Sir, for your Coronation-suit. Bayes. Very good, i 'faith. Pref. Why, the times then liv'd upon trust ; it was the fashion. You would not be out of time, at such a time as that, sure : a Taylor, you know, must never be out of fashion. Bayes. Right. Tbim. I'm sure, Sir, I made your Cloaths, in the Court-fashion, for you never paid me yet. Bayes. There's a bob for the Court ! Pref. Why, Tom, thou art a sharp rogue when thou art angry, I see : thou pay'st me now, methinks. Bayes. There's pay, upon pay ! as good as ever was written, I gad ! 'Tbim. I, Sir, in your own coyn : you give me nothing but words. The Rehearsal 31 Bayes. Admirable, before gad ! Pret. Well, Tom, I hope shortly I shall have another coyn for thee ; for now the Wars are coming on, I shall grow to be a man of mettal. Bayes. O, you did not do that half enough. Johns. Methinks he does it admirably. Bayes. I, pretty well; but he does not hit me in't: he does not top his part. Thim. That's the way to be stamp'd your self, Sir. I shall see you come home, like an Angel for the Kings-Evil, with a hole bor'd through you. [Exeunt. Bayes. Ha, there he has hit it up to the hilts, I gad ! How do you like it now, Gentlemen ? Is not this pure Wit ? Smi. 'Tis snip snap, Sir, as you say ? but, methinks, not pleasant, norto the purpose,for the Play does not goon. Bayes. Play does not go on ? I don't know what you mean : why, is not this part of the Play ? Smi. Yes, but the Plot stands still. Bayes. Plot stand still ! why, what a Devil is the Plot good for, but to bring in fine things ? Smi. O, I did not know that before. Bayes. No, I think you did not: nor many things more, that I am Master of. Now, Sir, I gad, this is the bane of all us Writers : let us soar but never so little above the common pitch, I gad, all's spoil'd ; for the vulgar never understand it, they can never conceive you, Sir, the excellency of these things.' Johns. 'Tis a sad fate, I must confess : but you write on still ; for all that ? Bayes. Write on? I, I gad, I warrant you. 'Tis not their talk shall stop me : if they catch me at that 32 'The Rehearsal lock, PI give 'em leave to hang me. As long as I know my things are good, what care I, what they say ? What, are they gone, without singing my last new Song ? 'Sbud, would it were in their Bellies. I'll tell you, Mr. Johnson, if I have any skill in these matters, I vow to gad, this Song is peremtorily the very best that ever yet was written: you must know, it was made by Tom Thimble's first wife after she was dead. Smi. How, Sir ? after she was dead ? Bayes. Ay, Sir, after she was dead. Why, what have you to say to that ? Johns. Say ? Why, nothing : he were a Devil that had any thing to say to that ? Bayes. Right. Smi. How did she come to dye, pray Sir ? Bayes. Phoo ! that's no matter ; by a fall : but here's the conceit, that upon his knowing she was kill'd by an accident, he supposes, with a Sigh, that she dy'd for love of him. Johns. I, I, that 'swell enough: let's hear it, Mr. Bayes. Bayes. 'Tis to the Tune of Farewel, fair Armida^ on Seas, and in battels, in Bullets, and all that. SONG. In swords, Pikes, and Bullets, 'tis safer to be, Than in a Strong Castle, remoted from thee : My deaths-bruise pray think you gave me, tho a fall Did give it me more, from the top of a wall ; For then if the Moat on her mud would first lay, And after before you my body convey : The blew on my brest when you happen to see, You'l say, with a Sigh, there's a True blew for me. 'The Rehearsal 33 Ha, Rogues ! when I am merry, I write these things as fast as hops, I gad ; for, you must know, I am as pleasant a Debauchtee, as ever you saw : I am ifaith. Smi. But Mr. Bayes, how comes this song in here? for, methinks, there is no great occasion for it. Bayes. Alack, Sir, you know nothing : you must ever interlard your Playes with Songs, Ghosts, and Dances, if you mean to a Johns. Pit, Box, and Gallery, Mr. Bayes. Bayes. I gad, and you have nick'd it. Hark you, Mr. Johnson, you know I don't flatter, a gad, you have a great deal of Wit. Johns. O Lord, Sir, you do me too much honour. Bayes. Nay, nay, come, come, Mr. Johnson, I faith this must not be said, amongst us that have it. I know you have wit by the judgment you make of this Play; for that's the measure I go by : my Play is my Touch stone. When a man tells me such a one is a person of parts ; is he so, say I ? what do I do, but bring him presently to see this Play ? If he likes it, I know what to think of him ; if not, your most humble Servant, Sir, I'l no more of him upon my word, I thank you. I am Clara voyant, I gad. Now here we go on to our business. II. Enter the two Usurpers, hand in hand. Us/i. 1 3UT what's become of Volscius the great ? \|j Hispresencehasnot grac'dourCourtsof late Phys. I fear some ill, from emulation sprung, Has from us that Illustrious Hero wrung. 34 The Rehearsal Bayes. Is not that Majestical ? Smi. Yes, but who a Devil is that Vohcius ? Bayes. Why, that's a Prince I make in love with Parthenope. Smi I thank you Sir. Enter Cordelio. Cor. My Lieges, news from Vohcius the Prince. Us/i. His news is welcome, whatsoe'er it be. Smi. How, Sir, do you mean whether it be good or bad ? Bayes. Nay, pray, Sir, have a little patience : God- sookers you'l spoil all my Play. Why, Sir, 'tis im possible to answer every impertinent question you ask. Smi. Cry you mercy, Sir. Cor. His Highness, Sirs, commanded me to tell you, That the fair person whom you both do know, Despairing of forgiveness for her fault, In a deep sorrow, twice she did attempt Upon her precious life ; but by the care Of standersby prevented was. Smi. 'Sheart, what stuff's here ! Cor. At last Volsclus the great this dire resolve embrac'd : His servants he into the Countrey sent, And he himself to Peccadille went. Where he's inform'd, by Letters that she's dead. Us/i. Dead ! is that possible ? Dead ! Pbys. O ye Gods ! [Exeunt. Bayes. There's a smart expression of a passion ; O ye Gods ! That's one of my bold strokes, I gad. Smi. Yes ; but who is the fair person that's dead ? The Rehearsal 35 Bayes. That you shall know anon Sir. Smi. Nay ; if we know it at all, 'tis well enough. Bayes. Perhaps you may find too, by and by, for all this that she's not dead neither. Smi. Marry, that's good news indeed : I am glad of that with all my heart. Bayes. Now here's the man brought in that is suppos'd to have kill'd her. \A great shout 'within. III. Enter Amarillis with a book in her hand^ and Attendants. Ama. TT 7 HAT shout triumphant's that? VV Enter a Souldier. Sol. Shie maid, upon the River brink Near Twick'nam Town, the false Assassinate Is tane. Ama. Thanks to the Powers above, for this deliverance. I hope its slow beginning will portend A forward Exit to all future end. Bayes. Pish, there you are out; to all Future end? No, no ; to all future End : you must lay the accent upon end, or else you lose the conceipt. Smi. I see you are very perfect in these matters. Bayes. I, Sir; I have been long enough at it, one would think, to know some thing. Enter Souldiers dragging in an old Fisher-man. Ama. Villain, what Monster did corrupt thy mind. T'attaque the noblest soul of humane kind f Tell me who set thee on. 36 The Rehearsal Fish. Prince Pretty-man. Ama. To kill whom? Fish. Prince Pretty-man. Ama. What, did Prince Pretty-man hire you to kill Prince Pretty-man ? Fish. No ; Prince Folscius. Ama. To kill whom ? Fish. Prince Volscius. Ama. What did Prince Volscius hire you to kill Prince Volscius ? Fish. No ; Prince Pretty-man. Ama. So drag him hence, Till torture of the Rack produce his Sense. [Exeunt. Bayes. Mark how I make the horrour of his guilt confound his intellects ; for he's out at one and t'other : and that's the design of this Scene. Smi. I see, Sir, you have a several design for every Scene. Bayes. I, that's my way of writing ; and so Sir, I can dispatch you a whole Play, before another man, I gad, can make an end of his Plot. SC^NA IV. now enter Prince Pretty-man in a rage. Where the Devil is he ? Why Pretty-man ? why when, I say ? O fie, fie, fie, fie ! all's marr'd, I vow to gad, quite marr'd. Enter Pretty-man. Phoo, pox ! you are come to late, Sir, now you may go out again, if you please. I vow to gad, Mr. a I would not give a button for my Play, now you have done this. The Rehearsal 37 Pret. What Sir? Bayes. What Sir ! 'Slife, Sir, you should have come outincholer, rous upon the Stage, just as the other went off. Must a man be eternally telling you of thesethings? Johns. Sure this must be some very notable matter that he's so angry at. Smi. I am not of your opinion. Bayes. Pish ! come, let's hear your part, Sir. Pret. Bring in my Father ; why d'ye keep him from me ? Altho a Fisherman, he is my Father, Was ever Son, yet brought to this distress, To be, for being a Son, made fatherless? Ah, you just Gods, rob me not of a Father: The being of a Son take from me rather. [Exit. Smi. Well, Ned, what think you now ? Johns. A Devil this is worst of all. Mr. Bayes ', pray what's the meaning of this Scene? Bayes. O, cry you mercy, Sir: I purtest I had forgot to tell you. Why, Sir, you must know, that long before the beginning of this Play, this Prince was taken by a Fisherman. Smi. How, Sir, taken Prisoner ? Bayes. Taken Prisoner ! O Lord, what a question's there ! did ever any man ask such a question ? God- sookers, he has put the Plot quite out of my head, with this damn'd question. What was I going to say ? Johns. Nay, the Lord knows: I cannot imagine. Bayes. Stay, let me see ; taken : O 'tis true. Why, Sir, as I was going to say, his Highness here, the Prince, was taken in a Cradle by a Fisherman, and brought up as his Child. 38 The Rehearsal Smi. Indeed? Bayes. Nay, pr'ythe hold thy peace. And so, Sir, this murder being committed by the River-side, the Fisherman, upon suspition, was seiz'd ; and there upon the Prince grew angry. Smi. So, so ; now 'tis very plain. Johns. But Mr. Bayes, is not this some disparage ment to a Prince, to pass for a Fishermans Son ? Have a care of that I pray. Bayes. No, no ; not at all ; for 'tis but for a while: I shall fetch him off again, presently, you shall see. Enter Pretty-man and Thimble. Fret. By all the Gods, I'l set the world on fire Rather than let 'em ravish hence my Sire. 'Thim. Brave Pretty-man, it is at length reveal'd, That he is not thy Sire who thee conceal'd. Bayes. Lo you now ; there he's off again. Johns. Admirably done i'faith. Bayes. Ay, now the Plot thickens very much upon us. Pret. What Oracle this darkness can evince ? Sometimes a Fishers Son, sometimes a Prince. It is a secret, great as is the world ; In which, I like the Soul, am tos'd and hurl'd. The blackest Ink of Fate, sure, was my Lot, And, when she writ my Name, she made a blot. [Exit. Bayes. There's a blust'ring verse for you now. Smi. Yes, Sir ; but why is he so mightily troubled to find he is not a Fishermans Son ? Bayes. Phoo ! that is not because he has a mind to be his Son, but for fear he should be thought to be no bodies Son at all. The Rehearsal 39 Smi. Nay, that would trouble a man, indeed. Bayes. So let me see. SC^NA V. Enter Prince Volscius, going out of Town. [Reads. Smi.'T THOUGHT he had been gone to Peccadille. X Bayes. Yes, he gave it out so ; but that was only to cover his design. Johns. What design ? Bayes. Why, to head the Army, that lies conceal'd for him in Knights-bridge. Johns. I see here's a great deal of Plot, Mr. Bayes. Bayes. Yes, now it begins to break ; but we shall have a world of more business anon. Enter Prince Volscius, Cloris, Amarillis, and Harry with a Riding-Cloak and Boots. Ama. Sir, you are cruel, thus to leave the Town, And to retire to Country solitude. Clo. We hop'd this Summer that we should at least Have held the honour of your Company. Bayes. Held the honour of your Company ! prettily exprest ! Held the honour of your Company ! God- sookers, these fellows willnever take notice of any thing. Johns. I assure you Sir, I admire it extreamly : I don't know what he does. Bayes. I, I, he's a little envious ; but 'tis no great matter. Come. Ama. Pray let us two this single boon obtain, That you will here, with poor us, still remain. Before your Horses come pronounce our fate, For then, alas ! I fear, 'twill be too late. 40 'The Rehearsal Bayes. Sad ! Vols. Harry ^ my Boots ; for I'l go rage among My Blades encamp'd, and quit this Urban throng. Smi. But pray, Mr. Bayes., is not this a little difficult, that you were saying e'en now, to keep an army thus conceal'd in Knights-bridge. Bayes. In Knights-bridge ? stay. Johns. No, not if the Inn-keepers be his friends. Bayes. His Friends ! Ay, Sir, his intimate acquaint ance ; or else, indeed, I grant it could not be. Smi. Yes, faith, so it might be very easie. Bayes. Nay, if I do not make all things easie, I gad, I'l give you leave to hang me. Now you would think that he is going out of Town ; but you shall see how prettily I have contriv'd to stop him, presently. Smi. By my troth, Sir, you have so amaz'd me, that I know not what to think. Enter Parthenope. Vols. Bless me ! how frail are all my best resolves ! How, in a moment, is my purpose chang'd ! Too soon I thought my selfe secure from Love. Fair, Madam, give me leave to ask her name Who does so gently rob me of my fame? For I should meet the Army out of town, And, if I fail, must hazard my renown. Par. My Mother, Sir, sells Ale by the Town-walls, And me, her dear Parthenope she calls. Bayes. Now that's the Parthenope^ I told you of. Johns. I, I : I gad you are very right. Vols. Can vulgar vestments high-born beauty shroud? Thou bring'st the Morning pictur'd in a Cloud. The Rehearsal 41 Bayes. The Morning pictured in a Cloud ! A, Gad- sookers, what a conceipt is there ! Par. Give you good Ev'n, Sir. [Exit. Vols. O inauspicious Stars ! that I was born To sudden love, and to more sudden scorn ! yftf/tf.jHow ! Prince Volscius in love? Ha, ha, ha. C/or. > [Exeunt laughing. Smi. Sure, Mr. Bayes, we have lost some jest here, that they laugh at so. Bayes. Why, did you not observe ? He first resolves to go out of Town, and then, as he is pulling on his Boots falls in love with her. Ha, ha, ha. Smi. Well, and where lyes the jest of that ? Bayes. Ha? [Turns to Johnson. Johns. Why; In the Boots: whereshould the jest lie? Bayes. I Gad, you are in the right : it does [Turns to Smith.'] Lie in the Boots Your friend, and I know where a good jest lies, tho you don't, Sir. Smi. Much good do't you, Sir. Bayes. Here, now, Mr. Johnson, you shall see a combat betwixt Love and Honour. An ancient Author has made a whole Play on't ; but I have dispatch'd it all in this Scene. Volscius sits down to pull on his Boots : Bayes Stands by and over acts the Part as he speaks it. Vols. How has my passion Made me Cupid's scoff! This hasty Boot is on, the other off, And^ sullen lies, with amorous design To quit loud fame, and make that Beauty mine. Smi. Pr'ythee mark what pains Mr. Bayes takes to Act this speech himselfe ! 42 The Rehearsal Johns. Yes, the fool, I see, is mightily transported with it. Vols. My Legs, the Emblem of my various thought, Shew to what sad distraction I am brought. Sometimes with stubborn Honour, like this Boot, My mind is guarded, and resolv'd : to do't : Sometimes, again, that very mind, by Love Disarmed, like this other Leg does prove. Shall I to Honour or to Love give way ? Go on, cries Honour ; tender Love saies, nay : Honour, aloud, commands, pluck both Boots on ; But softer Love does whisper put on none. What shall I do ? what conduct shall I find To lead me through this twy-light of my mind? For as bright Day with black approach of Night Contending, makes a doubtful puzling light ; So does my Honour and my Love together Puzzle me so, I can resolve for neither. [Goes out hopping with one Boot on^ and the other off. Johns. By my troth, Sir, this is as difficult a Combat as ever I saw, and as equal ; for 'tis determined on neither side. Bayes. Ay, is't not now I gad, ha? For, to go off hip hop, hip hop, upon this occasion, is a thousand times better than any conclusion in the world, I gad. Johns. Indeed, Mr. Bayes, that hip hop, in this place as you say, does a very great deal. Bayes. O, all in all Sir ; they are these little things that mar, or set you off a Play : as I remember once, in a Play of mine, I set off a Scene I gad, beyond expectation, only with a Petticoat, and the Belly ake. Smi. Pray, how was that, Sir ? The Rehearsal 43 Bayes. Why, Sir, I contrived a Petticoat to be brought in upon a Chair, (no body knew how) into a Prince's Chamber, whose Father was not to see it, that came in by chance. Johns. God's my life, that was a notable Contriv ance indeed. Smi. I but, Mr. Bayes, how could you contrive the Belly-ake? Bayes. The easiest ith' World, I Gad: I'l tell you how, I made the Prince sit down upon the Petticoat, no more than so, and pretended to his Father that he had just then got the Belly-ake: whereupon, his Father went out to call a Physician, and his man ran away with the Petticoat. Smi. Well and what follow'd upon that? Bayes. Nothing, no Earthly thing, I vow to Gad. Johns. O, my word, Mr. Bayes, there you hit it. Bayes. Yes It gave a world of content. And then I paid 'em away besides, for I made 'em all talk baudy ; ha, ha, ha : beastly, downright baudry upon the Stage, I gad ; ha, ha, ha ; but with an infinite deal of wit, that I must say. Johns. That, I that, we know well enough, can never fail you. Bayes. No, I Gad can't it: come bring in the Dance. [Exit, to call em. Smi. Now, the Devil take thee for a silly, confident, unnatural, fulsom Rogue. Enter Bayes and Players. Bayes. Pray Dance well, before these Gentlemen : you are commonly so lazy ; but you should be light and easie, tah, tah, tah. 44 ^be Rehearsal All the 'while they Dance ^ Bayes puts 'em out with teaching 'em. Well Gentlemen, you'l see this Dance, if I am not deceiv'd, take very well upon the Stage, when they are perfect in their motions, and all that. Smi. I don't know how 'twill take, Sir ; but I am sure you sweat hard for't. Bayes. Ay, Sir, it costs me more pains and trouble, to do these things, than almost the things are worth. Smi. By my troth, I think so, Sir. Bayes. Not for the things themselves, for I could write you, Sir, forty of 'em in a day ; but, I gad, these Players are such dull persons, that, if a man be not by 'em upon every point, and at every turn, I gad, they'l mistake you, Sir, and spoil all. Enter a Player. What, is the Funeral ready? Play. Yes, Sir. Bayes. And is the Lance fill'd with Wine? Play. Sir, 'tis just now a doing. Bayes. Stay then, I'l do it my self. Smi. Come, let's go with him. Bayes. A Match. But Mr. Johnson^ I gad, I am not like other persons ; they care not what becomes of their things, so they can but get mony for 'em ; now, I gad, when I write, if it be not just as it should be in every circumstance, to every particular, I gad ; I am no more able to endure it, I am not my self, I'm out of my wits, and all that, I'm the strangest person in the whole world. For what care I for mony ? I write for Reputation. [Exeunt. Finis Actus tertii. The Rehearsal 45 ACTUS IV. SCJENA I. [The Same.] Bayes, and the two Gentlemen. Bayes. /^^ ENTLEMEN, because I would not have \^J any two things alike in this Play, the last Act beginning with a witty Scene of Mirth, I make this to begin with a Funeral. Smi. And is that all your reason for it, Mr. Bayes? Bayes. No, Sir, I have a Precedent for it besides. A person of Honour, and a Scholar, brought in his Funeral just so : and he was one (let me tell you) that knew as well what belong'd to a Funeral, as any man in 'England, I gad. Johns. Nay if that be so, you are safe. Bayes. I gad, but I have another device, a frolick, which I think yet better than all this ; not for the Plot or Characters, (for in my heroic Plays, I make no difference, as to those matters) but for another contrivance. Smi. What is that, I pray ? Bayes. Why, I have designed a Conquest, that Cannot possibly, I gad, be acted in less than a whole week: and I'l speak a bold word, it shall Drum, Trumpet, Shout, and Battle, I gad with any the most warlike Tragcedy we have, either ancient or modern. Johns. I, marry, Sir, there you say something. Smi. And pray, Sir, how have you order'd this same frolic of yours? Bayes. Faith, Sir, by the Rule of Romance. For example : they divided their things into three, four, five, six, seven, eight, or as many Tomes as they 46 The Rehearsal please: now, I would very fain know what should hinder me, from doing the same with my things, if I please ? Johns. Nay, if you should not be Master of your own works, 'tis very hard. Bayes. That is my sence. And then, Sir, this con trivance of mine has something of the reason of a Play in it too ; for as every one makes you five Acts to one Play, what do me I, but make five Playes to one Plot : by which means the Auditors have every day a new thing. Johns. Most admirably good, i'faith ! and must certainly take, because it is not tedious. Bayes. I, Sir, I know that, there's the main point. And then, upon Saturday, to make a close of all, (for I ever begin upon a Monday) I make you, Sir, a sixth Play, that sums up the whole matter to J em, and all that, for fear they should have forgot it. Johns. That consideration, Mr. Bayes, indeed, I think, will be very necessary. Smi. And when comes in your share, pray Sir ? Bayes. The third week. Johns. I vow you'l get a world of money. Bayes. Why, faith, a man must live: and if you don't, thus, pitch upon some new device, I gad, you'l never do it, for this Age (take it o'my word) is somewhat hard to please. But There's one pretty odd passage, in the last of these Plays which may be executed two several ways, wherein I'd have your opinion, Gentlemen. Johns. What is't, Sir ? Bayes. Why, Sir, I make a Male person to be in Love with a Female. Smi. Do you mean that, Mr. Bayes, for a new thing ? The Rehearsal 47 Bayes. Yes, Sir, as I have order'd it. You shall here [sic]. He having passionately lov'd her through my five whole Playes, finding at last that she consents to his love, just after that his Mother had appeared to him like a Ghost, he kills himself. That's one way. The other is that she coming at last to love him, with as violent a passion as he lov'd her, she kills her self. Now my question is, which of these two persons should suffer upon this occasion ? Johns. By my troth, it is a very hard case to decide. Bayes. The hardest in the World, I gad, and has puzled this pate very much. What say you Mr. Smith ? Smi. Why truly Mr. Bayes, if it might stand with your justice now, I would spare 'em both. Bayes. I gad, and I think ha why then, I'l make him hinder her from killing her selfe. Ay, it shall be so. Come, come, bring in the Funeral. Enter a Funeral, with the two Usurpers and Attendants. Lay it down there : no, no, here, Sir. So now speak. K. Ush. Set down the Funeral Pile, and let our grief Receive, from its imbraces, some relief. K. Phys. Was't not unjust to ravish hence her breath, And, in life's stead, to leave us nought but death ? The World discovers now its emptiness, And, by her loss, demonstrates we have less. Bayes. Is not this good language now ? is not that elevate ? 'Tis my non ultra, I gad. You must know they were both in love with her. Smi. With her? with whom? Bayes. Why, this is LarJella's Funeral. Smi. Lardella \ I, who is she? 48 The Rehearsal Bayes. Why, Sir, the Sister of Draivcansir. A Lady that was drown'd at Sea, and had a wave for her Winding sheet. K. Us/i. Lardella, O Lardella, from above, Behold the Tragic issues of our Love. Pity us, sinking under grief and pain, For thy being cast away upon the Main. Bayes. Look you now, you see I told you true. Smi. I, Sir, and thank you for it, very kindly. Bayes. Ay, I gad, but you will not have patience ; honest M. a you will not have patience. Johns. Pray, Mr. Bayes, who is that Drawcansirl Bayes. Why, Sir, a fierce Hero, that frights his Mistress, snubs up Kings, baffles Armies, and does what he will, without regard to numbers, good manners, or justice. Johns. A very pretty Character. Smi. But, Mr. Bayes, I thought your Heroes had ever been men of great humanity and justice. Bayes. Yes, they have been so ; but for my part, I prefer that one quality of singly beating of whole Armies above all your moral virtues put together, I gad. You shall see him come in presently. Zookers, why don't you read the paper? [To the Players. K. Phys. O, cry you mercy. [Goes to take the paper. Bayes. Pish ! nay you are such a fumbler. Come I'l read it my self. [Takes a paper from off the Coffin. Stay, it's an ill hand, I must use my Spectacles. This, now, is a Copy of Verses, which I make Lardella compose, just as she is dying, with design to have it pin'd upon her Coffin, and so read by one of the Usurpers, who is her Cousin. The Rehearsal 49 Smi. A very shrewd design that, upon my word, Mr. Bayes. Bayes. And what do you think now I fancy her to make Love like, here, in the paper? Smi. Like a Woman : what should she make Love like? Bayes. O'my word you are out tho, Sir ; I gad, you are. Smi. What then ? like a man ? Bayes. No, Sir ; like a Humble Bee. Smi. I confess, that I should not have fancy 'd. Bayes. It may be so, Sir. But it is, tho, in order to the opinion of some of your ancient Philosophers, who held the transmigration of the soul. Smi. Very fine. Bayes. I'l read the Title. Tomydear Couz, King Phys. Smi. That's a little too familiar with a King, tho, Sir, by your favor, for a Humble Bee. Bayes. Mr. Smith, in other things. I grant your knowledge may be above me ; but, as for Poetry, give me leave to say, I understand that better : it has been longer my practice ; it has, indeed, Sir. Smi. Your servant, Sir. Bayes. Pray mark it. Since death my earthly part will thus remove [Reads. I'l come a Humble Bee to your chaste love. With silent wings I'll follow you, dear Couz; Or else, before you, in the Sun-beams, buz. And when to Melancholy Groves you come, An Airy Ghost, you'l know me by my Hum ; For sound, being Air, a Ghost does well become. Smi. (After a pause.) Admirable ! E 50 e Rehearsal Bayes. At night, into your bosom I will creep, And buz but softly if you chance to sleep : Yet in your Dreams, I will pass sweeping by, And then, both Hum an[d] Buz before your eye. Johns. By my troth, that's a very great promise. Smi. Yes, and a most extraordinary comfort to boot. Bayes. Your bed of love from dangers I will free ; But most from love of any future Bee. And when with pity your heart strings shall crack, With empty arms I'l bear you on my back. Smi. A pick-a-pack, a pick-a-pack. Bayes. Ay, I gad, but is not that tuant now, ha ? is it not tuant} Here's the end. Then at your birth of immortality, Like any winged Archer, hence I'l fly, And teach you your first fluttering in the Sky. Johns. O rare ! This is the most natural, refin'd fancy that ever I heard, I'l swear. Bayes. Yes, I Think, for a dead person, it is a good enough way of making love : for being divested of her Terrestrial part, and all that, she is only capable of these little, pretty, amorous designs that are innocent, and yet passionate. Come, draw you[r] swords. K. Phys. Come sword, come sheath thy self within this breast. Which only in Lardella s Tomb can rest. K. Us/i. Come, dagger, come, and penetrate this heart, Which cannot from Lardella ' s Love depart. Enter Pallas. Pal. Hold, stop your murd'ring hands At Pallases commands : The 'Rehearsal 51 For the supposed dead, O Kings, Forbear to act such deadly things. Lardella lives ; I did but try If Princes for their Loves could dye. Such Celestial constancy Shall, by the Gods, rewarded be : And from these Funeral Obsequies A Nuptial Banquet shall arise. [The Coffin opens, and a Banquet is discovered. Bayes. So, take away the Coffin. Now it's out. This is the very Funeral of the fair person which Volsclus sent word was dead, and Pallas^ you see, has turn'd it into a Banquet. Smi. Well, but where is this Banquet ? Bayes. Nay, look you, Sir, we must first have a Dance, for joy that Lardella is not dead. Pray, Sir, give me leave to bring in my things properly at least. Smi. That, indeed, I had forgot: I ask your pardon. Bayes. O, d'ye so, Sir ? I am glad you will confess your selfe once in an error, Mr. Smith. Dance. K. Us/i. Resplendent Pallas^ we in thee do find The fiercest Beauty, and a fiercer mind : And since to thee Lardella' s life we owe, We'll supple Statues in thy Temple grow. K. Phys. Well, since alive Lardella 's found, Let, in full Boles, her Health go round. [The two Usurpers take each of them a Bole in their hands. K. Us/i. But where's the Wine? Pal. That shall be mine. Lo, from this conquering Lance, 52 The Rehearsal Does flow the purest Wine of France : [Fills the Boles out of her Lance. And to appease your hunger, I Have, in my Helmet, brought a Pye : Lastly, to bear a part with these, Behold a Buckler made of Cheese. [vanish Pallas. Bayes. There's the Banquet. Are you satisfied now, Sir? * Johns. By my troth, now, that is new, and more than I expected. Bayes. Yes, I knew this would please you : for the chief Art in Poetry is to elevate your expectation, and then bring you off some extraordinary way. Enter Drawcansir. K. Phys. What man is this, that dares disturb our Feast ? Draw. He that dares drink, and for that drink dares dye, And, knowing this, dares yet drink on, am I. Johns. That is, Mr. Bayes^ as much as to say, that tho he would rather die than not drink, yet he would fain drink for all that too. Bayes. Right ; that's the conceipt on't. Johns. 'Tis a marvellous good one, I swear. Bayes. Now there are some Critics that have advis'd me to put out the Second Dare^ and print Must in the place on't ; but, I gad, I think 'tis better thus a great deal. Johns. Whoo ! a thousand times. Bayes. Go on then. K. Us/i. Sir, if you please, weshould be glad to know, How long you here will stay, how soon you'l go ? The Rehearsal 53 Bayes. Is not that now like a well bred person, I gad ? So modest, so gent ! Smi. O, very like. Draw. You shall not know how long I here will stay ; But you shall know PI take your Bowles away. (Snatches the Boles out of the Kings ( hands, and drinks "em off] Smi. But, Mr. Bayes, is that (too) modest and gent? Bayes. No, I gad, Sir, but it's great. K. Us/i. Tho, Brother, this grum st[r]anger be a Clown, He'l leave us, sure, a little to gulp down. Draw. Who e'er to gulp one drop of this dares think PI stare away his very pow'r to drink. ( The two Kings sneak off the Stage, \ with their Attendants. I drink I huff, I strut, look big and stare ; And all this I can do, because I dare. [Exit. Smi. I suppose, Mr. Bayes, this is the fierce Hero you spoke of. Bayes. Yes ; but this is nothing : you shall see him, in the last Act, win about a dozen Battles, one after another, I gad, as fast as they can possible come upon the Stage. Johns. That will be a fight worth the seeing indeed. Smi. But pray, Mr. Bayes, why do you make the Kings let him use 'em so scurvily ? Bayes. Phoo ! that is to raise the character of Draw- cansir. Johns. O' my word, that was well thought on. Bayes. Now, Sirs PI shew you a Scene indeed ; or rather, indeed, the Scene of Scenes. 'Tis an Heroic Scene. 54 The Rehearsal Smi. And pray, Sir, what's your design in this Scene ? Bayes. Why, Sir, my design is guilded Truncheons, forc'd conceipt, smooth Verse, and a Rant : in fine, if this Scene do not take, I gad, I'l write no more. Come, come in, Mr. a nay, come in as many as you can. Gentlemen, I must desire you to remove a little, for I must fill the Stage. Smi. Why fill the Stage? Bayes. O, Sir, because your Heroic Verse, never sounds well, but when the Stage is full. II. Enter Prince Pretty-man, and Prince Volscins. [Bayes.] ^^^ T AY, hold, hold; pray by your leave a X ^1 little. Look you, Sir, the drift of this Scene is somewhat more than ordinary : for I make 'em both fall out because they are not in love with the same Woman. Smi. Not in love? you mean, I suppose, because they are in love, Mr. Bayes? Bayes. No, Sir; I say not in love: there's a new conceipt for you. Now speak. Pret. Since fate, Prince Folscius, now has found the way For our so long'd for meeting here this day, Lend thy attention to my grand concern. Vols. I gladly would that story from thee learn ; But thou to love dost Pretty-man, incline : Yet love in thy breast is not love in mine? Bayes. Antithesis ! Thine and mine. The Rehearsal 55 Pret. Since love it self's the same, why should it be Diff'ring in you from what it is in me? Bayes. Reasoning ! I gad, I love reasoning in verse. Vols. Love takes Came/eon-\\ke y a various dye From every Plant on which it self does lye. Bayes. Simile ! Pret. Let not thy love the course of Nature fright : Nature does most in harmony delight. Vols. How weak a Deity would nature prove Contending with the pow'rful God of Love? Bayes. There's a great Verse ! Vols. If Incense thou wilt offer at the Shrine Of mighty Love, burn it to none but mine. Her Rosie-lips eternal sweets exhale ; And her bright flames make all flames else look pale. Bayes. I gad that is right. Pret. Perhaps dull Incense may thy love suffice ; But mine must be ador'd with Sacrifice. All hearts turn ashes which her eyes controul : The Body they consume as well as Soul. Vols. My love has yet a power more Divine ; Victims her Altars burn not, but refine: Amidst the flames they ne're give up the Ghost, But, with her looks, revive still as they roast. In spite of pain and death, they're kept alive: Her fiery eyes makes 'em in fire survive. Bayes. That is as well, I gad, as I can do. Vols. Let my Parthenope at length prevail. Bayes. Civil, I gad. Pret. I'l sooner have a passion for a Whale: In whose vast bulk, tho store of Oyl doth lye, We find more shape, more beauty in a Fly. 56 'The Rehearsal Smi. That's uncivil, I gad. Bayes. Yes ; but as far a fetch 'd fancy, tho, I gad, as e're you saw. Vols. Soft, Pretty-man, let not thy vain pretence Of perfect love, defame loves excellence. Parthenope is sure, as far above All other loves, as above all is Love. Bayes. Ah ! I gad, that strikes me. Pret. To blame my Cloris, Gods would not pretend. Bayes. Now mark. Vols. Were all Gods join'd, they could not hope to mend My better choice: for fair Parthenope, Gods would, themselves, un-god themselves to see. Bayes. Now the Rant's a coming, Pret. Durst any of the Gods be so uncivil, I'ld make that God subscribe himself a Devil. Bayes. Ah, Godsookers, that's well writ ! [Scratching his head, his Perruke falls off. Vols. Could'st thou that God from Heav'n to Earth translate, He could not fear to want a Heav'nly State. Parthenope, on Earth, can Heav'n create. Pret. Cloris does Heav'n it self so far excel, She can transcend the joys of Heav'n in Hell. Bayes. There's a bold flight for you now ! 'Sdeath, I have lost my Perruke. Well, Gentlemen, this is that I never yet saw any one could write, but my self. Here's true spirit and flame all through, I gad. So, So ; pray clear the Stage. [He puts 'em off the Stage. Johns. I wonder how the coxcomb has got the knack of writing smooth Verse thus. The Rehearsal 57 Smi. Why there's no need of brain for this: 'tis but scaning, the labour's in the finger ; but where's the sence of it ? Johns. O', for that, he desires to be excus'd : he is too proud a man to creep servily after Sense, I assure you. But pray, Mr. Bayes, why is this Scene all in Verse? Bayes. O, Sir, the subject is too great for Prose. Smi. Well said, i'faith ; I'l give thee a pot of Ale for that answer : 'tis well worth it. Bayes. Come, with all my heart. I'll make that God subscribe himself a Devil. That single line, I gad, is worth all that my brother Poets ever writ. Let down the Curtain. [Exeunt. Finis Actus Quarti. ACTUS V. SC^ENA I. [The Same.] Bayes, and the two Gentlemen. OW, Gentlemen, I will be bold to say, I'l shew you the greatest Scene that ever England saw : I mean not for words, for those I do not value ; but for state, shew, and magnificence. In fine I'll justifie it to be as grand to the eye every whit, I gad, as that great Scene in Harry the Eight, and grander too, I gad ; for instead of two Bishops, I bring in here four Cardinals. (The Curtain is drawn up, the two usurping Kings appear in State, with the four Cardinals, Prince Pretty-man, Prince Volscius, Amarillis, Cloris, Parthenope, &c. before them, Heralds and Serjeants at Arms with Maces. ^VT X\\| 58 The Rehearsal Smi. Mr. Bayes, pray what is the reason that two of the Cardinals are in Hats, and the other in Caps? Bayes. Why, Sir, because By gad, I won't tell you. Your Country friend, Sir, grows so troublesome. K. Us/i. Now, Sir, to the business of the day. K. Pbys. Speak Volscius. Vols. Dread Sovereign Lords, my zeal to you, must not invade my duty to your Son ; let me intreat that great Prince Pretty-man first do speak : whose high preheminence, in all things that do bear the name of good, may justly claim that priviledge. Bayes. Here it begins to unfold : you may perceive, now, that he is his Son. Johns. Yes, Sir ; and we are very much beholding to you for that discovery. Pret. Royal Father, upon my knees I beg, That the Illustrious Volscius first be heard. Vols. That preference is only due to Amarillis^ Sir. Bayes. I'l make her speak very well, by and by, you shall see. Ama. Invincible Soveraigns [Soft Music. K. Us/i. But stay, what sound is this invades our ears? K. Pbys. Sure 'tis the Musick of the moving Spheres. Pret. Behold, with wonder, yonder comes from far A God-like Cloud, and a triumphant Carr: In which, our two right Kings sit one by one, With Virgins Vests, and Laurel Garlands on. K. Us/i. Then, Brother Pbys 'tis time we should begon. / 'The two Usurpers steal out of the Throne^ \ and go away. Bayes. Look you now, did not I tell you that this would be as easie a change as the other ? "The Rehearsal 59 Smi. Yes, faith, you did so ; tho I confess, I could not believe you ; but you have brought it about, I see. 'The two right Kings of Brentford descend in the Clouds , singing^ in white garments ; and three Fidlers sitting before them, in green. Bayes. Now, because the two right Kings descend from above, I make 'em sing to the Tune and Stile of our modern Spirits. 1 King. Haste, Brother King, we are sent from above. 2 King. Let us move, let us move : Move to remove the Fate Of Brentfords long united State. 1 King. Tarra, tan tarra, full East and by South, 2 King. We sail with Thunder in our mouth, In scorching noon day, whil'st the traveller 'stayes, Busie, busie, busie, busie, we bustle a long. Mounted upon warm Phcebus his Rayes, Through the Heavenly throng, Hasting to those Who will feast us, at night, with a Pigs Petty-toes. 1 King. And we'l fall with our pate In an Ollio of hate. 2 King. But now supper's done, the Servitors try, Like Souldiers, to storm a whole half-moon-pye. 1 King. They gather, they gather hot Custard in spoons, But Alas, I must, leave these half-moons, And repair to my trusty Dragoons. 2 King. O stay, for you need not as yet go astray; The Tyde, like a friend, has brought ships in our way, And on their high ropes we will play. Like Maggots in Filberds, we'l snug in our shell, 60 The Rehearsal We'l frisk in our shell We'l firk in our shell, And farewel. 1 King. But the Ladies have all inclination to dance, And the green Frogs croak out a Coranto of France. Bayes. Is not that pretty, now ? The Fiddlers are all in green. Smi. I, but they play no Coranto. Johns. No, but they play a Tune, that's a great deal better. Bayes. No Coranto, quoth a ! that's a good one, with all my heart. Come, sing on. 2 King. Now Mortals thathear How we Tilt and Carreer, With wonder will fear The event of such things as shall never appear. 1 King. Stay you to fulfil what the Gods have decreed. 2 King. Then call me to help you, if there shall be need. i King. So firmly resolv'd is a true Brentford King To save the distressed, and help to 'em bring, That ere a Full-pot of good Ale you can swallow, He's here with a whoop, and gone with a holla. [Bayes pbillips his finger r , and sings after 9 em. Bayes. He's here with a whoop, and gone with a holla. This, Sir, you must know, I thought once to have brought in with a Conjurer. Johns. I, that would have been better. Bayes. No, faith, not when you consider it : for thus 'tis more compendious, and does the thing every whit as well. Smi. Thing ! what thing ? The Rehearsal 61 Bayes. Why, bring 'em down again into the Throne, Sir ; what thing would you have ? Smi. Well ; but, methinks the Sence of this Song is not very plain. Bayes. Plain ? why did you ever hear any people in Clouds speak plain ? They must be all for flight of fancie, at its full range, without the least check, or controul upon it. When once you tye up spirits, and people in Clouds to speak plain, you spoil all. Smi. Bless me, what a Monster's this ! j The two Kings light out of the Clouds, and \ step into the Throne. 1 King. Come, now to serious counsel we'l advance. 2 King. I do agree ; but first, let's have a Dance. Bayes. Right. You did that very well, Mr. Cart- wright. But first, let's have a Dance. Pray remember that ; be sure you do it always just so : for it must be done as if it were the effect of thought, and premedita tion. But first, let's have aDance. Pray remember that. Smi. Well, I can hold no longer, I must gag this rogue ; there's no enduring of him. Johns. No, pr'thee make use of thy patience a little longer : let's see the end of him now. [Dance a grand Dance. Bayes. This, now, is an ancient Dance, of right belonging to the Kings of Brentford-, but since deriv'd, with a little alteration, to the Inns of Court. An Alarm. Enter two Heralds. i King. What saucie Groom molests our privacies? i Her. The Army's at the door, and in disguise, Desires a word with both your Majesties : 6 2 The Rehearsal 2 Her. Having from Knights Bridge hither march 'd by stealth. 2 King. Bid 'em attend a while, and drink our health. Smi. How, Mr. Bayes\ the Army in disguise? Bayes. Ay, Sir, for fear the Usurpers might discover them that went out but just now. SmL Why, what if they had discover'd them ? Bayes. Why, then they had broke the design. 1 King. Here, take fiveGuineysfor those warlike men. 2 King. And here's five more ; that makes the sum just ten. i Her. We have not seen so much the Lord knowes when. [Exeunt Heralds. i King. Speak on, brave Amarillis. Ama. Invincible Soveraigns, blame not my modesty, If at this grand conjuncture [Drum beat behind the Stage. 1 King. What dreadful noise is this that comes and goes ? Enter a Sou Idler with his Sword drawn. Sould. Haste hence, great Sirs, your Royal persons save, For the event of war no mortal knowes : The Army, wrangling for the gold you gave, First fell to words and then to handy-blows. [Exit. Bayes. Is not that now a pretty kind of a Stanza, and a handsome come off: 2 King. O dangerous estate of Soveraign pow'r ! Obnoxious to the change of every hour. i King. Let us for shelter in our Cabinet stay : Perhaps these threat'ning storms may pass away. [Exeunt. The 'Rehearsal 63 Johns. But Mr. Bayes ^ did not you promise us, just now, to make Amarillis speak very well. Bayes. Ay, and so she would have done, but that they hinder'd her. Smi. How, Sir, whether you would or no ? Bayes. Ay, Sir, the Plot lay so that, I vow to gad, it was not to be avoided. Smi. Marry, that was hard. Johns. But, pray, who hindr'd her? Bayes. Why, the battel, Sir, that's just coming in at door: And I'll tell you now a strange thing, tho I don't pretend to do more than other men, I gad, I'l give you both a whole week to ghess how I'l represent this Battel. Smi. I had rather be bound to fight your Battle, I assure you, Sir. Bayes. Whoo ! there's it now: fight a Battle? there's the common error. I knew presently where I should have you. Why pray, Sir, do but tell me this one thing, Can you think it a decent thing, in a Battle before Ladies, to have men run their Swords through one another, and all that ? Johns. No, faith, 'tis not civil. Bayes. Right on the other side ; to have a long relation of Squadrons here and Squadrons there: what is it but dull prolixity ? Johns. Excellently reason'd by my troth ! Bayes. Wherefore, Sir, to avoid both those Indi- corums, I sum up my whole Battle in the representa tion of two persons only, no more : and yet so lively, that, I vow to gad, you would swear ten thousand men were at it really engag'd. Do you mark me? 64 The Rehearsal Smi. Yes, Sir ; but I think I should hardly swear tho, for all that. Bayes. By my troth, Sir, but you would, tho, when you see it : for I make 'em both come out in Armor Cap-a-pea, with their Swords drawn, and hung, with a scarlet Ribbon at their wrists, (which you know, represents fighting enough.) Johns. I, I ; so much, that, if I were in your place I would mak 'em go out again without ever speaking one word. Bayes. No ; there you are out ; for I make each of 'em hold a Lute in his hand. Smi. How Sir? instead of a Buckler? Bayes. O Lord, O Lord ! instead of a Buckler ? Pray Sir do you ask no more questions. I make 'em, Sir, play the battel in Recitativo. And here's the conceipt. Just at the very same instant that one sings, the other, Sir, recovers you his Sword, and puts him self in a warlike posture : so that you have at once your ear entertained with Music and good Language; and your eye satisfied with the garb, and accoutre ments of war. Smi. I confess Sir, you stupifie me. Bayes. You shall see. Johns. But Mr. Bayes, might not we have a little fighting? for I love those playes, where they cut and slash one another upon the Stage, for a whole hour together. Bayes. Why, then, to tell you true I have contriv'd it both wayes. But you shall have my Recitativo first. Johns. I, now you are right : there is nothing then can be objected against it. T'he Rehearsal 65 Bayes. True: and so, I gad, I'l make it, too, a Tragedy, in a trice. 'Enter, at several doors, the General, and Lieutenant General, armd Cap-a-pe, with each of them a Lute in his hand, and his sword drawn, and hung with a scarlet Ribbon at his wrist. Lieut. Gen. Villain, thou lyest. Gen. Arm, arm, Gonsalvo, arm ; what ho ? The lye no flesh can brook I trow. Lieut. Gen. Advance, from Acton with the Mus- quetiers. Gen. Draw down the Cbehey Curiasiers. Lieut. Gen. The Band you boast of, Chelsey Curia siers, Shall, in my Putney Pikes, now meet their Peers. Gen. Chiswickians, aged, and renown 'd in fight, Join with the Hammersmith Brigade. Lieut. Gen. You'l find my Mortlake Boys will do them right, Unless by Fulham numbers over-laid. Gen. Let the left-wing of Twicttnam Foot advance, And line that Eastern hedge. Lieut. Gen. The Horse I rais'd in Petty France Shall try their chance. And scour the Meadows, over grown with Sedge. Gent. Stand : give the word. Lieut. Gen. Bright Sword. Gent. That may be thine. But 'tis not mine. Lieut. Gen. Give fire, give fire, at once give fire, And let those recreant Troops perceive mine ire. F 66 The Rehearsal Gen. Pursue, pursue ; they fly That first did give the lie. [Exeunt. Bayes. This, now, is not improper, I think, because the Spectators know all these Towns, and may easily conceive them to be within the Dominions of the two Kings of Brentford. Johns. Most exceeding well design'd ! Bayes. How do you think I have contrived to give a stop to this battle? Smi. How ? Bayes. By an Eclipse : Which, let me tell you, is a k'ind of fancy that was yet never so much as thought of, but by my self, and one person more, that shall be nameless. Enter Lieutenant General. Lieut. Gen. What mid-night darkness does invade the day And snatch the Victor from his conquer'd prey ? Is the Sun weary of this bloody sight, And winks upon us with the eye of light ? 'Tis an Eclipse. This was unkind, O Moon, To clap between me, and the Sun so soon. Foolish Eclipse : thou this in vain hast done, My brighter honour had Eclips'd the Sun : And now behold Eclipses two in one. [Exit. Johns. This is an admirable representation of a Battel, as ever I saw. Bayes. I, Sir. But how would you fancy now to represent an Eclipse? Smi. Why, that's to be suppos'd. Bayes. Suppos'd ! Ay, you are ever at your suppose: The Rehearsal 67 ha, ha, ha. Why you may as well suppose the whole Play. No, it must come in upon the Stage, that's certain ; but in some odd way, that may delight, amuse, and all that. I have a conceipt for't, that I am sure is new, and, I believe to the purpose. Johns. How's that ? Bayes. Why, the truth is, I took the first hint of this out of a Dialogue, between Phcebus and Aurora in the Slighted Maid: which by my troth, was very pretty ; but I think, you'l confess this is a little better. Johns. No doubt on't, Mr. Bayes. A great deal better. [Bayes hugs Johnson, then turns to Smith. Bayes. Ah dear Rogue : but a Sir, you have heard I suppose, that your Eclipse of the Moon, is no thing else, but an interposition of the Earth, between the Sun and Moon : as likewise your Eclipse of the Sun is caus'd by an interlocation of the Moon, betwixt the Earth and Sun? Smi. I have heard some such thing indeed. Bayes. Well, Sir, then what do me I, but make the Earth, Sun, and Moon, come out upon the Stage, and dance the Hey : hum ; And, of necessity, by the very nature of this Dance, the Earth must be some times between the Sun and the Moon, and the Moon between the Earth and Sun ; and there you have both your Eclipses, by demonstration. Johns. That must needs be very fine truly. Bayes. Yes, it has fancy in't. And then, Sir, that there may be something in't too of a Joque, I bring 'em in all singing, and make the Moon sell the Earth a bargain. Come, come out Eclipse to the Tune of Tom Tyler. 68 The Rehearsal Enter Luna. Luna. Orbis, O Orbis. Come to me thou little rogue Orbis. Enter the Earth. Orb. Who calls Terra fir ma, pray ? Luna. Luna that ne'r shines by day. Orb. What means Luna in a veil ? Luna. Luna means to shew her tail. Bayes. There's the bargain. Enter Sol, to the Tune of Robin Hood. Sol. Fie, Sister, fie ; thou mak'st me muse, Derry, derry down. To see the Orb abuse. Luna. I hope his anger 'twill not move ; Since I shew'd it out of love. Hey down derry down. Orb. Where shall I thy true love know, Thou pretty, pretty Moon ? Luna. To morrow soon, ere it be noon, On Mount Vesuvio. \Bis. Sol. Then I will shine. [To the Tune 0f Trenchmore. Orb. And I will be fine. Luna. And I will drink nothing but Lippary wine. Omnes. And we, &c. [As they Dance the Hey, Bayes speaks. Bayes. Now the earth's before the Moon ; now r the Moon's before the Sun : there's the Eclipse again. Smi. He's mightily taken with this I see. Johns. I, 'tis so extraordinary, how can he chuse? Bayes. So, now, vanish Eclipse, and enter t'other T'be Rehearsal 69 Battle, and fight. Here now, if I am not mistaken, you will see fighting enough. 'A battel is fought between foot and great Hobby horses. At last, Drawcansir comes in and kills 'em all on both sides. All this while the Battel is fighting Bayes is telling them when to shout ', and shouts with em. Draw. Others may host a single man to kill ; But I, the blood of thousands daily spill. Let petty Kings the names of Parties know : Where e'er I come, I slay both friend and foe. The swiftest Horsmen my swift rage controuls, And from their Bodies drives their trembling souls. If they had wings, and to the Gods could flie, I would pursue and beat 'em through the skie : And make proud Jove, with all his Thunder, see This single Arm more dreadful is, than he. [Exif. Bayes. There's a brave fellow for you now, Sirs. You may talk of your Hector, and Achilles, and I know not who ; but I defie all your Histories, and your Romances too, to shew me one such Conqueror as this Drawcansir. Johns. I swear, I think you may. Smi. But Mr. Bayes, how shall all these dead men go off? for I see none alive to help 'em. Bayes. Go off, why, as they came on ; upon their legs: how should they go off? Why do you think the people here don't know they are not dead ? He is mighty ignorant, poor man; you[r] friend here is very silly. Mr. Johnson, I gad, he is, ha, ha, ha. Come, Sir, I'l show you how they shall go off. Rise, rise, Sirs, and go about your business. There's jo The Rehearsal go off for you now, Ha, ha, ha. Mr. Ivory , a word. Gentlemen, I'l be with you presently. [Exit. Johns. Will you so ? then we'l be gone. Smi. I, pr'ythee let's go, that we may preserve our hearing, One Battel more will take mine quite away. [Exeunt. Enter Bayes and Players. Bayes. Where are the Gentlemen ? i Play. They are gone, Sir. Bayes. Gone ! 'Sdeath, this last Act is best of all. Fl go tell 'em again. [Exit. 1 Play. What shall we do, now he is gone away? 2 Play. Why, so much the better ; then let's go to dinner. 3 Play. Stay, here's a foul piece of papyr of his. Let's see what 'tis. 3 or 4 Play. I, I ; come let's hear it. Reads. 'The Argument of the Fifth Act. 3 Play. Cloris at length, being sensible of Prince Pretty-man 's passion, consents to marry him ; but, just as they are going to Church, Prince Pretty-man meet ing, by chance, with old Joan the Chandlers widdow, and remembring it was she that first brought him acquainted with Cloris: out of a high point of honour, brake off his match with Cloris^ and marries old Joan. Upon which, Cloris ', in despair, drowns her self: and Prince Pretty-man, discontentedly, walkes by the River side. This will never do: 'tis just like the rest. Come, let's begone. Most of the Play. Ay, pox on't, let's go away. [Exeunt. "The Rehearsal 71 Enter Bayes. Bayes. A plague on 'em both for me, they have made me sweat, to run after 'em. A couple of sence- less raskals, that had rather go to dinner then see this play out, with a pox to 'em. What comfort has a man to write for such dull rogues? Come Mr. a Where are you, Sir? come a way quick, quick. Enter Stage-keeper. Stage. Sir, they are gone to dinner. Bayes. Yes, I know the Gentlemen are gone ; but I ask for the Players. Stage. Why, an't please your worship, Sir, the Players are gone to dinner too. Bayes. How ! are the Players gone to Dinner ? 'Tis impossible : the Players gone to dinner ! I gad, if they are, I'l make 'em know what it is to injure a person that does 'em the honour to write for 'em, and all that. A company of proud, conceited, humorous, cross-grain'd persons, and all that. I gad, I'l make 'em the most contemptible, despicable, inconsiderable persons, and all that, in the whole world for this trick. I gad I'l be reveng'd on 'em ; I'l sell this play to the other House. Stage. Nay, good, Sir, don't take a way the Book ; you'l disappoint the company that comes to see it acted here, this after noon. Bayes. That's all one. I must reserve this comfort to my self, my Play and I shall go together, we will not part indeed, Sir. Stage. But what will the Town say, Sir? Bayes. The Town ! why, what care I for the Town? 72 The Rehearsal I gad, the Town has us'd me as scurvily, as the Players have done : but I'l be reveng'd on them too ; for Fl Lampoon 'em all. And Since they will not admit of my Plays, they shall know what a Saty- rist I am. And so farewel to this Stage, I gad, for ever. [Exit Bayes. Enter Players. 1 Play. Come then, let's set up Bills for another Play. 2 Play. I, I ; we shall lose nothing by this I warrant you. 1 Play. I am of your opinion. But before we go, let's see Haynes and Shirley practise the last dance ; for that may serve us another time. 2 Play. I'l call 'em in. I think they are but in the Tiring-room. The Dance done. i Play. Come, come ; let's go away to dinner. [Exeunt Omnes. EPILOGUE THE Play is at an end, but where" s the Plot? 'That circumstance our Poet Bayes forgot. And we can boast, tho y tis a plotting Age, No place is freer from it than the Stage. The Ancients plotted, tho, and Strove to please With sence that might be understood with ease ; They every Scene with so much wit did store, That who brought any in, went out with more : ' But this new way of wit does so surprise, Men lose their wits in wondring where it lyes. If it be true, that Monstrous births presage The following mischiefs that afflict the Age, And sad disasters to the State proclaim ; Plays without head or tail, may do the same. Wherefore, for ours, and for the Kingdomes peace, May this prodigious way of writing cease. Let's have, at least, once in our lives, a time When we may hear some reasen, not all 'Rhyme : We have these ten years felt it's Influence; Pray let this prove a year of Prose and Scence. FINIS. THE EPILOGUE TO TYRANNIC LOVE. Originally spoken by Nell Gwynne (vide p. 148). From Vol. ii of Buckingham's Worh (1714). [To face /. 75. NOTES PROLOGUE. 1. 10. King Cambysesvein. The allusion here is to Falstaff's well-known speech, i King Henry 1^ Act ii, Scene 4. 'Give me a cup of sack to make my eyes look red, that it may be thought I have wept ; for 1 must speak in pas sion, and I will do it in King Cambyses' vein.' Shakespeare, of course, is glancing at Preston's ranting old play, A Lamentable Tragedie mixed full of pleasant mirth, containing the Life of Cambises, King of Percia (4to, 1570), which has been reprinted in collections of our early drama. I.i6. / have bedgd in my Bet. To hedge in a bet is to stake on both sides of a wager so that there must be a certainty of winning. If the critics laugh Lacy will have attained his object ; if they take the play quite seriously he will turn tragedian forthwith. ACT I. p. 2. Fighting, Loving, Sleeping. c The very first reflection ', writes Dryden in his Essay on Heroic plays, prefixed to The Conquest of Granada (1670), 'which 1 made was this, that an heroic play ought to be an imitation (in little) of an heroic poem, and consequently that Love and Valour ought to be the subject of it.' p. 2. Mr. Bayes passes o'er the Stage. The name Bayes was retained owing to the fact that Dryden had been appointed Poet Laureate in August, 1670. The patent is given 1 8 August, and the salary fixed at 200 a year, besides the butt of sack and the due payment of various arrears. About 1678 Charles granted him an additional 100. Dryden held this post as well as that of Historio grapher Royal until the Revolution, when, as a Catholic, he j6 Notes refused the oaths to William and Mary, and the forfeited laurel was bestowed on Shadwell, the hardiest of Whigs, although, as Dorset was bound to confess, by no means the best of poets. It has been absurdly proposed by some over-curious critic that Bayes is derived from two words in the Biscayan dialect Bai or Bay = yes, Es = no. 'Was it an allusion to any marked wavering in Dryden's views and opinions?' he asks. Nothing of the sort is recorded. These trivial ingenuities belong to the very cobwebs of criticism. The nickname Bayes clung to Dryden ever after, and in his Epilogue to All for Love (1678), he makes use of it himself thus : 'For our poor wretch, he neither rails or prays, Nor likes your wit just as you like his plays; He has not yet so much of Mr. Bayes.' Dryden is said to have allowed 'The Rehearsal to have c a great many good strokes in it', although he added, c l can't help saying that Smith and Johnson are two of the coolest, most insignificant fellows I ever met with on the stage.' The laureate felt the smart. p. 3. y< Tis all new Wit. There is an extant letter of Orrery, in which he states he has just finished c a play in the French manner ' and hopes it will prove no small success ' as it is wrote in a new way'. p. 3. Pi^ box and gallery. The Key (1709) tells us that these were favourite expressions of the Hon. Ed. Howard at a rehearsal. This author was the fifth son of Thomas Howard, first Earl of Berkshire, K.G. He was baptized at St. Martin's-in-the-Field, 2 November, 1624. At the Restoration, like several of his brothers, he turned his thoughts to literature, and produced some half a dozen plays with little success. Dr. Doran's criticism is an entirely just one: 'His characters "talk", but they are engaged in no plot ; and they exhibit a dull lack of incident.' The Usurper, a tragedy, was produced in the winter of 1662. Pepys saw it on 2 January, 1663, when he went 'To the King's house, Notes 77 and there saw The Usurper which is no good play.' On 2 December, 1668, he and his wife ride in their own coach for the first time, and c so she and I to the King's playhouse, and there saw The Usurper^ a pretty good play in all but what is designed to resemble Cromwell and Hugh Peters, which is mighty silly.' There seems no need to differ over much from the diarist's opinion. The play was printed (4-to, 1668). The scene is laid in Sicily. Damocles, the usurper, represents Oliver Cromwell, Hugo de Petra is his 'parasite and creature', whilst Cleomenes 'a faithful noble person* thinly veils General Monk. Cleander, 'the true king, dis guised like a Moor under the name of Hiarbas' is for a while a prisoner, having been captured in battle, but in due time he reveals himself and recovers the throne. Damocles resorts to the ever-ready dagger, and Hugo is hanged. Howard's next production was The British Princes (1669), an heroic poem which called down a shower of ridicule on his head. As poetry it is quite worthless, but it contains the famous couplet : 'And Vortigern a painted vest had on Which from a naked Pict his grandsire won.' The Six Day's Adventure, or the New Utopia (4to, 1671), was acted at the Duke of York's house. It was a failure, and yet is perhaps the best of Howard's extant plays. The author in a long preface attributes his ill success to a clique who seemed to have caused a riot in the theatre, and practi cally prevented the performance. Aphara Behn in a copy of commendatory verses has the impudence to compare Howard to Ben Jonson, much to the disparagement of the latter : 4 Were he alive, he would resign to you ; Thou hast outdone even what he writ, In this last great example of thy wit, Thy Solymour does this his Morose destroy, And thy black page undoes his barber's boy, His whole college of ladies must retire, Whilst we thy braver heroines do admire.' Absurdity could reach no further ! Sir Grave Solymour in his piece is tricked by his son Festlin into a mock marriage 78 Notes with a negress, who afterwards proves to be a black page boy. There is also some borrowing from Fletcher. The Women s Conquest (4to, 1671), a tragi-comedy, was acted by the Duke of York's servants. It is a dull dis appointing play ; one feels that something might have been made of the characters and situations, but in Howard's hands all are uniformly arid. The scene lies in Scythia, where we meet with various pseudo-classical Amazons. Mrs. Inchbald's Comedy, Every One has bis Fault^ acted at Covent Garden, 29 January, 1793, has borrowed from this source the characters of Sir Robert Ramble, Miss Woodburn, Mr. and Mrs. Placid. The Man of Newmarket (4to, 1678), acted at the Theatre Royal, is solely interesting on account of the scenes in which jockeys, trainers, and racers appear, as giving us a glimpse of a Restoration race-meeting. The scene, however, is actually laid in London. ne London Gentleman^ entered in the Stationers' Register, 7 August, 1667, has not come down to us. On 15 April, 1667, Pepys went c to the King's house by chance, where a new play ; So full as I never saw it ... and many people went away for want of room. The King and Queen and Duke of York and Duchess there and all the Court. . . . The play called The Change of Crowns : A play of Ned Howard's, the best that I ever saw at that house being a great play and a serious ; only Lacy did act the country gentleman come up to Court, who do abuse the Court with all the imaginable wit and plainness about selling of places and doing everything for money. The play took very much.' On the following day he took his wife to the new play, only to find that it had been suddenly withdrawn and The Silent Woman was being performed in its stead. Charles, Mrs. Knipp whispers to him, is furious at being abused to his face. Lacy has been promptly lodged in jail, and, until Mohun interceded with the irate king, the company had been forbidden to act again. 'The King mighty angry ; and it was bitter indeed,' comments Pepys, 'but very fine and witty.' Unfortunately, immediately after his release, Notes 79 Lacy met Howard at the theatre. The dramatist congratulated him on so soon regaining his freedom, to which the actor replied by cursing Howard and his nonsensical play. High words ensued, and Lacy shouted that Howard was 'more a fool than a poet'. In a fury the author slapped the player's face sharply with his glove, and Lacy, having a cane in his hand, did not hesitate to deal his opponent a sharp crack over the head. Thereupon the town wondered that 'Howard did not run him through, he being too mean a fellow to fight with.' But Howard merely complained to the king, and the theatre was once again closed, to the great delight of the gentry who were weary of the actors' insolence. Unfortunately The Change of Crowns has never been printed. In 1689 Howard produced Caroloiades\ a heroic poem. He also prefixed commendatory verses to Mrs. Behn's poems (1685), and to Dryden's Virgil (1697). The Earl of Dorset dubs him the ' best good man with the worse natured muse '. There is a tradition that Shirley assisted him in his work. If so, it would have been The Usurper which thus benefited, but I can discern no trace of the elder drama tist's hand. This is alluded to, however, inthe following lines: 'Ned Howard, in whom great nature is found, Though never took notice of until that day, Impatiently sat till it came to his round, Then rose and commended the plot of his play. Such arrogance made Apollo stark mad, But Shirley endeavoured to appease his choler, By owning the play, and swearing the lad, In poetry was a very pert scholar.' p. 4. The help of these my Rules. Cf. The Prologue to The Maiden Queen (1667) : 'He who writ this, not without pains and thought From French and English Theatres has brought The exactest rules by which a Play is wrought : The Unities of Action, Place, and Time ; The Scenes unbroken ; and a mingled chime Of Jonson's humour, with Corneille's rhyme.' 8o Notes Corneille is with Dryden a trisyllable as in French. The same pronounciation occurs in the epilogue to Oedipus (1678). Langbaine in his Account of English Dramatic Poets, noticing Dryden's Secret Love or The Maiden Queen says : < I can not pass by his making use of Bayes's art of transversing, as any one may observe by comparing the fourth staFTZa of his first prologue with the last paragraph of the preface of Ibrahim.' The title of this work is as follows : Ibrahim. Or the Illustrious Bassa. An excellent new Romance, ^he whole Work in four Parts. Written in French by Monsieur de Scudery. And now Englished by Henry Cogan^ gent. London 1652. The paragraph referred to runs thus: 'Behold, Reader, that which I had to say to you, but what defence soever I have imployed, I know that it is of works of this nature, as of a place of war, where notwithstanding all the care the Engineer hath brought to fortify it, there is always some weak part found, which he hath not dreamed of, and whereby it is assaulted ; but this shall not surprise me ; for as I have not forgot that I am a man, no more have I forgot that I am subject to err.' Cf. The Prologue to ^he Maiden Queen (1667): * Plays are like Towns, which howe'er fortified By Engineers, have still some weaker side By the o'erseen Defendant unespy'd.' p. 4. Putting Verse into Prose should be called ^ransprosing. Cf. the following stanza in Poems on State Affairs^ vol. ii. (1703), which satirizes the Duke of Buckingham : 4 With transcribing of these, and transversing those, With transmitting of rhyme and transversing prose, He has dressed up his farce with other men's clothes.' p. 5. / come into a Coffee-house. Scott's vivid picture of Dryden in 'The Pirate^ ch. xiv, is among the commonplaces of literature. At Will's famous coffee-house the laureate would sit in his own chair, placed by the fire in winter, in summer on the balcony, and so discuss and adjudicate the literary movements of the day, whilst younger aspirants to fame gathered round, hoping to be able to boast anon the honour of a pinch from the great man's snuff-box. Notes 8 1 p. 7. She is my Mistress. The lovely Mrs. Anne Reeve was a member of Killigrew's company, which she appears to have joined about the same time as Nell Gwynne, whose first recorded performance was in 1665. In Downes' list the name Mrs. Knight occurs amongst the women of the King's Servants, an erratum corrected to Mrs. Reeve on the verso of the title page. Some confusion has been caused by Waldron, who, misled by an error of the old printer, in his edition of Downes wrongly corrected the erratum; but in 1670 the prompter duly notes Mrs. Reeve as Esperanza in The Con quest of Granada, to which character bel esperansa de ma vie ' obviously alludes. After the fire, 1672, we find her at the temporary Lincoln's Inn Fields theatre acting Philotis in Marriage a la Mode, and Ascanio, the page, in The Assigna tion. In the same year she performed a male part in The Maiden Queen, when it was ' done by the Women only ', and, dressed as a boy, spoke the epilogue. About 1675 she disappeared from the stage to take the veil in a foreign cloister, a fact which is alluded to in the epilogue to Otway's Don Carlos (1676), when the speaker, a girl, says : 4 But now, if by my suit you'll not be won, You know what your unkindness oft has done, I'll e'en forsake the play-house, and turn nun.' Rochester too, in his Session of the Poets, makes capital of this incident : 'In the head of the gang, John Dryden appeared, That ancient grave wit so long loved and feared, But Apollo had heard a story i' the Town, Of his quitting the Muses to wear a black gown ; And so gave him leave now his poetry's done, To let him turn priest since Reeve is turned nun.' Mrs. Reeve had more beauty than talent. The r61es she essayed were small, and as an actress she met with little success. It was no doubt the coldness of her audiences that turned her thoughts to religion. Probably she owed her appearance on the boards to her lover as she chiefly performed in his plays. Of Dryden's amour with her there can be no doubt. Tradition is unanimous on the point. Even if we G 82 Notes attribute small weight to the mass of Restoration satire, some of which at any rate cannot have been without ample foundation, we still find the laureate's name coupled with that of Mrs. Reeve in a way the very persistence of which would have been utterly vapid and pointless, were not the fact of their intrigue public property. In Covent Garden Drollery (i 672), there is a song addressed to c Dear Reveechia ', which is almost certainly by Dryden, and the ladies of the King's Theatre proved, it is to be feared, as frail as the ladies of the King's Court. Nell Gwynne, c whose name was last on Charles' lips,' ruled the monarch himself; Mrs. Hughes was the mistress of Prince Rupert ; Mrs. Susanna Uphill swayed the somewhat erratic heart of Sir Robert Howard, c and refused to marry him', as the old pamphlet says ; Ann and Rebecca Marshall were notorious for their profligate lives ; sweet-voiced Mrs. Knipp gave Pepys' wife only too much cause for jealousy ; Mrs. Fanny Davenport 'left the house to be kept by somebody'. It is improbable that pretty Mrs. Reeve was singular in her conduct. As late as 1682 Shadwell in the preface to his foul-mouthed satire, The Medal of John Bayes, says, c His (Dryden's) pros tituted muse will become as common for hire as his mistress Revesia was, upon whom he spent so many hundred pounds.' There was published in the Gentleman s Magazine of 1745, a letter written by an old man of eighty-seven (who may possibly be Southerne), which gives us a vivid picture of the poet about the time of the first performance of The Conquest of Granada. C I remember plain John Dryden, before he paid his court with success to the great, in one uniform clothing of Norwich drugget. I have ate tarts with him and Madam Reeve at the Mulberry Garden, when our author advanced to a sword and Chedreux wig.' In the same number of the Magazine another writer breaks into verse when he recalls the actors who made Marriage a la Mode so brilliant a success : Gibber will smile applause : and think again Of Hart, of Mohun, and all the female train, Coxe, Marshall, Dryden's Reeve, Bet Slade, and Charles' reign ! Notes 83 Mr. Saintsbury's well-meant efforts entirely to clear the poet's name must inevitably fall to the ground, but this is far from saying that one need be committed to the extreme views of Mr. T. R. Green and Mr. Christie, who lash Dryden with unsparing and uncalled for severity. Mr. R. Bell would apparently indemnify the man at the expense of his works. 'The morality of his life', he writes, ' was unimpeachable. The ingenuity of slander was exhausted in assailing his principles and exposing his person to obloquy but the morality of his life comes pure out of the furnace.' He also adds, 'The licentiousness of Dryden's plays admits of no palliation in this way with those of others. Shadwell alone transcended him in depravity.' Of such reckless statements as these we can only say that the writer who is bold enough to make them betrays a crass ignorance of the Restoration drama and literature which a not very wide and laborious reading must have speedily corrected. p. 8. Two Kings. The two Kings of Brentford are probably intended for Mahomet Boabdelin, the last King of Granada, and Prince Abdalla, his traitrous brother, in The Conquest of Granada (1670), both parts of which had just been produced with triumphant success. In Marriage a la Mode (1672), Polydamas, the usurper of Sicily, is eventually dethroned by his daughter's lover, Leonidas, c the rightful prince, unknown'. Although this play was produced a few months after Tbe Rehearsal, doubt less much of it had been already written, and shown about the town, so the imbroglio of the plot would be no secret to Buckingham. The 1704 Key refers to The United Kingdoms, by Colonel Henry Howard, which play, it states, had two Kings in it. This was acted shortly after the Restoration, but never printed. p. 9. Artificial. In the common old sense, { well-contrived '. p. 10. My first Prologue. Although sufficiently bizarre, the idea of this prologue is equalled by many addresses which were really spoken. There is Joe Haines' famous epilogue, { spoken on an ass upon the head of which he has placed a periwig', and yet another which he declaimed dressed in a 84 Notes white sheet, holding a penitent's taper ; in the prologue to The Wild Gallant (1662), two astrologers appear, who proceed to erect a scheme for the new play to ascertain its fortune or failure; in Mrs. Behn's The Emperor of the Moon (1687), the prologue was spoken by the famous harlequin Jevon, and during its progress 'The head rises upon a twisted post, on a bench from under the stage. Jevon speaks to its mouth . . . after this it sings Sawny, laughs, cries "God bless the King!" in order'. p. 10. They all clapping. Cf. the epilogue to Thomson, The English Rogue (4to, 1668) : 'Join all your forces now and set me free One score of claps and I'm at liberty (Clap) Now, gentlemen, I hope you're satisfied, On the same covenant to clap. . . (Clap again) ' The stage directions must have been inserted for a whole army of claqueurs. p. 10. Flame and Power. Cf. the epistle dedicatory to The Indian Emperor, 12 October, 1667, where Dryden says of his play, ' "Tis an irregular piece, if compar'd with many of Corneille's ; and, if I make a judgment of it, written with more flame than art.' p. ii. A hundred sheets of papyr. The Indian Queen, which is much more Sir Robert Howard's than Dryden's, was produced at the King's house in January, 1663. Brought out with all the splendour of costume and scenery the theatre could command, it proved an enormous success. On 27 January, 1663, Pepys noticed that the streets were 'full of coaches at the new play, The Indian Queen, which for show, they say, exceeds Henry VJII? On i February, he accordingly visits the theatre and finds it ' indeed a most pleasant show, and beyond my expectation.' The famous tragedian, Mrs. Marshall, acted Zempoalla, the usurping Queen of Mexico. Mrs. Behn, in Oroonoko, tells us how, whilst at Surinam, she was presented by the natives with a robe and crown of brilliant feathers from the tropical birds, which costume she gave to the King's Theatre. 'It was the dress of the Indian Queen, infinitely admired by persons of Notes 85 quality; and was inimitable.' The Indian Queen is far from being a bad tragedy, with much scope for magnificent scenery and show, common both to Elizabethan masques and the modern stage. Purcell's exquisite setting of Ismeron's song, 'You twice ten hundred deities' is still happily remembered. The sequel, The Indian Emperor, is by Dry den only. It crowded the Theatre nightly, partially, perhaps, because as he says in the prologue : 'The scenes are old, the habits are the same, We wore last year before the Spaniards came.' It is a very good piece of its kind, and deals with the conquest of Mexico by Cortez. The paper prefixed to the play, showing the connection between the two is as follows : c Connection of The Indian Emperor to The Indian Queen. 'The conclusion of the Indian Queen, (part of which poem was writ by me) left little matter for another Story to be built on, there remaining but two of the considerable characters alive, (viz.) Montezuma and Orazia ; thereupon the Author of this, thought it necessary to produce new persons from the old ones ; and considering the late Indian Queen, before she loved Montezuma, liv'd in clandestine Marriage with her general Traxalla from those two he has raised a son and two daughters, supposed to be left young orphans at their death : On the other side he has given to Montezuma and Orazia, two sons and a daughter ; all now supposed to be grown up to mens and womens estate ; and their mother Orazia (for whom there was no further use in the story) lately dead. 'So that you are to imagine about twenty years elapsed since the coronation of Montezuma ; who, in the truth of the history, was a great and glorious Prince ; and in whose time happened the Discovery and Invasion of Mexico by the Spaniards ; under the conduct of Hernando Cortez, who joining with the Taxallan-Indians, the invetrate enemies of Montezuma, wholly subverted that flourishing Empire ; the conquest of which, is the subject of this Dramatic Poem. 86 Notes 1 1 have neither wholly followed the story nor varied from it ; and, as near as I could, have traced the native simplicity and ignorance of the Indians, in relation to European customs : The shipping, armour, horses, swords, and guns of the Spaniards, being as new to them as their habits, and their language. ' The difference of their Religion from ours, I have taken from the Story itself; and that which you find of it in the first and fifth Acts, touching the sufferings and constancy of Montezuma in his opinions. 1 have only illustrated, not altered from those who have written of it.' Cydaria, Montezuma's daughter, was originally acted by Nell Gwynne. According to Pepys, she played it 'most basely ', having no genius for tragedy. Both plays continued exceedingly popular and were frequently acted during the first half of the eighteenth century. p. ii. Choice female spirits. The allusion here is to Lady Castlemaine who, upon the failure of Dryden's The Wild Gallant^ first produced in February, 1663, by the King's Company, then acting in Vere Street, took the poor play under her special protection, and, after a few alterations, had it performed more than once at Court. Here Pepys was privileged to see it on 23 February, 1663, but he says that 'it was ill acted, and the play so poor a thing as ever I saw in my life. The King did not seem pleased at all, the whole play, nor anybody else. My Lady Castlemaine was all worth seeing to-night, and little Steward.' In spite of his patroness' efforts the piece was doomed to complete failure. It is indeed the weakest of Dryden's comedies. He addressed, however, a copy of verses 'To The Lady Castlemaine, upon her encouraging his first play', which he afterwards reprinted in his third volume of Miscellany Poems (1693), with the motto from Lucan 'Victrix causa Deis placuit, sed victa Catoni'. In later years it was Buckingham who, although he had once been her lover, revealed Barbara Villiers' intrigue with the 'invincible Jermyn ' to Charles II, and thus enabled the King to release himself, in some small measure at any rate, from the thraldom of the fair termagant. Notes 87 p. 12. There are certain tyes upon me. Early in 1668 Dryden completed a contract with Killigrew's company to write three plays a year for them in consideration of receiving an annual share and a quarter of the profits of the house. He notoriously neglected to keep his agreement, but nevertheless regularly obtained his part of the profits, which gave him an income averaging, for some years at least, from ^300 to 400. After the King's Theatre was burned down, 25 January, 1672, the shares naturally decreased in value, and difficulties arose. We learn these details from an official complaint, signed by Charles Killigrew, Hart, Burt, Goodman and Mohun, addressed against Dryden, on the occasion of the production of Oedipus (1679), in which he collaborated with Lee, at the Duke's Theatre in Dorset Gardens. 'The house being burned,' says the memorial, c the Company in building another contracted great debts, so that the shares fell much short of what they were formerly. Thereupon Mr. Dryden complaining to the Company of his want of profit, the Company was so kind to him that they not only did not press him for the plays which he is engaged to write for them, and for which he was paid beforehand, but they did also, at his earnest request, give him a third day for his last new play, called All for Love, and at the receipt of the money of the said third day he acknowledged it as a gift and a particular kindness of the Company'. They, moreover, state that Dryden's action proved to the 'great prejudice and almost undoing of the Company'; and further, when Crowne's Destruction of Jerusalem (1677) was refused by the Duke's House and brought to them, none the less, before they could play it, they were compelled to c buy off the claim' of the rival theatre, a proceeding which entailed no little expense. The King's actors then, not unreasonably, proceed to demand that either Dryden may be compelled to give them the play, or the Dorset Garden Theatre obliged to hand over the profits. We do not know if any compensation was allowed, but at this juncture Dryden promptly quarrelled with and forsook the King's House. Henceforth his plays 88 Notes were produced by the Duke's company. The two theatres, however, amalgamated in 1682. p. 1 2 . I make my Prologue to be Dialogue. Prologues and epilogues in dialogue are very usual. The direct allusion here is, perhaps, to Sir Robert Howard's prologue to The Duke of Lerma (1668), which, spoken by Nell Gwynne and Mrs. Knipp, attained great celebrity, more from the verve and spirit of the two talented actresses than from any merits of its own. Pepys says c Knipp and Nell spoke the prologue most excellently, especially Knipp, who spoke beyond any creature I ever heard.' The prologue to Orrery's Tryphon (1669), was spoken by the celebrated low comedians Nokes and Angel ; that to The Indian Queen (1664), by an Indian boy and girl who, discovered 'sleeping under two plaintain trees', are awakened by strains of martial music. The prologue to The Rival Ladies (1663), is also, partially at least, in dialogue. This custom of occasionally introducing two or even three actors to speak prologue or epilogue continued in vogue as long as those addresses themselves. The epilogue to Garrick and Colman's The Clandestine Marriage (1786), is indeed quite a miniature play, after the style of Moliere's Critique de I'Ecoledes Femmes, being spoken and sung by nearly a dozen characters. p. 12. At that lock. Lock is a term from the wrestling ring. p. 13. So Boar aud Sow. This passage burlesques Alma- hide's simile, Conquest of Granada , n, Act i, Scene 2 : 'So two kind turtles, when a storm is nigh, Look up, and see it gath'ring in the sky : Each calls his mate to shelter in the groves, Leaving, in murmurs, their unfinished loves ; Perch'd on some dropping branch, they sit alone, And coo, and hearken to each other's moan.' p. 13. Gruntle. Dryden himself uses this form in Troilus and Cressida, or, Truth found too Late (1679), Act iv, 2, where Thersites says, 'So, the boars begin to gruntle at one another.' cf. Somerville, The Chase (1735), 1V > 33 8 - 'By Circe's charms To swine transformed ran gruntling thro' the groves.' Notes 89 p. 13. I am the bold Thunder. The prologue to Jordan's Money is an Ass (410, 1668), is spoken by Night, and that to The Rival Friends is a dialogue between Venus, Phoebus, and Thetis, 'sung by two trebles and a bass/ but this prologue burlesques the following passage from Act iii of Sir Robert Stapylton's comedy, The Slighted Maid (1663), played by Davenant's company. 4 SONG IN DIALOGUE. Evening. I am an Evening dark as night, Jack-with-the-Lantern, bring a light. Jack. Whither, whither, whither ? (Within.) Evening. Hither, hither, hither. Jack. Thou art some pratling Echo, of my making. Evening. Thou art a foolish Fire, by thy mistaking : I am the Evening that creates thee. Enter JACK in a black suit bordered with glow-worm^ a coronet of shaded beams on his head y over it a paper lantern with a candle int. Jack. My Lantern and my Candle waits thee. Evening. Those flageolets that we heard play, Are reapers that have lost their way ; They play, they sing, they dance a-round, Lead them up, here's a fairy-ground. Chorus. Let the men ware the ditches; Maids, look to your breeches, We'll scratch them with briars and thistles: When the flageolets cry, We are a-dry ; Pond-water shall wet their whistles. (Exeunt Evening, Winds, and JACK.)' In his prologue to Charles Davenant's Circe (1677), Dryden speaks disparagingly of this very play : 'Your Ben and Fletcher, in their first young flight, Did no Volpone, no Arbaces write; But hopped about, and short excursions made From bough to bough as if they were afraid, And each were guilty of some "Slighted Maid".' p. 13. Cartwright. William Cartwright, who doubled the r61es of Thunder (in the prologue) and the Second King of 90 Notes Brentford, was originally a member of Prince Charles company at the private house in Salisbury Court. During the Civil War and Commonwealth he kept a bookseller's shop at the end of Turnstile Alley, but immediately upon the Restoration joined the actors who began giving per formances at the Red Bull in St. John's Street. In the winter of 1660 he played at the theatre in Vere Street, Clare Market, and it was here he probably performed Falstaff in The Merry Wives of Windsor , for on 5 December, Pepys saw The Merry Wives of Windsor acted : c the humours of the country gentleman and the French doctor very well done, but the rest very poorly, and Sir FalstafFe as bad as any.' The diarist, a few years later, had occasion to alter his opinion of the actor in this part. Subsequently Cartwright attached himself to Killigrew, the manager of the Theatre Royal, Drury Lane, which opened 7 May, 1663. That same year he played Alderman Whitebroth in Wilson's 'The Cheats^ and also Corbaccio in Volpone, Among his principal parts were : 1664, Morose in The Silent Woman, Sir Epicure Mammon in The Alchemist and Lygones in A King and no King\ 1665, The High Priest in The Indian Emperor ; 1667, Grimani in Rhodes' Flora's Vagaries, Lord Latimer in Orrery's The Black Prince and FalstafFin Henry IV ^ Part i ; 1669, The Governor of Ternata in The Island Princess^ Brabantio in Othello and Apollonius in Tyrannic Love ; 1670, Abenamar in The Conquest of Granada ; 1671, Arsenius in Joyner's The Roman Empress and Don Bertram in Corye's The Generous Enemies. On 25 January, 1672, the Theatre Royal was burned to the ground, and the homeless actors were only to glad to secure the old Lincoln's Inn Fields Theatre in Portugal Street, which had just been vacated by the Duke's company for their new house in Dorset Gardens. Killigrew opened on 26 February, 1672, and remained here for two years until his theatre in Drury Lane was ready for occupation. In the same year as the fire Cartwright played Hermogenes in Marrriage a la Mode and Mario in The Assignation ; 1673, Sir Jasper Fidget in The Country Wife and Harman Senior in Amboyna \ 1674, Major Notes 9 1 Oldfox in The Plain Dealer \ 1675, Seneca in Lee's Nero and Hircanio in Sir Francis Fane's Love in the Dark; 1676, Agrippa in Lee's Gloriana\ 1677, John in Crowne's tte Destruction of * Jerusalem ; 1679, Chilax in Valentinian. In 1682 Cartwright joined with the Duke's company at the union of the two theatres, but by this time a man of considerable private means he, in all probability, practically retired not long after the amalgamation, although we learn from an edition of the Bloody Brother that he played Baldwin in a revival of that play about 1686, and he is also known to have repeated his role of Brabantio as late as 1687. About the middle of December that same year he died at his house in Lincoln's Inn Fields, and by his will, dated 1686, it was found that he had left his books, pictures and furniture to Dulwich College. A lawsuit ensued, as Francis and Jane Johnson, his servants, had unwarrantably seized upon clothing, books, prints, and a large sum of ready money. Only a portion of the bequest was eventually recovered. Among the Dulwich portraits are, No. 234, 'My picture in a black dress with a great dog'; No. 78, 'My first wife's portrait like a shepherdess'; No. 116, 'My second wife's portrait with a black veil on her head'. The catalogue, one leaf of which (186-209) is wanting, is an illiterate script, said, however, to be the donor's own hand. Cartwright was a sound actor of much experience and no ordinary merit. Downes has more than a word of praise for him, whilst Aubrey pronounces his playing excellent. Pepys, the immortal gossip, who, for all his criticism of A Mid summer Nigbis Dream and Othello^ was, when in the humour, no mean judge of these matters, on 2 November, 1667, found his way to the Theatre Royal, c and there saw Henry the Fourth ; and, contrary to expectation was pleased in nothing more than in Cartwright's speaking of Falstaffe's speech about What is Honour T . Cartwright was in person a large-faced man of tall stature and portly habit, with a loud resonant voice ; hence there is additional point in Bayes' remark and the casting of the role Thunder. 92 Notes p. 13. Peter. Peter = vermillion ; rouge. Cf. Boccalini's Advertisements for Parnassus , translated 1656, 'My face is now so fresh and ruddy because people have petered it and coloured it.' p. 14. Mr. Ivory. 'Abraham Ivory had formerly been a considerable actor of women's parts, but afterwards stupified himself so far, with drinking strong waters, that, before the first acting of this farce, he was fit for nothing but to go of errands ; for which, and mere charity, the company allowed him a weekly salary/ Key (1704). Beyond this brief notice I can find nothing more concerning Abraham Ivory. None of our theatrical writers mention him, and so far as I am able to discover, the name nowhere occurs in Caroline or Restoration literature. He probably made his first appear ance about 1638-9. In 1642 plays were declared unlawful. Save for a few spasmodic attempts, one of which landed the whole company in jail, there were no theatrical performances until Sir William Davenant's tentative entertainments in 1656, and doubtless during the sterile interim of suppression Ivory fell into the greatest want, and at the re-opening of the theatre was unable to recover his former position. ACT II. p. 14. / begin . . . with a whisper. In Orgula, or the Fatal Error, a tragedy by W. L. (i.e. Leonard Willan) 41.0, 1658, we have the following whispering scene, Act i, Scene 4, when Zinzania, daughter to Sinevero, the Lord Protector, whispers a secret in his ear regardless of the fact that they are closeted alone, &'. Be brief. 'Lin. To my own sense I scarce dare whisper it, Good sir, your ear. Sin. How ! Ludaster ! this night ! (Intermission) I am in wonder lost ! ' The Key (1704) refers to Davenant's Playhouse to be Let, Act iii, sixth entry (folio, 1673 ; and separately as The History of Sir Francis Drake, 4to, 1659) : Notes 93 'Drake sen. Draw up our men And in low whispers give our orders out.' But this undoubtedly parodies Orrery's Mustapba (1665), a typical heroic tragedy. In Act iv, whilst the Queen of Hungary is parleying with the Cardinal of Veradium, 'enter Cleora at another door, and whispers to the Queen'. * Cleor. Zarma has hastily a whisper brought Which says that means for your escape is wrought. This tempest Mustapha would have you shun ; And she will help to send away your son. Queen. Oh, how am I perplexed ! secure him Heaven ! (aside) I have my faith to Roxolana given T' assure her of my stay, by which my son, May in my fortunes equal hazard run. (whispers CLEORA.)' There are, it is true, a good many c asides' in Mrs. Behn's Amorous Prince (1671). Antonio listens to the dialogue between Alberto and his sister Ismenia, whom, being veiled, he mistakes for his wife Clarina, and comments unheard the while (Act i, Scene 4). Lorenzo, fearing he will be called upon to second Curtius in a duel, expresses great terror in half whispers during their conversation (Act iii, Scene 2). In Act iv, Scene i, the stage direction c aside' is very frequent, as it is subsequently when Guilliam is relating Cloris' feigned death. <Tbe Amorous Prince is one of Mrs. Behn's earliest plays. It is a good comedy, somewhat wanton, and containing things which would find short shrift with the twentieth- century censor. But then the gallantries of Frederick and his Florentine Court are not a theme for prudes or the puling folk of the nursery. Astraea is never dull. Sir William Killigrew has a curious direction to his Pandora (1664), 'Note that all the play thro' when Sylvander and Lindamira speak not they are to whisper in private discourse.' In The Women 3 Conquest (4to, 1671), Act v, Edward Howard has: * Enter DRAXANES. 'Drax. A word in private (whispers to EUMENES who deliver it to one another}? 94 Notes And also later : 'Enter TYSAMNES whispering BASSANES, FOSCARIS,' &c. p. 15. All these threatening storms. Cf. Edward Howard's The Usurper (1667), Act iii : 1 Tim. This language would invite me to believe There were some danger near. Gal. I would give it a name That should not fright you : for it is Within your choice, timely to scatter all Those hovering clouds that may involve you in Too late repentance.' p. 17. Mr. Wintershul. From 1637 till the closing of the theatres William Wintershal was a member of Queen Henrietta Maria's company and appeared at Salisbury Court. After the Restoration he joined the actors who had begun to perform at the Red Bull in St. John's Street, Clerkenwell, and a little later became a member of Killigrew's company at the Theatre Royal. Here in 1663 he played the King in The Humorous Lieutenant and Runter in Wilson's The Cheats ; 1664, Sir Amorous La Foole in The Silent Woman, Subtle in The Alchemist and Gobrias in A King and No King; 1665, Odmar in The Indian Emperor ; 1666, the King in The Maid's Tragedy^ 1667, King Henry the Fourth in i Henry IF, King John in Orrery's The Black Prince, Sir Gervase Simple in Love in a Maze and Don Alonzo in An Evenings Love ; 1 670, Selin in The Conquest of Granada ; 1671, Robatzy in Corye's The Generous Enemies and Sir Simon Addleplot in Love in a PTood; in 1672, after the fire which reduced the King's Theatre to ashes, Polydamas in Marriage a la Mode; 1673, the Fiscal in Amboyna ; 1675, Otho in Lee's Nero, Cornanti in Sir Francis Fane's Love in the Dark and Arimant in Aureng- Zebe; 1676, Bomilcar in Lee's Sophonisba ; 1678, Pelopidas in Lee's Mithridates and Maximus in Valentinian. Wintershal died in July, 1679. He was an extraordinarily clever actor with the highest comic gifts, and Downes says that he was good in tragedy as well as in comedy. Dennis, the critic, ungrudgingly extols his Slender, whilst Pepys found his acting as the country Knight in Love in a Maze irresistibly Notes 95 funny. His great part seems to have been Squire Cokes in Bartholomew Fair, in which role even the brilliant comedian James Nokes fell very far short of him. p. 1 8. Sonnets to Armlda. Armida was the name given to ' La Belle Stuart ', Duchess of Richmond, by her lover Francis Digby, a younger son of the Earl of Bristol. His romantic passion was more sentimental than successful, for Miss Stuart, in spite of her innocent beauty and artless simplicity, was too engaged in adroitly coquetting with the King, and at the same time fascinating the Duke of Richmond into matrimony, to waste her moments upon other admirers. Driven to despair by her coldness, Captain Digby, who was killed in a sea fight with the Dutch, is said to have voluntarily courted his death. See further note on page 32. p. 1 8. Stew'd Prunes. A letter from Dryden to Tonson affords us evidence of the poet's liking for stewed plums, whilst his fondness for snuff has passed into a tradition, mentioned by most his biographers. p. 1 8. I ever take Pbisic. Charles la Motte in his Essay on Poetry and Painting (1730, I2mo), states that it was really Dryden's habit, before any considerable piece of work c to purge his body and clear his head by a dose of physic.' p. 1 9. Gresbam Colledge. Gresham College originally occupied the house of Sir Thomas Gresham in Bishopsgate Street. By his will it had passed, after the death of his widow in 1596, to the Mercers' Company. Seven professors lived there to deliver the lectures appointed by its founder, and, when first formed, the Royal Society used the College for its weekly re-unions, to which the present allusion must be referred. After the great fire of 1666 the Exchange also made it a temporary home. p. 19. Hand in hand. The entry of the two kings c hand in hand ' and their tag before going off parodies the scene between Mustapha and Zanger, Act iv, Orrery's Mustapha (1665), which concludes : 'To ours alone the perfect praise is due At once of being friends and rivals too. (exeunt embracing.) ' p. 19. Sweet-heart. With the second king's endearments 96 Notes one may compare in The Wild Gallant (1663) Burr's favourite expression, 'dear heart'. p. 19. Monfoy. Mon foi is an intentionally gross solecism to heighten the jest. p. 20. I makes 'em. Professor Jespersen quotes this as the earliest instance of the vulgarism known. 1692 4to, missing the point, reads 'make'. p. 20. Rudest, uncivilest. As early as February, 1661, Pepys noted that 'the gallants do begin to be tired with the vanity and pride of the theatre actors, who are indeed grown very proud and rich'. In April, 1667, when the king, enraged at the venality and looseness of his court being openly satirized on the public stage, abruptly inter dicted Killigrew's company from acting and closed the theatre, the diarist tells us that c the gentry seemed to rejoice much at it, the house being become too insolent'. p. 20. 'Turned J em all back. Flecknoe, in his preface to The Demoiselles a la Mode (1667, 8vo), rails against the actors who refused to stage his play. p. 2 1 . Nursery. The Nursery was a theatre for the training of boys and girls for the regular stage. Charles II, on 3 March, 1664, gave W. Legge, Groom of the Bed-chamber, royal letters patent to establish a Nursery for young actors (Shakespeare Society Papers, iii. 162). There appears to have been two houses of this description, the most famous of which in Golden Lane, near the Barbican, supplied Killigrew's company. It was here that Langbaine saw Revenge for Honour. Dryden's allusion in MacFlecknoe to this house is well known : 'Near these a Nursery erects its head, Where queens are formed and future heroes bred, Where unfledged actors learn to laugh and cry, Where infant punks their tender voices try, And little Maximins the gods defy.' The second Nursery was in Hatton Garden. It was built by Captain Bedford, and belonged to Davenant. Wednesdays and Fridays in Lent the younger members of each theatre gave performances on their own account at Notes 97 their respective Nurseries. We find Killigrew's company acted tte Rival Ladies in this way. 24 February, 1668, Pepys made his way to the Nursery. 'The house and music better than we looked for and the acting not much worse, because I expected as bad as could be ; and I was not much mistaken, for it was so.' Kyd's The Spanish Tragedy was performed, but he found the c play was a bad one'. Oldham has the following couplet: 'Then slighted by the very Nursery, Mayest thou at last be forced to starve like me.' In the prologue to The Forced Marriage (1671), Mrs. Behn alludes to the custom of gallants frequenting the Nursery. Joe Haines, the famous comedian, began his stage life at the Barbican Nursery. p. 21. A late Play. This late play here aimed at was in all probability not Sir William Barclay's tragi-comedy The Lost Lady (folio, 1639), as is often supposed, but rather Sir Richard Fanshawe's translation of Mendoza's Querer por solo Querer. There is, however, a passage in Barclay's play which affords some ground for the statement that it is burlesqued by Buckingham. Lysicles, the hero, whose mistress has been murdered, nightly visits her tomb. At the beginning of Act i, Scene 2, he enters the monument and presumably remains there whilst other characters are conversing on the stage. It has been suggested that he may be supposed to sleep before his lady's remains. Fan shawe's 'dramatic romance' is, however, almost undoubtedly the true object of ridicule. Sir Richard Fanshawe, the fifth son of Sir Henry Fanshawe, of Ware Park, Hertfordshire, was born in June, 1608. A fervent royalist, at the outbreak of the civil war, he joined Charles I at Oxford, and after wards did him considerable service in Ireland. During the Commonwealth he was imprisoned, but having regained his liberty, lived in the utmost seclusion till the Restoration, shortly after which event he was appointed ambassador to Spain. He died there of an ague, 26 June, 1666. His translation of Guarini's // Pastor Fido is well known, and he published several other works. 98 Notes The full title of this play, to which Bishop Percy has drawn our attention, runs as follows : Querer por solo querer. To Love only for Love's sake ; a Dramatic Romance, represented at Aranjuez, before the King and Queen of Spain, to celebrate the birthday of that king (Philip IF) by the Meninas, w ch are a set of ladies, in the nature of ladies of honour in that court, children in years, but higher in degree (being many of them daughters and heirs to grandees of Spain) than the ordinary ladies of honour, attending likewise that queen, written in Spanish by Don Antonio de Mendoza, 1623. Paraphrased in English, anno 1654. Together with the Festivals of Aranwhez. London, 4to, 1671. Bishop Percy especially remarks on the following passage as supplying ample and pertinent material for the present allusion : 'Felisbravo, the young king of Persia, travelling in search of Zelidaura, Queen of Tartaria (whom, it seems, he had never seen) retires into a wood to shun the noon-tide heat, and taking out his mistress's picture, thus rants. FeL If sleep invade me strongly, That may sever My life some minutes from me, my love never. But 'tis impossible to sleep (we know) Extended on the Rack : If that be so, [ Takes out the Picture. Dumb Larum, come thou forth : Eloquent Mute, For whom high Heav'n and Earth commence a Suit : Of Angel-woman, fair Hermaphrodite \ The Moon's extinguisher \ the Moon-days night ! How could so small a Sphear hold so much day ? sleep ! now, now, thou conquer'st me But stay : That part thou conquer* st, I'l not own for mine. Tempest I seek, not calm : If the days thine, Thou quell'st my body, my Love still is whole : 1 give thee all of that which is not Soul. And, since in Lodgings from the Street Love lies, Do thou (and spare not) quarter in my eyes A while ; I harb'ring so unwelcome Guest (As Men obey thy Brother Death's arrest) Not as a Lover, but a MORTAL [He falls asleep with the Picture in his hand. Notes 99 Ris. He's fain a sleep; so soon? What frailty is? More like a Husband, then a Lover, this. If Lovers take such sleeps, what shall I take, Whom /flwgs of Love, nor Honour's Trumpets, 'wake ? [Risaloro^7//j asleep.' Act i, p. 20. p. 22. A simile when you are surprised. Bishop Percy has the following note : c This rule is most exactly observed in Dryden's Indian Emperor, Act iv, Scene 4. Upon a sudden and unexpected misfortune, Almeria thus expresses her surprise and concern : "Aim. All hopes of safety and of love are gone : As when some dreadful thunder-clap is nigh, The winged fire shoots swiftly through the sky, Strikes and consumes e'er scarce it does appear, And by the sudden ill, prevents the fear : Such is my state in this amazing woe; It leaves no power to think, much less to do."' The Indian Emperor was produced at the King's Theatre in 1665. It proved an almost unprecedented success. p. 22. As some tall Pine. This particular passage parodies The Conquest of Granada (1670), Act v, when Mahomet Boabdelin addressing Almahide says: ' As some fair tulip, by a storm oppressed, Shrinks up, and folds its silken arms to rest ; And, bending to the blast, all pale and dead, Hears from within, the wind sing round its head : So, shrouded up your beauty disappears ; Unveil, my love, and lay aside your fears.' p. 23. Without ever opening the Plot. Sir Robert Howard's Blind Lady (i2mo, 1660), might well be said to begin and end without the plot being revealed. In Edward Cooke's Love's Triumph, or the Royal Union (4to, 1678), once the situation has been revealed in Act i, no progress whatsoever is made until Act v, and all action is practically at a standstill. Porter in The Carnival, 1 664, has the following: i oo Notes 'Lorenzo. It was a dainty masque, for all Were kept in suspense to the last, and Did never comprehend what we meant. Ferd'mando. That could not choose but be rare.' Dryden in his Preface to Troilus and Cressida ; or, Truth found too Late (41.0, 1679), carefully insists upon a due sequence of events in a play and the necessity of 'making one accident naturally produce another, otherwise 'tis a farce, and not a play. Of this nature is The Slighted Maid; where there is no scene in the First Act, which might not by as good reason be in the Fifth.' p. 23. Lay our heads together. The scene between the Gentleman-Usher and the Physician burlesques Dryden's partiality for scholastic logic and argument in verse. In his Defence of an Essay of Dramatic Poesy he clearly states, C I am of opinion that they cannot be good poets, who are not accustom'd to argue well.' His genius for disputation in poetry reaches its ultimate climax in Religio Laid and The Hind and the Panther, but it is also very prominent in many of his plays. We may cite the discussion between Osmyn and Benzayda, Second Part of The Conquest of Granada, Act iii, Scene 2, and the yet more lengthy dialogue between Almanzor and Lyndaraxa, which immediately follows. In The State of Innocence, Act iv, Adam and the two Archangels indulge in a disquisition on free-will. These arguments, often subtle and clever to a degree, are, in fact, a most marked feature, strongly characterizing most of Dryden's work. In Act iv, Scene 2 of The Rehearsal, we find Mr. Bayes confessing, C I love reasoning in verse'. James Howard in his All Mistaken (4to, 1672), acted September, 1667, has a scene commencing thus : 'Loranzo. Pray tell me what you mean? Amphelia. I cannot, first do you begin. Loranzo. Nor I. Amphelia. Let us tell both together then.' p. 23. I fegue it away. Fegue =to beat or to drive. Sir Walter Scott uses this phrase in his journal, adding c as Mr. Bayes says'. Notes 101 p. 26. The whole State's turned quite topsie-turvy. This doubtless directly alludes to the serious plot of Dryden's tragi-comedy Marriage a la Mode produced by the King's company at their temporary theatre in Lincoln's Inn Fields, 1672 ; it is as follows : The King of Sicily being killed in battle, Polydamas, his general, usurped the crown. Eubulus, the governor of Syracuse, promptly fled, taking with him the widowed queen and her infant. They found a companion in Eudoxia, the usurper's wife, herself about to become a mother, who remained steadfastly loyal in spite of her husband's treachery. Some twenty years after, a brigand is captured, upon whom are discovered royal jewels and a torn letter which is recognized as Eudoxia's hand. Acting upon these clues and the robber's confession, a certain old man, his foster son and his daughter Palmyra, are inter rogated ; and he, proving to be Hermogenes, a noble who had disappeared at the same time as Eubulus, confesses that the boy Leonidas is the usurper's child. Leonidas is instantly raised to the position of crown prince, but upon his refusing to abandon Palmyra, whom he loves, the king is about to wreak vengeance on her, when Hermogenes comes forward and hands a letter and a jewel to Polydamas by which he learns that Leonidas is the son of the late king, and Palmyra his own daughter. She is forthwith instated in the palace, and occasion found shortly after to arrest the boy and doom him to death on a charge of conspiracy. On the fatal day, however, the populace, who have long chafed under the usurper's rule, break out into open revolt, rescue the lawful prince, and dethrone the tyrant. Leonidas, acknowledged king, weds Palmyra. It is, as will be seen, a complicated plot, but not more so than that of many well-approved tragi-comedies. It hardly deserves to be called 'very ridiculous', as Mr. Saintsbury unsympathetically thinks it, and even if it were, it is more than compensated for by the lighter episodes, the most material part of the play, in which Dryden has written comedy as sparkling as, and more natural than, the coldly polished genius of Congreve. There are indeed few comedies in the 102 Notes English language which for brilliance of wit can vie with these scenes of Dryden's fancy. Truly 'glorious John' has not yet come to his own. p. 26. Enter Shirly. This actor, whose Christian name has not come down to us, joined Killigrew's company about the same time as Joseph Haines, Griffin, Cardell Goodman, Lydal, and Beeston, that is to say not long after the opening of the Theatre Royal, 7 May, 1663. He seems to have been an accomplished and graceful dancer, but an indifferent player. At the conclusion of The Rehearsal he executes a dance with Joe Haines. His name occurs in the original casts of Corye's The Generous Enemies (1672), and Buffet's he Amorous Old Woman (1674), to very minor r61es. p. 26. Hey day^ hey day! Cf. James Howard's All Mistaken (4to, 1672), Act iv : * Arbatis. Hey day ! Hey day ! I know not what to do or what to say ! ' Also Flecknoe's Erminia (8vo, 1661), Act i, Scene 6 : * Duchess. I'm so confounded I know not what to say or what to do.' Also Sir Aston Cockain's Trappolin supposed a Prince (4to, 1658), Act iii, Scene i, where the expression C I know not what to think' occurs more than once. Sir William Killigrew's Ormasdes, or Love and Friendship (8vo, 1664): 'Ormasdes. I know not what to say, not what to think ! I know not when I sleep or when I wake ! The same author's Pandora, or The Converts (8vo, 1664), Act v, has : * Clearcus. I know not what to resolve or what to say.' And again : 'Pandora. My doubts and fears my reason does dismay, I know not what to do nor what to say.' p. 27. At one door. In a Restoration theatre the stage projected a considerable way into the auditorium, and it was on this apron in front of the proscenium that most of the action took place. The scenery was often set immediately behind the proscenium itself, and the characters would Notes 103 enter and leave the stage by the two practicable doors in the proscenium one on either side of the theatre. So in Ravens- croft's The Anatomist, or The Sham Doctor (1697), we have, Act i, Scene i, 'Enter, before the curtain, Angelica, Beatrice/ Over these doors, used as the principal means of entrance and exit, boxes or balconies were arranged wherein the actors would appear if the play demanded. This is obvious from Act v, Scene i, in Sir Martin Mar- All (1667) where Sir Martin, about to give his mistress a serenade, is told to get up into his window and set two candles by him. As he is ignorant of music, he takes a borrowed lute in his hand and fumbles with it, grimacing all the while with his mouth as though singing, whilst in reality the tune is played by his man stationed just within. The stage directions are 'enter Mrs. Millicent and Rose, with a candle by 'em above ', and then 'Sir Martin appears at the adverse window.' In The Conquest of Granada (1670), part n, iv. 3, when Zulema and Hamet make their infamous attempt on the queen, the direction is, 'enter Almahide, shrieking, her hair loose; she runs across the stage.' Abdelmelech about to fly to her assistance is disarmed by treachery, and, as the assasins attack him, he goes off at one door, while the queen escapes at the other.' Immediately 'Enter at several doors, the King, Abenamar, Selin, Ozmyn, Almanzor, Guards'. In Shadwell's tte Humourists (1671), Act iv, Scene 2, Crazy arrives with a ladder and proceeds to climb into one of the balconies ; Drybob follows him, and they call to Theodosia to open her window. They are taken for thieves, beaten off the stage, and 'Enter Crazy from behind the door'. In The Miser (1672), at the end of Act iv, Rant and Hazard, drunk, attempt to force their way through one of the doors. Squeeze appears in the balcony and leaps down on to the stage, he is seized by the watch, and then the two roisterers 'go off, and come in at another door.' In The Libertine (1676), Act i, Scene 2, after a serenade, Maria comes to the balcony and throws down a letter. Presently Don John is admitted through the door underneath. 1 04 Notes The first scene of Etheredge's She Woifd if She Coud (1668), is laid in the Mulberry Garden. Courtal and Free man are found awaiting their mistresses. Soon the girls trip across the stage. The two gallants promptly pursue, then c enter women again . . . the women go out, and go about behind the scenes to the other door'. ' Enter COURTAL and FREEMAN. Free. Sdeath, how fleet they are ! ... Court. . . . We shall never reach 'em. Free. I'll follow directly, do thou turn down the cross walk and meet 'em. Enter the Women, and after 'em COURTAL at the lower door, and FREEMAN at the upper on the contrary side. 1 Act ii, Scene 2, of Davenant's The Distresses (folio, 1673), but almost certainly The Spanish Lovers, licensed 30 Novem ber, 1639, Oreo, wishing to rid himself finally of Androlio's company, says : 4 I'll give him a false turn i' th' corner of The next blind lane, that I may safer move In my design. (goes off, and enters again at the other door.) ' Mr. W. J. Lawrence in his The Elizabethan Playhouse and other Studies gives (p. 189) an interesting photograph of the c Last of the Proscenium doors' as existing at the Adelphi Theatre, Liverpool (1832-1905); but it is certain that something very like them still survives at the King's Lynn Theatre and also at the Theatre Royal, Bristol. p. 27. Stand. Who goes there? Cf. Secret Love or The Maiden Queen (1667), Act iv, Scene i : < I Soldier (within) Stand ! 2 Sold. Stand, give the word. Cel. Now, what's the meaning of this trow ? Guards set ! I Sold. Give the word or you cannot pass ; these are they, brother ; let's in and seize 'em. The two Soldiers enter. 1 Sold. Down with him ! 2 Sold. Disarm him ! Cel. How now rascals ! (draws, and beats one off y and catches the other.) ' Notes 105 Mrs. Behn has a somewhat similar fray in The Forced Mar riage, or the Jealous Bridegroom (41:0, 1671), Act ii, Scene 6 : 'Pisaro. What's all this? Philander. Who's there ? Pis. A man, a friend to the general. Phi. Draw then, and keep thy word. Akander. Stand by, and let me do that duty, sir. ( He steps between them, they fight, PISARO falls.) ' p. 27. Effautflat. Effaut flat is an obsolete musical term. 'The fuller name (F fa ut) of the note F which was sung to the syllable fa or ut according as it occured in one or other of the Hexachords (imperfect scales), to which it could belong.' Murray, New English Dictionary, where this passage is quoted. p. 27. Angels in Harry the Eight. Henry ^777 was one of the plays which, by a regulation of the Lord Chamberlain, 12 December, 1660, became the especial property of the Duke's company. It was first produced early in December, 1663 ; for Pepys, gossiping with his shoemaker on 10 Decem ber, hears 'of a rare play, to be acted this week, of Sir William Davenant's. The story of Henry VIII and all his wives'. Some authorities are inclined to suppose that Davenant actually altered Shakespeare and Fletcher's play, but I think we need understand no more than a re-arrange ment with a view to theatric effect and mise en scene, much as our managers love to-day. On New Year's Day, 1664, Pepys goes to the Duke's house and 'saw the so much cried up play of Henry VIII ; which though 1 went with resolution to like it, is so simple a thing, made up of a great many patches, that, besides the shows and processions in it, there is nothing in the world good or well done'. On 30 December, 1668, however, he saw it again, 'and was mightily pleased, better than ever I expected, with the history and shows of it.' Every resource of decoration and dresses seems to have been expended on the production and, no doubt in accordance with the taste of the times, the scene where angels hover round the couch of the dying io6 Notes Katherine was elaborated and ' written up' by Davenant himself. The magnificence of the set-pieces, the pageantry of the spectacle, and the crowds of supers employed, became proverbial as late as 1687. In Mrs. Behn's highly diverting but deplorably naughty comedy, The Lucky Chance or An Alderman s Bargain, Bredwell refers to C A broken sixpenny looking-glass, that showed as many faces as the scene in Henry VlIltrT. The revival, Downes tells us, c by order of Sir William Davenant, was all new cloath'd in proper habits : the King's was new, all the Lords, the Cardinals, the Bishops, the doctors, proctors, lawyers, tip-staves : new scenes.' The public seem fully to have appreciated this production, for Downes continues, 'Every part, by the great care of Sir William, being exactly perform'd ; it being all new cloath'd and new scenes ; it continued acting 1 5 days together with general applause.' Harris and Betterton, who played Wolsey and the King respectively, won for themselves especial renown, and the old prompter waxes enthusiastic in their praise. The Tempest had been revived on 7 November, 1667, at Lincoln's Inn Fields in a version by Dryden and Davenant. Pepys found c the house mighty full: the King and court there : and the most innocent play that ever I saw : and a curious piece of music in an echo of half sentences, the echo repeating the former half, while the man goes on to the latter, which is mighty pretty.' The music was by Banister. Pepys sees the piece again on two further occasions, and found it full of c so good variety that I cannot be more pleased almost in a comedy, only the seamen's part a little too tedious.' In the folio Dryden, 1701, Comedies, Tragedies, and Operas, printed for Tonson, amongst the stage directions to The Tempest, Act iii, we read, 'enter eight fat spirits', and Gon- zalo has a jest at their corpulence. This plumpness was afterwards not unwisely expunged. No doubt it is to this business the sneer of Mr. Bayes alludes. On 30 April, or very early in May, 1 674, the Duke's company produced at their new theatre in Dorset Gardens, Notes 107 The Tempest, or the Enchanted Island, by Shadwell. c Made into an opera/ comments Downes, and, c all things were performed in it so admirably well, that not any succeeding opera got more money.' Shadwell certainly introduces a large number of elves and fairies into his version, and is not sparing of scenical resources. These two alterations, that by Dryden and Davenant, and Shadwell's opera are often confounded. They need to be carefully distinguished. Dryden's versions of Shakespeare, and particularly this joint work with Davenant, have been the stalking-horse for generations of critics to vilipend and belittle the poet un mercifully. Judged by a literary and poetic criterion, they are confessedly sadly inadequate, but is this not approaching them from quite a wrong standpoint ? Davenant, after the Restoration, was above all a manager intent upon his public, and he took good care to give what the day demanded. There was a universal craving for gorgeous pageants lineally descended from the Elizabethan masques. He himself had written court triumphs in the days of Charles I, and was accustomed to profuse and splendid machinery. By 1661, owing to his good offices and enterprise, scenery had become permanent and, on the regular stage, soon assumed elaborate proportions. Although one cannot forgive him for having laid profane hands upon Measure for Measure, a very good case, from the stage manager's point of view, could be made out for these alterations of The Tempest, and even of Macbeth. In any case, Dryden has given us nothing worse than the mutilations of Shakespeare to which we submit in our twentieth-century theatres. p. 27. I sate up two. There is an anecdote that, many years after this, Bolingbroke, then a young man, calling one morn ing to see Dryden, found the poet had been sitting up all night. He had just composed his magnificent ode on St. Cecila's Day. p. 28. 1 have broke my Nose. The allusion here to Davenant is very apparent. Sir William, as may be seen by his portrait, was possessed of a very short nose, snub to the point of deformity. This was often made the topic of lampoons. In 1 08 Notes the Great Assizes holden In Parnassus (1645), the anonymous writer says : 'And as for him, whose vote he did reject, Upon a cavil against some defect, He him assured that all the world might know, His art was high although his nose was low.' Again, in a copy of verses (which have been privately printed), found written on a fly-leaf of a copy of Denham's Poems (8vo, 1668), the following lines occur: 'Into his bed Sir William creeps, And now in Abram's bosom sleeps, His friend he to the ancients shows ; Their former feuds he doth compose; To show him they are no longer foes, Naso has lent him half his nose.' The story runs that once when the poet had bestowed an alms upon a poor woman, he was startled to hear her vehemently praying God to preserve his eyesight. Upon his asking the reason for this unusual wish, she replied, ' Why, Sir, if you had to wear spectacles you would have no nose on which to balance 'cm.' Davenant was born at Oxford towards the end of February, 1605. In 1637 he obtained the laureateship, vacant by the death of Ben Jonson. When the Commonwealth was on the wane he first re-introduced dramatic entertainments into England, and in 1 660 became manager of the Duke of York's Theatre. He died 7 April, 1668, and two days after Pepys saw c Sir W. Davenant's corpse carried out towards West minster, there to be buried.' To say with the infinite assurance of a later day critic that Davenant's dramas are 'wholly unreadable . . . his influence on the theatre utterly deplorable' is merely to argue ignor ance. Sir William possessed no mean view of poetry, and many of his plays have excellent scenes with well-sustained interest. His verse often attains a high level, whilst Gondibert is far finer than those who have never looked into it are disposed to allow. That Davenant, sadly hampered Notes 109 by the times in which he lived, essayed much his most ardent admirers would wish he had left alone is indisputable, but notwithstanding all, the modern stage owes him a debt it does not acknowledge and so will never pay. ACT III. p. 29. A Dance. In Settle's The Empress of Morocco (1673), Act ii concludes with a 'Moorish dance' performed 'about an artificial palm tree', of which entertainment there is a curious copper-plate in the illustrated first quarto. Dryden was especially fond of introducing dances into his heroic tragedies. Act iii of The Indian Queen (1664), opens with 'a warlike dance'; in Act iv, Scene 3, of the The Indian Emperor (i 66 5), a saraband is danced; tyrannic Love (1669), Act iv, Scene i, has 'a dance of spirits' ; and in The Conquest of Granada (1670), Part i, Act iii, Scene i, there is the Zambra dance with the exquisitely beautiful song, Beneath a Myrtle Shade. p. 29. Prince Pretty-man and Tom nimble. This scene closely parodies the exchange of wit between Loveby and Will Bibber, his tailor, in Dryden's The Wild Gallant (1663), Act i. p. 30. A bob for the Court. 'Nonsuch. My friend at court is to pay his mercer. Isabella. Nay, if that be all, there's no such haste. The courtiers are not so forward to pay their debts. Wild Gallant, Act i.' p. 31. Top his part. 'A great word with Mr. Edward Howard.' Key, 1704. p. 3 1 . Angel . . . Evil. Scrofula was formerly know as 'King's evil' from the belief that the touch of the Sovereign could effect a cure. Charles II frequently 'touched', and the same royal prerogative was exercised by Prince Charles Edward in 1745. The patient, having been inspected by the court physician, was stroked by the sovereign's hand, and a gold angel (6s. %d.-ios.} hung round the neck. Meanwhile the chap lains read the special prayers appointed. This form of service may be found in some old Books of Common Prayer. 1 1 o Notes p. 32. Song. The well-known verses, Farewell, fair Armida, the second stanza of which, c on seas and in battles,' is here parodied, were composed by Dryden, and first printed in Covent Garden Drollery (1672). The song, Blame not your Armida^ in answer, c to the preceding,' which follows, is not nearly so well written. This song, Farewell, fair Armida, was penned on the death of Captain Francis Digby. He had long been hopelessly enamoured of Frances Stuart, a lovely prude, courted in vain by the monarch himself, and so met death with eagerness rather than reluctance, being killed in a naval engagement against the Dutch, 28 May, 1672. This parody does not appear in the first two editions of The Rehearsal. p. 33. Songs, Ghosts, and Dances. Songs were essential to a play in the Restoration theatre. Dryden, Aphara Behn, Tom D'Urfey, and a dozen more were admirable song writers, and lyrics either by the author or a friend were introduced into plays on any and every occasion. A satire of 1701, with a sharp cut at this custom unjustly says : 'Motteux and Durfey are for nothing fit, But to supply with songs their want of wit. Had not the Island Princess been adorn'd, With tunes, and pompous scenes, she had been scorn'd.' The reference is to an operatic version by Motteux of Fletcher's Island Princess, which had been played with success in the summer of 1699. With reference to Dryden, Professor Saintsbury says, * There are few things which better illustrate the range of his genius than these exquisite snatches. . . . Dorset, Rochester, even Mulgrave wrote singularly fascinating songs . . . but Dryden excelled them.' His lyrical faculty and management of difficult metres has hardly, if ever, been surpassed. Nor were his fellows far behind him. The audience looked for songs as their due, and when Etheredge's She Would if She Could was produced 6 February, 1668, Pepys is sorely aggrieved that Harris did not c so much as sing a ketch in it '. Notes 1 1 1 Ghosts were to an heroic play as essential as songs. In Part n, Act iv, Scene 3, of The Conquest of Granada the ghost of Almanzor's mother appears, and holds a somewhat lengthy dialogue with her son. In Orrery's Herod the Great (folio, 1 694), Act iii, the king is discovered asleep. The ghosts of Hircanus and Aristobulus enter, 'attended by several other ghosts in white, having great stains of blood over all their garments. They dance antic dances.' When Herod awakes, 'all the ghosts vanish.' In Act i the same ghosts have already appeared, accompanied by flashes of fire, to predict misfortune and woe. In Crowne's The Destruction of Jerusalem (1677), Part i, Act iv, Scene i, the ghost of Herod arises in fearful manner before the Sanhedrin, and delivers nearly fifty lines of most excellent rant. Above all, in Ship- man's Henry III of France (4to, 1678), an entirely typical heroic play, we have a friar, who is a wizard to boot, and with much exorcism raises both astral and earthly spirits in a wood near Blois. There are elaborate stage directions, and the scene concludes with apparitions of Rebellion and Murder. 'Some men,' says Dryden, in 'An Essay on Heroic Plays' prefixed to The Conquest of Granada^ part i (1670), 'think they have raised a great argument against the use of spectres and magic in heroic poetry, by saying, they are unnatural ; but whether they or I believe there are such things is not material ; 'tis enough that, for ought we know, they may be in nature, and whatever is or may be is not properly unnatural.' A dance was a well-approved method of concluding an old comedy. Cf. An Evenings Love (1668); Etheredge's The Man of Mode (1676); Lacy's The Dumb Lady (410, 1672); Mrs. Behn's The Dutch Lover (1673); The Rover, Part i (1677); Shadwell's Bury Fair (1689); Congreve's The Old Batcheior (1693); The Way of the World (1700); Mrs. Centlivre's Beaus Duel (1704) ; The Wonder a Woman keeps a Secret (1714). Innumerable other examples might be quoted. It could, not untruly, be said that there are few plays of the Restoration period in which a dance is not on some pretext introduced. Edward Howard in his preface 1 1 2 Notes to The Woman's Conquest (^to, ^yi), alludes to the c Scenes, Machines, Habits, Jiggs and Dances' which found their way even into tragedies, and in his first prologue he makes Angel say, c We are to act a farce to-day that has sixteen Mimics in it ... with two and thirty Dances and Jiggs a la mode'. Nevertheless he himself has a Masque of Diana, Echo, Thetis, Cupid, and a dance of nereids in his first Act. All of the actors were good, many accomplished dancers. p. 34. My Lieges, news. 'Alberto. Curtius, I've something to deliver to your ear. Curtius. Anything from Alberto is welcome.' Mrs. Behn, The Amorous Prince (1671), Act iii, Scene 2. p. 34. ye Gods ! O ! ye Gods ! is a constant exclamation in Thomas Killigrew's plays. It is also noticeably frequent in Joyner's The Roman Empress (1671), and Settle's ranting Cambyses, King of Persia (1666). Cf. Hemmings' The Jew's Tragedy (4to, 1662), c ls it possible ! O ! ye gods !' Act i. p. 35. Tell me who set tbee on. Cf. Sir Robert Stapylton's The Slighted Maid (1663), Act iii : * Decio. Now you shall tell me, who played at Cards with you. Pyramena. None but my Lord Iberio and I played. Dec. Who waited ? Py. No body. Dec. No page ? Py. No page. Dec. No groom? Py. No groom ; I tell you nobody. Dec. What not your woman ? Py. Not my woman, lack, How your tongue runs ! ' It is more probable, however, that the parody is directly of Marriage a la Mode, Act i, where the usurping Polydamas examines Hermogenes and cross-questions him concerning the fate of his lost wife and child. p. 36. Torture of the Rack. Cf. Marriage a la Mode, Act i, Scene i : 'Poly. He talks too like a man that knew the world, To have been long a peasant. But the rack Will teach him other language. Notes 1 1 ^ Sir Robert Howard's The Surprisal (folio, 1665), Act iv, Scene 2 : 'Fill. Nay, I cannot tell what operation A rack and torture might have on me.' p. 37. Rons. This very rare adverb = bouncingly, slap- bang. The New Oxford Dictionary refers to Elsworthy's West Somerset Word Book (1888) ; and quotes : c Down come the roof, rous.' It would seem to be a pure provincialism, p. 37. Fisherman. Cf. Marriage a la Mode, Act i, Scene i : ''Poly. Those I employ'd, have in the neighbouring hamlet, Amongst the fishers' cabins, made discovery Of some young persons, whose uncommon beauty, And graceful carriage, make it seem suspicious They are not what they seem.' p. 37. Rob me not of a Father. Cf. Mrs. Behn's Abdelazar; or, The Moors Revenge (1677), Act i, Scene 2 : 4 Enter PHILIP in a rage. ' Phil. I know he is not dead ; what envious powers Durst snatch him hence? . . . Where is the body of my royal father ? . . . O guide me to him !' p. 38. Sometimes a Fishers Son, sometimes a Prince. A burlesque of the predicaments of Leonidas in Marriage a la Mode (1672), who, reared in obscurity, is first declared to be the son of the usurping king, and then on this being found to be false, banished the court. Finally, as rightful heir to the crown, he recovers his father's throne. p. 39. Enter Prince Volscius. This entire passage parodies The English Monsieur (4to, 1674), Act iv, Scene 2. It is the best of the Hon. James Howard's two comedies, and especi ally delighted Pepys, who on 8 December, 1666, found it c a mighty pretty play, very witty and pleasant '. All Mistaken ; or, The Mad Couple (410, 1672), Howard's second produc tion the diarist judged 'but an ordinary play'. Nell Gwynne had original parts in both these pieces. The English Monsieur is certainly an excellent comedy. Frenchlove is drawn with the most diverting strokes ; his Gallic foppishness knows no bounds. In the words of Charles Lamb, 'the Monsieur 1 1 4 Notes comforts himself when his mistress rejects him that "'twas a denial with a French tone of voice, so that 'twas agreeable ; " and at the final departure, "Do you see, sir, how she leaves us! She walks away with a French step." This complete coxcomb even finds a French noise pleasant, and differen tiates it from a mere English noise. British beef too is so obnoxious to him that on being invited to dine in the orthodox English manner, he threatens to challenge his host whose 'greasy proposition' he takes as c an affront to his palate'. James Howard was also author of an alteration of Romeo and Juliet which has not been printed. The lovers, however, were kept alive, and so, says Downes, 'when the tragedy was reviv'd again 'twas played alternately, tragical one day, and tragi-comical another for several days together.' In this adaptation Count Paris' wife appears, a r61e acted by Mrs. Holden, of whom in this part the old prompter relates a jest which, although it c put the house into such a laughter that London Bridge at low water was silence to it', is now quite unquotable. The scene in The English Monsieur, Act iv, Scene 2, which is here parodied by Prince Volscius going out of town but meeting the fair Parthenope opens : ' Enter COMELY in a riding garb^ with his servant. Comely. Let my horses be brought ready to the door, for I'll go out of town this evening. (Exit Servant.) Enter WELBRED. Wei. Why, how now, Comely, booted and spurr'd ? Comely. Marry, am I. Wei. For how long?' As he is about to leave, however, Comely meets a country lass, Elsbeth Pritty, newly come to London, and, enraptured with her charms, changes his mind, deciding to remain in town. p. 39. Have held the honour of your Company. Cf. Porter's The Villain (1662), Act ii : 4 D'Orville. You know not, sir, with what great zeal I still shall court the honour of your presence.' Notes 1 1 5 p. 39. Poor us. Cf. The Indian Emperor (1665), Act v, Scene 2 : 1 Cydaria. He's gone, he's gone ! And leaves poor me defenceless here alone ! ' p. 40. Morning picturd in a Cloud. Davenant's The Siege of Rhodes, Part i, the Second Entry (4to, 1663) : l Mustapha. I bring the morning pictur'd in a cloud.' Cf. Sir William Barclay's The Lost Lady (folio, 1639), Act ii : 'Enter PHILLIDA veiled who talks to ERGASTO aside and then goes out. Clean. From what part of the town comes this fair day In a cloud that makes you look so cheerfully?' p. 41. Prince Volscius in Love. Cf. The English Monsieur, Act iv, Scene 2 : 4 Comely. Come, come, you all know me well enough and yet I tell you I am plaguily alter'd since you saw me last. Lady Wealthy. Why, what's the matter? Comely. I am, a pox on't ! I am, a plague on't ! I am in love. Lady Weal. In love ! what, Mr. Comely, in love ? Comely. Nay, nay, nay, come begin the laugh and let it not last above three hours; that's all I ask. [They laugh a great while."] Well, have you done ? All ladies. No, not by great deal. [They laugh on.~\ Comely. I must have patience till you have. Lady Weal. I warrant 'tis some mimping country gentlewoman. Comely. No, 'tis a country farmer's daughter.' p. 41. Love and Honour. Love and Honour (4to 1649), a tragi-comedy by Sir William Davenant, was originally acted at the Blackfriars. It was reprinted (folio, 1673), with a few rather needless additions. Upon its revival, 21 October, 1 66 1, 'this play was richly clothed, the King giving Mr. Betterton his coronation suit, in which he acted the part of Prince Alvaro ; the Duke of York giving Mr. Harris his who did Prince Prospero ; and my Lord of Oxford gave Mr. Joseph Price his, who did Lionel, the duke of Parma's son.' Pepys was present at the first performance. To the opera', he writes, 'which is now newly begun to act again, after some alteration of their scene, which do make it very 1 1 6 Notes much worse ; but the play, " Love and Honour ", being the first time of their acting it, is a very good plot and well done/ A little later he has : ' To the opera, and there I saw again "Love and Honour", and a very good play it is.' We can heartily endorse the diarist's opinion. It is one of the best, and was the most successful, of all Davenant's plays. Langbaine says that he often saw it acted to crowded houses both at the Lincoln's Inn Fields and Dorset Garden Theatres, p. 41. Vohcius sits down to pull on bis Boots. The following passages are parodied either wholly or in part in this scene. Sir Richard Fanshawe's translation of Hurtado de Mendoza Querer por solo querer (4to, 1671), Act iii : ' Felisbravo. Love, and Honour, pull two ways; And I stand doubtful which to take : "To Arabia," Honour says, Love says: "No; thy stay here make.'" Sir William Davenant's The Siege of Rhodes (1656), Part i. The Third Entry. c The scene . . . the Town besieg'd': i Alphonso. But Honour says not so.' Francis Quarles' The Virgin Widow (4to, 1649), Act iii, Scene i : '-Enter PALLADIUS softly reading two letters. 'Pall. I stand between two minds! what's best to do? This bids me stay ; This spurs me on to go. Once more let our impartial eyes peruse Both t' one and t' other : Both may not prevail. "My Lord, Prize not your honour so much as so disprize her that honours you, in choosing rather to meet death in the field, than Pulchrella in her desires. Give my affection leave once more to dissuade you from trying conquest with so unequal a foe. Or if a combat must be tried, make a bed of roses the field, and me your enemy. The interest I claim in you is sufficient warrant to my desires, which according to the place they find in your respects confirm me either the happiest of all ladies, or make me the most unfortunate of all women. PURCHRELLA." A Charm too strong for Honour to repress. Mus. A heart too poor for honour to possess. Pall. Honour must stoop to vows. But what says this? (Reads the other Letter. Notes 1 1 7 "My Lord, the hand that guides this pen, being guided by the ambition of your honour, and my own affection, presents you with the wishes of a faithful servant, who desires not to buy you safety with the hazard of your reputation. Go on with courage, and know, Panthea shall partake with you in either fortune. If conquer'd, my heart shall be your monument, to preserve and glorify your honour'd ashes ; if a conqueror, my tongue shall be your herault to proclaim you the champion of our sex, and the phoenix of your own, honour'd by all, equall'd by few, beloved by none more dearly than Your own PANTHEA." I sail between two rocks ! What shall I do ? What marble melts not if Pulchrella woo ? Or what hard-hearted ear can be so dead, As to be deaf, if fair Panthea plead ? Whom shall I please? Or which shall I refuse? Pulchrella sues, and fair Panthea sues: Pulclirella melts me with her love-sick tears, But brave Panthea batters down my ears With love's petar ; Pulchrella's breast encloses A soft affection wrapt in beds of roses. But in the rare Panthea's noble lines True worth and honour with affection joins. I stand even-balanced, doubtfully opprest, Beneath the burthen of a bivious breast, When I peruse my sweet Pulchrella's tears, My blood grows wanton, and I plunge in fears : But when I read divine Panthea's charms, I turn all fiery, and I grasp for arms. Whoever saw, when a rude blast out-braves, And thwarts the swelling tide, how the proud waves Rock the drencht pinnace on the sea-green breast Of frowning Amphitrite, who, opprest Betwixt two lords (not knowing which t' obey) Remains a neuter in a doubtful way. So tost am I, bound to such strait confines, Betwixt Pulchrella's and Panthea's lines. Both cannot speed : But one that must prevail. I stand even pois'd ; an atom turns the scale.' Francis Quarles (1592-1644) the famous author of the Emblems (partially translated, partially paraphrased from the Pia Desideria of the Jesuit Hugo), the Enchiridion, and many 1 1 8 Notes other works, wrote Tbe Virgin Widow about 1632. It was never performed in public, but a stationer's note says that 'it had been sometimes at Chelsea acted privately (by a company of young gentlemen) with good approvement/ Stapylton's Hero and Leander (41.0, 1669), Act iv : '"Yes," Honour says; Diviner Love says "No."' p. 42. A Petticoat and the Belly ake. This alludes to Act iv, Scene i, of The Assignation, or Love in a Nunnery, a comedy by Dryden, which was produced in 1672. The piece was a failure, and it is impossible to tell why. It is a first-rate play, always smart and not infrequently brilliantly witty, with ingenious situations, an excellent plot and characterization ; and one can only attribute its non-success to some inexplic able caprice of the audience. Perhaps the Epistle Dedicatory to Sir Charles Sedley lets us into the secret when it says : 'This Comedy . . . succeeded ill in the representation, against the opinion of many the best judges of our age, to whom you know I read it, ere it was presented publicly. Whether the fault was in the play itself, or in the lameness of the action, or in the number of its enemies, who came resolved to damn it for the title, I will not now dispute.' The name, Love in a Nunnery, would certainly not have been grateful to good Catholics. But after all the intrigue is quite innocent. Lucretia, 'a lady designed to be a nun,' has, it is distinctly stated, not yet taken the final vows ; whilst Laura and Violetta are merely boarders in the convent. Hippolita, in spite of her flirtation with the page-boy, does not eventually leave the cloister. The Abbess Sophronia too, is well drawn, neither a bigot nor a tyrant, but a good woman with a tender heart and indulgent sympathies. The plot is briefly as follows : The Duke of Mantua and Prince Frederick, his son, arrive in Rome, where the young gallant speedily becomes enamoured of a nun whom he perceives at the grate of a Benedictine convent, and persuades her and Hippolita, the portress, who has struck up a warm friendship on her own account with Ascanio, his attendant, to accompany him to a masked ball given in honour of his father. To those who are acquainted with Cardinal Federigo Notes 1 1 9 Borromeo's letter written from Milan, 15 September, 1622, to the Prioress of St. Margherita at Monza, wherein he bids her admit no soldier into her house nor yet to allow soldiers' servants to lodge there ; or who know the story of Virginia Maria de Leyva, who for seven years was accustomed to receive her lover Gianpalo Osio in her cell, and bore him a child ; or again remember the eighteenth-century salons of Venetian convents, where nuns in low-necked dresses with jewels in their perfumed hair sat behind the most flimsy of screens to be complimented and caressed by dainty abbes and decadent, patricians, whilst tiny black-a-moors handed round cates and chocolate ; to these Prince Frederick's address to Lucretia in Dryden's play will bear every mark of probability. The lady accordingly appears at the ball, but masked and in a domino. Unhappily she attracts the attention of the old duke who proceeds to declare his passion, but by a ruse she is enabled to gain her convent unrecognised. The next morning the duke visits Frederick's chamber early. The masquerading habits, of which he took particular notice, have been carelessly thrown over a chair, and lest they should be discovered, Frederick, feigning a sudden illness, falls swooning on the chair to conceal them, and whilst his father runs to summon assistance the dresses are hurried away and secreted in an adjoining room. It is this incident which Buckingham burlesques. Eventually the old duke discovers it is Lucretia, whom his son loves, that he is pursuing ; and after some difficulties he is finally persuaded to consent to their union. There is also an underplot to the play consisting of the intrigues of Camillo and Aurelian, two Roman gentlemen, with the nieces of Don Mario, the governor of Rome, who confines the girls in the convent. In the end, however, the lovers are rewarded with the hands of their mistresses. Benito the blunderer, Aurelian's lackey, is a capital character, and was originally acted by Joe Haines. It is difficult to understand why Dryden's brilliant comedies have met with such unjustifiably harsh treatment at the hands of his critics. His scenes are certainly not penned 120 Notes virginibus puerisque, but they are written with an inimitable verve and gaiety which amply compensates for any careless freedom. Such indeed is their merit that it is strongly to be suspected that many who judge so loudly and so glibly are very sparely acquainted with the dramas they attempt to condemn. p. 43. I make 'em all talk bandy. Can it be that this very passage may have influenced the critics who damn The Assignation as 'coarse', 'vulgar', 'dull'? A slight acquaint ance with Dryden's play should convince them of their crass mistake. ACT IV. p. 45. / make this to begin with a Funeral. 'Colonel Henry Howard, son of Thomas Earl of Berkshire, made a play, called 'The United Kingdoms^ which began with a funeral, and had also two kings in it. This gave the Duke a just occasion to set up two kings in Brentford, as 'tis generally believed, though others are of opinion that his Grace had our two brothers in his thoughts. It was acted at the Cockpit in Drury Lane soon after the Restoration, but miscarrying on the stage the author had the modesty not to print it ; and therefore the reader cannot reasonably expect any particular passages of it. Others say that they are Boabdelin and Abdalla, the two contending kings of Granada, and Mr. Dryden has, in most of his serious plays, two contending kings of the same place.' Key (1704). The Cockpit, or Phoenix, was built about 1617, but completely dismantled in 1649. At the Restoration it was hurriedly repaired, and last used in 1664. In Porter's The Villain^ the great success of October, 1662, Act iv, a hearse is set out on a table. In Orgula ; or The Fatal Error, a dull play by L. W. (Leonard Willan), 4to, 1658, after a tedious opening monologue we are introduced to 'Castrophilus' Funeral Triumph, watched from the window by the Princess Eumena, Zizania,' etc. It will be remembered that in Act i, Scene 2, of Richard III we have the solemn obsequies of Henry VI. Notes 121 p. 45. Drum, Trumpet, Shout and Battle. A parody of Edward Howard's favourite expressions at rehearsal. Dryden in his c Essay on Heroic Plays' which serves as an introduction to the First Part of The Conquest of Granada, (4to, 1672), writes, 'To those who object my frequent use of drums and trumpets and my representations of battles; 1 answer, I introduced them not on the English stage ; Shakespeare used them frequently ; and tho' Jonson shows no battle in his " Cataline " yet you hear from behind the scenes the sounding of trumpets and the shouts of righting armies. But, I add further, that these warlike instruments and even their presentations of fighting on the stage are no more than necessary to produce the effects of an heroic play, that is, to raise the imagination of the audience and to persuade them, for the time, that what they behold in the theatre is really performed. . . . And that the Red Bull has formerly done the same is no more an argument against our practice, than it would be for a physician to forbear an approv'd medicine, because a mountebank has used it with success.' p. 45. The Rule of Romance. Although when translated into English they generally made their appearance in one huge folio, the original editions of the interminable romances (Romans de longue haleine) of la Calprenede, Mdlle. de Scudery and her school are in many volumes. Cleopatre (la Calprenede), was published in parts ; the first is dated 1 646. On its completion the whole was printed in twelve volumes 8vo. English translation by Robert Loveday, folio, 1668. Pbaramond (la Calprenede) is in seven volumes. Five more were added by de Vaumoriere. English translation by J. Phillips, folio, 1677. Clelie, ou histoire Romaine (Mdlle. de Scudery) extends to ten volumes (8 vo, 1656-1660). Each contains about eight hundred pages. English translation by John Davies, 1656-61 and 1678, folio. p. 46. Five Playes to one Plot. The allusion here is princi pally aimed at TJbe Conquest of Granada (1670), which is written in Two Parts, and is indeed, as Bishop Percy says, 122 Note. 'properly but one play of ten acts'. This remark applies with equal force to Crowne's heroic tragedy, The Destruction of Jerusalem (i 677), which is completely modelled on Dryderi. The Second Part, containing the siege and capture of the city, with the burning of the temple, is far more dramatic and sensational than the First. It was often acted alone, and met with success as late as 1712, when Booth, Mills and Powell with Mrs. Rogers and Mrs.Bradshaw played it atDruryLane. Sir William Davenant's The Siege of Rhodes,, first produced 1656, was considerably enlarged on its revival at the Duke's house in 1662, and a Second Part was added. These Two Parts were printed 4to, 1663. As it originally appeared it had been issued 4to, 1656. The Indian Emperor (1665), although a sequel to The Indian Queen (1664), is a distinct and separate play by itself. Several of Tom Killigrew's lengthy plays are in Two Parts : Thomaso ; or, The Wanderer , i and u ; Bellamira, her Dream, i and ii ; Cicilia and Clorinda, i and n (all separate titles 1663, but collected folio with common title 1664). Mrs. Behn followed up The Rover; or. The Banished Cavaliers, acted at the Duke's house, 1677, by a Second Part in 1681. Each of these two comedies is complete by itself, the scene of the first being Naples during the carnival, of the second Madrid. They are brilliant plays, full of intrigue and gallantry, and very amusing. The dialogue sparkles with repartee and wit. Willmore (the Rover) was superbly acted by Smith. D'Urfey divides his The Comical History of Don Quixote into Three Parts ; i and n were acted at Dorset Gardens in 1694 ; in two years later. The First is an excellent play, and the Second even better. The Third does not fall a whit behind them. p. 46. Upon Saturday. One is sensibly reminded of Bayreuth ; Das Rheingold ; Die Walkure ; Siegfried ; Das Gotterdammerung ; and Wagnerian Opera sung without cuts on consecutive nights. p. 46. The third week. It was customary for an author to receive the whole profits of the third day of his piece, Notes 1 2 3 and upon that occasion his patrons and friends would rally to support him. In the dedication to The Squire of Ahatia (4to, 1688), Shadwell says, C I had the great honour to find so many friends, that the house was never so full since it was built as upon the third day of this play, and vast numbers went away that could not be admitted.' He netted in this instance one hundred and thirty pounds, a large sum for the time. p. 47. His Mother had appear d to him like a Ghost. In Act iv, Scene 3, of The Conquest of Granada (n), the lovesick Almanzor waiting outside Almahide's apartments is met by the ghost of his mother, who in an exquisitely written scene reproves him for his unchecked passion and promises that the mystery of his birth shall be before long revealed. p. 48. A lady that was drown d at Sea. Cf. The Conquest of Granada (n), Act iv, Scene 3. 'The Alhambra, or a gallery.' . . . Almanzor 'goes to the door; the ghost of his mother meets him : he starts back : the ghost stands in the door.' 'Almanz. Again ! by Heav'n I do conjure thee, speak ! What art thou, Spirit ? and what dost thou seek ? [ The ghost comes on, softly , after the conjuration ; and ALMAN ZOR retires to the middle of the stage. Ghost. I am the Ghost of her who gave thee birth : The airy shadow of her mouldering earth. Love of thy father me through seas did guide ; On seas I bore thee, and on seas I died. I died ; and for my winding-sheet a wave I had, and all the ocean for my grave.' p. 48. The Tragic issues of our Love. Cf. The Ungrateful Favourite (410, 1664), Act iii, Scene 4 : 4 Let me intreat The issues of our love.' p. 48. Drawcansir. Drawcansir is a burlesque of Almanzor in The Conquest of Granada (1670). In his 'Essay on Heroic Plays ' prefixed to the published play Dryden ably defends his hero. ' Tis said that Almanzor is no perfect pattern of heroic virtue, that he is a contemner of Kings, and that he is made to perform impossibilities. I must therefore avow, 124 Notes in the first place, from whence I took the character. The first image I had of him was from the Achilles of Homer, the next from Tasso's Rinaldo (who was a copy of the former), and the third from the Arteban of Monsieur Calprenede, who has imitated both.' Dryden then examines at length the temper of Achilles, pertinently quoting from the first book of the Iliad his famous quarrel with Agamemmon, and Horace's 'Honoratum si forte reponis Achillem Impiger, iracundus, inexorabilis, acer Jura neget sibi nata, nihil non arroget armis.' He also touches on various points in La Gerusalemme Liberata, and after having made an excellent case concludes : c If the history of the late Duke of Guise be true, he hazarded more and performed no less in Naples than Almanzor is feigned to have done in Granada.' In the Epistle Dedicatory 'To His Royal Highness the Duke' of York, he further says : C I have formed a hero I confess ; not absolutely perfect ; but of an excessive and over boiling courage, but Homer and Tasso are my precedents. Both the Greek and the Italian poet had well consider'd that a tame hero who never transgresses the bounds of moral virtue, would shine but dimly in an epic poem. . . . But a character of an eccentric virtue is the more exact image of human life, because he is not wholly exempted from its frail ties ; such a person is Almanzor. ... By the suffrage of the most and best he already is acquitted.' p. 49. Since death my earthly part . . . This burlesques a speech of Berenice, the faithful wife of the Emperor Maximin, to her lover Porphyrius, Tyrannic Love, Act iii : ' Porphyrius. And would you rather choose your death than me ? Berenice. My earthly part Which is my tyrant's right, death will remove ; I'll come all soul and spirit to your love. With silent steps I'll follow you all day ; Or else, before you, in the sunbeams play : I'll lead you thence to melancholy groves, And there repeat the scenes of our past loves. Notes i 2 5 At night, I will within your curtains peep ; With empty arms embrace you while you sleep : In gentle dreams I often will be by, And sweep along before your closing eye. All dangers from your bed I will remove, But guard it most from any future love ; And when at last, in pity, you will die, I'll watch your birth of immortality : Then, turtle-like, I'll to rny mate repair, And teach you your first flight in open air. [Exit BERENICE.]' After the assassination of the tyrant Berenice is united to her lover. Berenice was acted by Mrs. Marshall, Porphyrius by Hart. p. 50. Hold) stop your murdering hands. In Settle's Cambyses (1666), Act v, as Mandana, a captive princess, is led to execution the following occurs : 4 Mandana. Now, executioner. Osiris. Hold ! you mistake, Osiris lives ! ' p. 51. Well supple Statues in thy 'Temple grow. Cf. Sir Robert Howard's The Blind Lady (i2mo, 1660), If you deny I'll grow a fixed monument still to ubraid your rigour/ p. 51. Lo, from this conquering Lance. This supplying of wine, a pie, and cheese by Pallas from her lance, helmet, and shield ridicules a scene in Porter's tragedy The Villain^ Act iii. Thomas, fourth son of Endymion Porter, staunchest of royalists, was born in 1636. He was from his youth up a swashbuckling adventuring fellow, and when only nineteen had been imprisoned for abducting his future bride, Anne Blount, daughter to the Earl of Newport. He twice killed his man in a duel. The first time he was burned in the hand, but on the second occasion had to fly. Pepys gives very full details of this latter encounter, which took place in July, 1667. Porter was afterwards recalled from exile. He lived till 1680. He has left four plays. The Villain, a tragedy (410, 1663, 1670, 1694), was produced at the Duke's Theatre, Saturday, 18 October, 1662. It was played to crowded houses with immense success. On the Monday 126 Notes after the first performance young Killigrew extolled it to Pepys in the highest terms 'as if there had never been any such play come on the stage'. Both Captain Ferrers and Dr. Clarke seconded his praise. Accordingly the diarist promptly took coach and went, but 'whether it was in over- expecting or what, I know not, but I was never less pleased with a play in my life. Though there was good singing and dancing, yet no fancy in the play'. Doubtless the presence of Mrs. Pepys considerably dashed his enjoyment, for soon after he saw it at least twice again, and confesses 'the more I see it, the more I am offended at my first undervaluing the play, it being very good and pleasant, and yet a true and allowable tragedy'. The Carnival (^.to, 1664), was produced at the King's House in 1664. The scene is laid in Seville. It is a capital comedy meriting the good reception it obtained. A Winy Combat; or, the Female Victor (4to, 1663), was 'acted by persons of quality in Whitsun week with great applause'. The plot narrates the adventures of Mary Moders or Stedman, a notorious imposter of the day, who pretended to be a princess from Germany. Her doings may be found in Kirkman's Counterfeit Lady Unveiled (%to, 1673). On 15 April, 1664, Pepys saw the woman herself act fbe German Princess which Geneste identifies with Porter's play. The French Conjuror (4to, 1678), came out at the Duke's Theatre, 1678. It is an excellent comedy with a highly amusing epilogue in broken French criticizing English actors. The plot is founded on two stones in Guzman d' Alfarache. They are improved in the borrowing. The Villain is a good tragedy, ably written and interesting throughout. The diction is easy and natural, and although never rising perhaps to any great heights yet well sustained and equable. The scene is laid at Tours. A regiment has just been quartered on the town and the play deals with the wrangles and strifes, subtly sown amongst the officers by Malignii, a major, whose machinations bring about no less than five deaths. Clairmont, the general, and Brisac, the hero, kill each other in a duel. Beaupres and Bontefeu are Notes 1 27 likewise enmeshed in a fatal quarrel, and Belmont, who, is secretly married to Beaupres, is wounded to death by her husband in a mad fit of jealousy. His characters bear Porter's own stamp and are a trifle over-ready to resort to the sword on the smallest provocation. There is no doubt the play owed much to the acting of Sanford as Malignii. Aston and Gibber both praise him highly in this role, and King Charles II swore he was the best villain in the world. The scene here parodied is Act iii. The host, who is a thorough rogue, and his wife enter, having just been expelled by their landlord from the tavern, and he forthwith opens house by the wayside. D'Elpeche, Lamarche, two officers, with their mistresses Mariane and Francibel, accom panied by Coligni, the girls' clownish brother, proceed to sample the cheer. 4 Enter HOST and his WIFE. Host. Nay, prithee weep not, chuck : I'll warrant thee There's nobody will take the house off their hands, Now we have left it. Wife. But what an inhuman dog to turn us out, Just when these blades were come to town ! O the tearing customers we should have had ! Host. No matter, no matter, God's precious, They cannot hinder me my standing on the king's ground, And we will vent our merchandise here, In spite of their noses : set down the table, chuck ! There, there, so, lay the stools under it. Pox, let's be merry for all this, chuck. Hang sorrow, care will kill a cat. Wife. Truly, husband, I believe that's the reason Ours died this morning. Host. Away, woman, away Sings. When as King Peppin rul'd in France, A king of wondrous might, He that could the coranto dance, Was straightways made a knight. If any pass this way, I'm sure they'll stop, For here's man's meat, and woman's meat ; 128 Notes Thou for the men, and I for the women, At the sign of St. Anthony's pig. Wife. But why have you chang'd the sign we had before ? St. Lewis is as much respected in this country. Host. Aye, but you know the prodigal child thrust out of Doors, kept company with pigs, good wife, and sows. Wife. 'Tis true, and with hogs, good husband, and hogs. Host. Away, thou cockatrice ; peace, here's company. Enter COLIGNI, D'ELPECHE, MARIANE, LAMARCH, FRANCIBEL. Sings. Please you, monsieurs, entertain The damoisels ye bring ; Here's cheer, there ne'er was such in Spain, And wine would fox a king. Here's capons that from Bruges came In post for expedition, And veal so white, that none in Gant Can come in competition. Here's sallet mystic savor has, As mystic as the color ; A lover being put to grass Pick'd it against love's dolour. Here's vin de Bon, vin de Champagne, And vin de Celestine, And here is that they call Bouru, Which to love's sports incline. Sa, sa, monsieurs, what have you a mind to ? Col. Odd's my life, gentlemen, here is the bravest Fellow I ever read of in all my travels; Pray, friend, what show do you represent ? Host. Show, sir ? Col. Ay, show, sir ; does that offend you ? Uds fish, I care not a fart an you be offended at show, sir. What do you wear that in your hat for, sir, If it be not for a show, sir, ha ? Host. Why, for a sign, sir. Col. For a sign ? Why, are you the post ? Ha, ha, ha, ha ! A very good jest. Did not I put a very good jest upon him, gentlemen ? Notes 1 29 Host. Yes, you did, a very good jest ; ha, ha, ha, 'twas a very good Jest i' faith, gentlemen. Col. Why, so it was, sir ; for all your sneering. Host. Why, so I thought, sir ; 'tis very strange you will be so Angry without cause. Franc. So, so, gentlemen, my brother's taken up. D^Elp. Aye, aye, let him alone, let's mark 'em. Col. Why, sir, without a cause ? I was angry at something ; I was angry at a post, and there you have it again, Ha, ha, ha, ha. Host. I'm glad you are pleas'd again, For I find your wits riding post, ha, ha, ha, ha. Col. A pig, a pig, a pig, ha, ha, ha. Host. 'Tis the sign of the pig, and I'm the master of the Cabaret, which shall give you most excellent content. Col. Say'st thou so, honest fellow ? Faith, thou art a very merry honest fellow ; Sisters, I'll treat you and these gentlemen At this cabaret he talks of. Prethee, honest friend, Where is this cabaret ? for I long to be in a cabaret. Host. Why, here, sir, sit down at this table, And call for what you will. D'Elp. How's this, how's this ? 'Sdeath are you one of Urganda's Squires ? Pray, friend, whence shall the meat And wine come ? Lamar. From Tripoli on a broomstick. Host. Pray, gentlemen, hinder me not the custom of the young gallant ; Entreat but these ladies to sit down, and break my head if you be not Well-treated I'll desire no favour. Col. Nor no money neither, I hope, sir. Host. Truly I won't ; if you be not pleas'd above expectation, Ne'er trust one again of my profession. D'Elp. Faith, ladies, this may prove worth our curiosity ; Come, we will sit down. Mar. What you please, sir. Col. That's my good sister : come, come, La couvert, la couvert. Lamar. This begins to look like something: he's bravely stuff'd, 130 Notes I'll warrant you, he is so well hung. Col. Now, sir, a cold breast of your delicate white veal. Host. Here you have it, sir. Col. Nay, nay, and a sallet, good sir, a sallet. Host. Well, sir, I must untruss a point. Col. How, sir, to give us a sallet ? Why have you been at grass? D^Elp. Why d'ye want a boil'd sallet, monsieur ? Lamar. Before St. Lewis, an excellent trimming. I'll ha' my next suit, that I go into the campaign with, Trimm'd all with sausages. Mar. 'Twill make many a hungry soldier aim at you. Col. Well thought on, i' faith, sir. Come, friend, a dish of sausages ; a dish of sausages. Host. Why look you, sir, this gentleman only mistook The placing ; these do better in a belt. Franc. A strange fellow this. jyElp. Aye, is it not ? Come, sir, wine we see you have Prethee let's taste the best. Host. That you shall, sir. If you'llfhear music and a song with 't, I'm ready : you shall want nothing here. Sings. Ye may tipple, and tipple, and tipple, all out. Till ye baffle the stars, and the sun face about. D'Elp. Away with your drunken song ; have you nothing Fitter to please the ladies ? Host. Yes, sir. D'Elp. Come away with it then. HOST sings. Col. Most excellent, i' faith ! Here's to thee, honest fellow, With all my heart: nay, stay a little, this is very good wine. Here's to thee again hark, you honest fellow, Let me speak with you aside. D'ye count here by pieces, or d'ye treat by the head ? Host. I'll treat by the head, sir, if you please ; A crown a head, and you shall have excellent cheer, Wine as much as you can drink. Col. That's honestly said : you know my father, friend ; 'Tis Monsieur Cortaux. Notes 1 3 1 Host. Yes, sir, the famous scrivener here of Tours. Co/. Well, treat us very well ; I'll see thee paid. Host. Nay, sir, I'll see myself paid, I'll warrant you, Before you and I part. Col. I do mean it so, honest friend, but prethee Speak not a word to the gentlemen, for then You quite disgrace, sir, your most humble servant. Host. Mum, a word to the wise is enough. Col. Come, come, friend, where's the capon of Bruges You last spoke of? Host. Here at hand, sir ; wife, undo my helmet : This, sir, is my crest. D'Elp. A very improper one for a married man. Col. Yes, faith and troth, he should have had horns, ha, ha, ha ! Here's to ye, noble captain, a very good jest, As I am a gentleman. <D'Elp. I thank you, sir ! Col. Methinks you are melancholy, sir ! Lamar. Not I, sir, I can assure you : ladies, how Like ye the sport ? an odd collation, but well contriv'd. Franc. The contrivance is all in all. Mar. What makes my brother kneel ; look, look, sister. Col. Here's a health to our noble colonel ; Gentlemen, ye see 'tis a good one ! D'E/p. Yes, and a large one, but if both drink it, How shall we lead your sisters home ? Col. No matter, hem : here 'tis, gentlemen, super naculum ; Come, come, a tansy, sirrah, quickly. D Elp. H'as pos'd ye there, mine host. Host. That's as time shall try, look ye here, sir : The lining of my cap is good for something. Lamar. Faith, this was unlook'd for. D'E/p. 'Sfish, I think all his apparel is made of commendable Stuff: has he not gingerbread shoes on ? Host. No, truly, sir, 'tis seldom call'd for in a tavern ; But if ye call'd for a dish of pettitoes, 'twere But plucking off my wife's buskins. Franc. We'll rather believe than try. Col. S'foot, I'll puzzle him now. A chamber-pot, Quickly, sirrah, a chamber ! O ! O ! O ! Quickly ! Host. Here, sir, you see it serves for a good cap with Feathers in't. This won't do, do your worst, i 3 2 Notes Gallant, I'll fit ye. Call for what ye please. Col. Nay, I've no need on't. 'Faith, thou art a brave Fellow. Here's mine host's health, gentlemen. D ' Elp. Could you procure these ladies a dish of cream, Sir, this will show your masterpiece. Host. 'Tis the only weapon I fight at ; look ye, Gentlemen,the thunder has melted my sword in the scabbard ; But 'tis good, taste it. D'Elp. Th'ast my verdict to be the wonder of hosts, Shalt have a patent for it if I have any Power at court. Lamar. This is excellent.' There is next a dance, and Coligni, who has become intoxi cated, is left in the host's care. p. 52. He that dares drink. This parodies The Conquest of Granada (n), Act iv, Scene 3 : 4 Almahide. Who dares to interrupt my private walk? Almanzor. He who dares love, and for that love must die, And, knowing this, dares yet love on am I.' p. 53. PI take your Bowles away. In burlesque of The Conquest of Granada (i). Act v, Scene 3 : 4 Almanxor. I will not now, if thou wouldst beg me, stay; But I will take my Almahide away.' p. 53. Who e'er to gulp one drop. Cf. The Conquest of Granada (i), Act v. Scene 3 : { Almanzor. Thou dars't not marry her while I'm in sight: With a bent brow thy priest and thee I'll fright ; And in that scene Which all thy hopes and wishes should content, The thought of me shall make thee impotent.' p. 53. / drink) I huff. Cf. The Conquest of Granada (n), Act ii, Scene 3 : 4 Almanzor. Spite of myself I'll stay, fight, love, despair; And I can do all this, because I dare.' The Conquest of ~ Granada was peculiarly vulnerable to parody. In Buckingham's Works (17 '04), vol. n, is printed the follow ing quatrain : 4 A Py, a Pudding, a Pudding a Py, A Py for me, and a Pudding for thee ; Notes 133 A Pudding for me, and a Py for thee, And a Puddfng-Py for thee and me.' in parody of The Conquest of Granada (i), Act v, Scene I : ^Abenamar. For as old Selin was not mov'd by thee, Neither will I by Selin's Daughter be.' p. 54. My design is guilded Truncheons. In the first 4to, 1672, the words Roman clothes' are inserted before 'guilded truncheons'. The allusion is to the revival of Catiline. On 1 1 December, 1667, Pepys meeting his crony Harry Harris, a member of the Duke's company, 'talked of Catiline which is to be suddenly acted at the King's House ; and there all agree that it cannot be well done at that house, there not being good actors enough ; and Burt acts Cicero, which they all conclude he will not be able to do well. The King gives them ^500 for robes, there being, as they say, to be sixteen scarlet robes.' Harris showed true professional jealousy and malice. On 1 1 January, however, a month later, Mrs. Knipp informed the diarist that Catiline 'for want of the clothes which the King promised them, will not be acted for a good while '. Ben Jonson's tragedy was eventually produced on Friday, 18 December, 1668, and Pepys, seeing it the next day from a box, found it rather dull 'though most fine in clothes, and a fine scene of the Senate, and of a fight, as ever I saw in my life'. On one occasion when 'there happened to be one night a play acted called Cataline^s Conspiracy^ wherein there was wanting a great number of senators'. Hart, who played Cataline, pressed Haines, the low comedian, into service as a super, and 'would oblige Jo to dress for one of these senators'. In revenge Haines appeared upon the stage during the fifth act dressed as a scaramouch with a large full ruff, a peaked merry-Andrew's cap, whiskers from ear to ear, and puffing at a great pipe sat him down upon a little three-legged stool laughing at the great tragedian. The house burst into a roar of jeering and hoot ing, and Hart, after a few minutes, discovering the cause, stalked off the stage 'swearing he would never set foot on it again, unless Jo was immediately turned out of doors, which was no sooner spoke, but put in practice.' i 3 4 Notes p. 54. Sctena II. This scene between Prince Pretty-man and Prince Volscius is reminiscent of Orrery's Mustapba (1665), Act ii, the dialogue between Zanger and Achmat. p. 54. I gladly would that story from tbee learn. Cf. Orrery's Mustapba, Act ii : 4 Zanger. Love is a god and cannot be withstood I rather would if e'er he conquered you, Be told how first he did your heart subdue.' p. 55. How weak a Deity would nature prove. Cf. Orrery's Mustapba, Act ii : 'Mustapba. Ev'n reason's power is useless against love, For when he enters reason does remove.' p. 55. Revive still as they roast. Cf. Orrery's Mustapba, Act ii : 4 Zanger. Warm me and quench me for I freeze and burn, And at one object both rejoice and mourn. What means't thou, Nature, is it bad or good, To make this April-weather in my blood ? ' p. 56. Were all Gods join d. A parody of Maximin in Tyrannic Love, Act ii. The emperor, having become violently enamoured of his fair captive, St. Catherine, suddenly suspects Placidius c a great officer ' of being his rival : 'Placidius (kneeling). Far, mighty prince, be such a crime from me, Which, with the pride, includes impiety. Could you forgive it, yet the gods above Would never pardon me a Christian love. Maximin. Thou liest : there's not a god inhabits there, But for this Christian would all heaven forswear. Ev'n Jove would try more shapes her love to win, And in new birds and unknown beasts would sin, At least, if Jove could love like Maximin.' For another parody of Maximin's heroics cf. Crowne's The Country Wit (1675), Act iv, Scene 2 : ' Booby. Your Worship and I acted a tragedy book, you know. Sir Man. Yes ; and I was a hero, and I remember two of the bravest lines Notes i 3 If Saucy Jove my enemy appears I'll pull him out o' heaven by the ears ! There's ramping for you. Lady Fad. Saucy Jove ! That's very great ! that took mightily here/ p. 56. Durst any of the Gods. In Tyrannic Love, Act i, when the tribune Albinus enters bearing the news that the young prince Charinus has been killed in a skirmish, Maximin cries : ' Stay ; if thou speaks't that word, thou speaks't thy last : Some god now, if he dares, relate what's past : Say but he's dead, that god shall mortal be.' And a little later : 1 Provoke my rage no farther, lest I be Reveng'd at once upon the gods and thee.' In Act v he utters the famous rant : 1 What had the gods to do with me or mine ?' Maximin was acted by Mohun, whose performance was a masterpiece. In spite of its frenzies the emperor's rodomon tade is not so unnatural as critics have thought when we remember 'Dominus et Deus noster' 1 Domitian ; Commo- dus, Caracalla, Heliogabalus and other Caesars. For all its bombast Tyrannic Love is a tragedy of high merit and has many exquisite felicities. p. 56. The joys of Heaifn in Hell. Boileau summarized Quietism as the enjoyment in paradise of the pleasures of hell. p. 57. Too great for prose. Cf. the opening paragraphs of Dryden's < Essay of Heroic Plays' which serves as a preface to The Conquest of Granada (i). p. 57. Let down the Curtain. In the Restoration theatre it was the usual practice for the curtain to rise at the commence ment and fall at the end of the play, so that the close of each intermediate act was only marked by a clear stage. There are few exceptions to this rule, but Orrery, in his Henry the Fifth (1664), makes great use of the curtain, occasionally even during an act, and there is a striking example in Mrs. Behn's The Forced Marriage ', acted December, 1670. The stage directions to Act ii are as follows : 'The curtain 1 Cf. Martial, Lib. v. 8 ; also Suetonius , 'Domitianus 1 , cap 13 ; and Xiphilinus. 136 Notes must be let down, and soft music must play. The curtain being drawn up discovers a scene of a temple.' The repre sentation of a wedding is shown with the King, court and priests. 'This within the scene. Without on the stage' appear a large number of characters intently gazing at the ceremony, c all remaining without motion, whilst the music softly plays. This continues awhile till the curtain falls, and then the music plays aloud till the act begins' with the entry of two characters who have already been on watching the wedding. Any difficulties were, of course, obviated by the apron stage. No doubt this was occupied by Bayes and the two gentlemen, well forward ; but it is impossible to say exactly which scenes of The Rehearsal were acted within the prosce nium and which on the apron. At the end of this fourth act, however, Bayes would clear the stage, and, saying Let down the curtain,' go off with the others. When the fifth act was to begin he would enter with Smith and Johnson through a proscenium door, of which entrances or exits there was one on either side of the stage, and after his first speech the curtain would be drawn up to discover the tableau of the usurping Kings, the cardinals, court and retinue. The whole subject of the apron stage and proscenium doors has been discussed in a most thorough and masterly way by Mr. W. J. Lawrence in his scholarly The Elizabethan Playhouse and other Studies. Amongst other examples he quotes this passage of The Rehearsal to illustrate his points. In his exquisitely beautiful Shakespearean productions at the Savoy theatre during the winter of 1912-13, Granville Barker reproduced almost exactly the conditions of the Restoration theatre. Characters were able to advance from behind the proscenium on to the apron, and as the curtain fell they would uninterruptedly continue the scene, whilst others could appear as required from the two curtained entrances beyond the proscenium, one door on either side of the stage. Notes 137 ACT V. p. 57. Harry the Eight. See note (p. 105) on Harry the Eight, Act ii, Scaena 5, p. 27. p. 57. The Curtain is drawn up. Cf. Orrery's Henry the Fifth (1664). The Fourth Act. The curtain being drawn up. The Duke of Burgundy, the Constable, Earl of Charalois, and the Bishop of Arras are seen sitting at one side of a table, attended by the French officers of state ; on the other side are seated the Duke of Exeter, Duke of Bedford, the Archbishop of Canterbury and the Earl of Warwick, attended by the English.' Also the same author's The Black Prince (19 Oct., 1667). 'The Second Act. The First Scene. The curtain being drawn up, King Edward the Third, King John of France, and the Prince of Wales appear' with a great attendance of lords, ladies, royal guards. There are elaborate stage directions, c two scenes of clouds appear, the one within the other ; in the hollow of each cloud are women and men richly apparell'd who sing in dialogue and chorus as the clouds descend to the stage ; then the women and men enter upon the theatre and dance ; afterwards return into the clouds, which insensibly rise, all of them singing until the clouds are ascended to their full height, then only the scene of the King's magnificent palace does appear, all the company arise,' and the Act proper begins. p. 58. He is bis Son. Cf. Joyner's The Roman Empress (4to, 1671), Act iii : i Aurelia. Arsenius has let me know Of late a secret which will raise your wonder, How Florus is his son.' p. 58. Invades our ears. Cf. The Indian Queen (1664), Act i, Scene i : ^ A each. What noise is this invades my ear?' Also Davenant's The Siege of Rhode s^ First Entry: 'Alphomo. What various noises do mine ears invade And have a concert of confusion made ? ' i 3 8 Notes In Settle's Cambyses (1666), f two glorious spirits descend in clouds' with a song which is interrupted by 'a bloody cloud and ghosts': i Smerdis. What pleasant music's this which charms my ears ! 1st Priest. Some airy concert from the lower spheres.' p. 58. Virgin vests. Cf. Cosmo Manuche's The Bastard (4to, 1652), Act iv, Scena secunda : 'Picarro. Behold! Her spotless soul, attir'd in white, ascends In a clear chariot, drawn by virgins.' p. 59. Our modern Spirits. The song of the two right kings is a parody on Act iv of Tyrannic Love (1669), which opens in an Indian cave, where, after various occult ceremonies, the warlock Nigrinus, for the benefit of Placidius, who is enamoured of St. Catherine, raises two spirits, Nakar and Damilcar : NAKAR and DAMILCAR descend in clouds and sng. Nakar. Hark, my Damilcar, we are call'd below ! Dam. Let us go, let us go ! Go to relieve the care Of longing lovers in despair ! Nakar. Merry, merry, merry, we sail from the east, Half tippled at a rainbow feast. Dam. In the bright moonshine while winds whistle loud, Tivy, tivy, tivy, we mount and we fly, All racking along in a downy white cloud : And lest our leap from the sky should prove too far, We slide on the back of a new-falling star. Nakar. And drop from above In a jelly of love ! Dam. But now the sun's down, and the element's red, The spirits of fire against us make head ! Nakar. They muster, they muster, like gnats in the air : Alas ! I must leave thee, my fair ; And to my light horsemen repair. Dam. O stay, for you need not to fear 'em to-night ; The wind is for us, and blows full in their sight : And o'er the wide ocean we fight ! Notes 139 Like leaves in the autumn our foes will fall down ; And hiss in the water Both. And hiss in the water and drown ! Nakar. But their men lie securely intrench'd in a cloud, And a trumpeter-hornet to battle sounds loud. Dam. Now mortals that spy How we tilt in the sky, With wonder will gaze ; And fear such events as will ne'er come to pass ! Nakar. Stay you to perform what the man will have done. Dam. Then call me again when the battle is won. Both. So ready and quick is a spirit of air To pity the lover, and succour the fair, That, silent and swift, the little soft god Is here with a wish, and is gone with a nod. (The clouds part ; NAKAR flies />, and DAMILCAR down.) 1 A vision of St. Catherine asleep is produced ; however, her guardian angel Amariel descending in a whirl of fire and glory straightway dispels the magic glamour with his flaming sword. This scene must have been extraordinarily effective on the stage. Kynaston acted Placidius, Beeston the con juror, and Mrs. Boutell St. Catharine. p. 60. A Coranto of France. The c swift coranto' was a quick lively dance of French origin. p. 60. A Conjuror. In allusion to Nigrinus in Tyrannic Love, vide supra note our modern spirits (p. 59). In Act iii of The Indian Queen (1664), we are shown the cell of the necromancer Ismeron, who invokes the God of Dreams to reveal the future to Zempoalla. The deity, however, refuses to play the prophet and bluntly tells the love-sick queen, 'Seek not to know what must not be revealed.' There is also a song 'supposed sung by aerial spirits.' Wizards, witches, and incantation scenes are frequent in heroic tragedies. They were largely introduced for scenic purposes. p. 6 1 . Let's have a Dance. The Fifth Entry of Davenant's History of Sir Francis Drake (4to, 1659) afterwards Act iii of The Playhouse to be Let (folio, 1673) is ushered in 'by a prelude and corante. 1 40 Notes Cf. Ed. Howard's The Woman s Conquest (41:0, 1671), Act iv, Scene i : 4 Renone. Some prisoners of war desire to present Your majesty with a dance, after the Manner of their country. Mandana. We admit them. \_music and a dance.~\ ' p. 6 1. Dance a grand Dance. Pepys being at the first performance of Orrery's Tbe Black Prince, on Saturday, 19 October, 1667, noted that the play had c in it nothing particular but a very fine dance for variety of figures'. He saw it again on i April, 1668, and found c the fancy, most of it, the same as in the rest of my Lord Orrery's plays, but the dance very stately'. p. 62. Five Guineys. Cf. ^he Imperial 'Tragedy (anon, 4to, 1669):- ' Ye noble sons of Mars . . . . . . This gold accept it. Castor, pray see it be distributed. Castor (a lieutenant-general). Such golden showers are rare in this our age.' p. 62. What dreadful noise is this? This scene parodies The Conquest of Granada (n), Act i, Scene 2 : 4 (A tumultuous noise within). Enter ABDELMELECH. Eoabdelin. What new misfortune do these cries presage ? Abdel. They are th' effects of the mad people's rage. Enter a Second Messenger. Sec. Mess. Haste all you can their fury to assuage. You are not safe from their rebellious rage. Enter a Third Messenger. Third Mess. This minute if you grant not their desire They'll seize your person, and your palace fire.' Cf. Orrery's Mustapba (1665), Act iv : < Enter SOLYMAN, RUSTAN, PYRRHUS. [Shouts are heard from within."] Soly. What shouts are these ? Rust. Shouts which your soldiers pay, Hearing Prince Mustapha has leave to stay.' Notes 1 4 1 And again, a little earlier in the same play : * Thuricus. The Sultan's troops, more swift than in alarms, Are without orders running to their arms. Vtche. Rustan does now in sev'ral shapes appear, For he is often altered by his fear. Cardinal. The army is so bent to mutiny That Mustapha does counsel you to fly. Madam, we all are to your flight inclin'd. Queen. But to this place, my Lord, I am confin'd And by a tie which has such influence, That I will rather die than fly from hence. (A mutinous noise is heard). Card. Their anger is grown loud ! Madam, 'tis fit That you send out to know the cause of it.' p. 63. Amarillis speaks very well. Sheridan imitates this very closely in The Critic (1779), Act m '> Scene i: "Puff. Now, sir, your soliloquy Beefeater. Though hopeless love finds comfort in despair, It never can endure a rival's bliss ! But soft I am observed. (Exit). Dangle. That's a very short soliloquy. Puff. Yes but it would have been a great deal longer if he had not been observed.' p. 63. I sum up my whole Battle. Sir William Davenant's The Siege of Rhodes (i), The Fifth Entry, is here aimed at. The scene was c a representation of a general assault given to the Town ; the greatest fury of the army being discerned at the English Station. The Entry is again prepar'd by instrumental music.' Two persons, Pirrhus, vizier bassa, and Mustapha, bassa, commence the Entry. They are joined by the Sultan Solyman. Alphonso, a Sicilian noble, righting for the Rhodians, and the Admiral of the Isle next appear. A little later the scene changes to the town besieged, and we are introduced to Villerius, Grand Master of Rhodes, with lanthe, Alphonso's wife. Davenant has managed his battles excellently, although of course in an opera there must be certain conventions in such scenes, which to us are quite natural and allowable, and yet to the Duke of Buckingham and the wits must always give ample scope for burlesque and clever parody. 142 Notes p. 65. Enter ^ at several doors. The Siege of Rhodes (i), commences thus: 'The curtain being drawn up, a lightsome sky appear'd discovering a maritime coast, full of craggy rocks and high cliffs . . . and, afar off, the true prospect of the city of Rhodes. ... In that part of the horizon, terminated by the sea, was represented the Turkish fleet, making towards a promontory, some few miles distant from the town . . . instrumental music/ 'The First Entry. Enter ADMIRAL. Admir. Arm, arm, Villerius, arm ! Thou hast no leisure to grow old ; Those now must feel thy courage warm, Who think thy blood is cold. Enter VILLERIUS. VilL Our Admiral from sea ! What storm transported! thee ? Admir. Arm ! Arm ! The Bassa's fleet appears ; To Rhodes his course from Chios steers.' p. 65. Villain^ tbou lyest. Cf. Mrs. Behn's The Forced Mar riage ; or, The Jealous Bridegroom (4to, 1671), Act ii, Scene 7. 4 Philander. Villain, thou liest ! Alcippm. That you are my prince shall not defend you here. Draw, sir, for I have laid respect aside.' Abdelazar ; or, The Moors Revenge (4to, 1677), Act iv, Scene 4 : ' Philip. Death ! you lie ! Cardinal. Lie ! sir ! Phil. Yes, lie sir.' Sir R. Howard's The Surprisal, Act iv, Scene 3 (1665 folio) : 4 Samira. Villain thou liest, in everything thou liest.' p. 65. Draw down the Chelsey Cuirasiers. The Third Entry in The Siege of Rhodes commences thus : 4 Solyman. Pirrhus, draw up our army wide ! Then from the gross two strong reserves divide ; And spread the wings ; Notes 143 As if we were to fight, In the lost Rhodians' sight, With all the western kings ! Each wing with Janizaries line ; The right and left to Haly's sons assign, The gross to Zangiban. The main artillery With Mustapha shall be : Bring thou the rear, we lead the van.' At the beginning of the Fifth Entry is : 4 Mustapha. Point well the cannons and play fast ! Their fury is too hot to last. That rampire shakes, they fly into the town. Pirrhus. March up with those reserves to that redoubt ; Faint slaves ! the Janizaries reel ! They bend, they bend ! and seem to feel The terrors of a rout. Musta. Old Zanger halts, and reinforcement lacks ! Pirrhus. March on ! Musta. Advance those pikes, and charge their backs ! ' Cf. also The History of Sir Francis Drake, being Act iv of The Playhouse to be Let : 4 Dra^e junior. More pikes ! More pikes ! to reinforce That squadron, and repulse the horse.' and the whole conduct of the battle concluding that act. p. 65. Petty France. Petty France, rebuilt in 1730 and called New Broad Street, was, in the reign of Charles II, to the north of Broad Street, beyond the city wall. The passage, mentioned by Defoe in his 'Journal of the Plague Year' as leading from Petty France into Bishopsgate churchyard, is still in existence. p. 66. This was unkind, O moon. Cf. Daphne's address to a laurel bush in Stapylton's The Stepmother (4to, 1 664), Act iii, Apollo's Masque : Daphne. False laurel, wert thou kind so long At last to sell me for a song ? ' p. 67. A dialogue . . . Slighted Maid. The Slighted Maid is a comedy by Sir Robert Stapylton, the third son of Richard Stapylton, of Carlton, near Snaith, Yorks. He was educated in 144 Notes the Benedictine convent of St. Gregory at Douai, took the habit, and was solemnly professed, 30 March, 1625. In the words of Wood, being too gay and poetical to be confined within a cloister,' he left the Order, became a Protestant, and was appointed one of the Gentlemen in Ordinary of the Privy Chamber to Prince Charles. He followed the King from London, and was knighted at Nottingham, 13 September, 1642. After Edgehill, accompanying the king to Oxford, he was created D.C.L. in November, 1642. He remained here until the city surrendered to Fairfax, 1645. Under the Commonwealth he lived in retirement, devoting himself to study, and at the Restoration was promptly made one of the Gentlemen Ushers of the Privy Chamber. Stapylton died 10 July, 1669, and was buried five days later near the vestry door of Westminster Abbey. There are three engraved portraits, one by William Marshall. He published several translations from the classics, of which his Juvenal is the best known, and also various copies of commendatory verses. His dramatic works are four in number. The Royal Choice, unprinted, but entered on the register of the Stationers' Company, 29 November, 1653. ne Slighted Maid (4to, 1663) was produced early in 1663 at the Duke's Theatre. It met with success. On 29 May, 1663, Pepys seeing it for the second time, found c the play is not very excellent, but is well acted.' On 28 July, 1668, being in a bad temper, he reports it c a mean play.' Dryden has some severe strictures on the piece, but Geneste is fairest when he terms it c a pretty good comedy.' It is somewhat hybrid and rococo, but if carefully acted should have proved interesting. The Stepmother (^.to, 1664), acted at the Duke's Theatre, was very well received. Sir Robert did not put his name to this play, but the prologue expressly declares it to be written by the author of The Slighted Maid. The instrumental, vocal and recitative music was composed by Locke. The Tragedy of Hero and Leander (410, 1669) is taken from the pseudo-Musaeus, a poet Stapylton immensely admired. He has ventured on many additions which are by no means Notes improvements. The piece is for the most part in rhyme, very tamely written, and it is easy to understand why it was never staged. The passage here so deftly parodied occurs in Act v of Slighted Maid, and runs as follows : 'THE SCENE : Vulcan $ court, over it is writ, "Foro del Volcano." Soft music. Enter AURORA in a black veil below. SONG IN DIALOGUE. Aur. Phoebus? Phceb. Who calls the world's great light ? Aur. Aurora, that abhors the night. Phceb. Why does Aurora from her cloud To drowsy Phoebus cry so loud ? Aur. Put on thy beams ; rise (no regard To a young goddess, that lies hard In th' old man's bosom ?) rise for shame, And shine my cloud into a flame. Phceb. Oblige me not beyond my pow'r, I must not rise before my hour. Aur. Before thy hour? Look down, and see, In vain the Persian kneels to thee, And I (mock'd by the glimm'ring shade) A sad mistake in Naples made ; Like Pliny, I had lost my life, If I had been a mortal wife. Phceb. Thou cam'st too near the burning Mount Vesuvio ? Aur. Upon thy account, For I took clouds of smoke and fire, (Which here from Vulcan's court expire,) For morning-streaks, blue, white, and red, That rouse me from cold Tithon's bed. PHCEBUS enters with his beams on. Phceb. Charge not upon me for a crime, That I stay'd th' utmost point of time, Before I would put off my bays, And on Naples shed my rays, Where such a mischief they have done, As will make Venus hate the sun, 146 Notes Discovering to Vulcan's eye Where she and Mars embracing lie. Aur. I'm sorry Mars and Venus had Such privacy ; but I am glad That Phoebus does at last appear To shine away Aurora's fear. Phceb. What frighted thee ? Aur. I know not what : But thou know'st all ; what noise is that ? \Witbln VULCAN roars out : " No work, rogues ? " Phceb. 'Tis Vulcan, in a greater heat Than th' irons by his Cyclops beat : He makes the horror of that noise, Teaching and knocking his great boys. From hamm'ring out Jove's thunder, set To file and polish Vulcan's net, Which he'll catch Mars and Venus in. Aur. What now ? (Laughing within). Phceb. To laugh the smiths begin : At furious Vulcan halting off, To measure his wife's bed, they scoff. Aur. I'll leave the place ; I can no more Endure the laughter than the roar. (Tuning within). Phceb. Hark, they record ; they'll sing anon : 'Tis time for Phoebus to be gone ; For when such lyric asses bray, The God of Music cannot stay. [Exeunt PHCEBUS and AURORA. The Cyclops' song (within). Cry our ware, sooty fellows Of the forge and the bellows ; Has Jove any oaks to rend ? Has Ceres sickles to mend ? Wants Neptune a Water-fork ? All these are the Cyclops' work ; But to withdraw iron rods, To file nets to catch the gods, What can make our fingers so fine ? Drink, drink, wine, Lipari wine. Notes 1 47 (Chorus). Smoke, smoke breeds the tisic ; Wine, wine's the best physic ; For every Cyclop a full can. Our terms run thus : Some wine for us, Or no net for our Master Vulcan.' At the conclusion of the Masque the jealous Decio rushes in upon Iberio and Pyramena, who are c as Venus and Mars discovered on a bed with Cupid weeping at the foot'. Decio eventually proves to be Ericina, the Slighted Maid, who, to avenge her refusal by Iberio, personates her dead sister. Ericina is eventually wedded to Aviedo, who in his turn is found to be one Guilio, heir to Gonsalvo, c a great captain'. p. 67. ne Hey. It has been suggested that the name of this dance (hey or hay) is derived from the French, haie = a hedge, the dancers, who stood in two rows, being compared to hedges. It seems to have been a kind of reel, and Thornot Arbeau describes one of the passages-at-arms in the BufFons or Matassins as the * Passage de la Haye '. This was solely danced by men who imitated a combat. In Playford's Mustek's Handmaid '(1678), an air is found entitled c The Canaries, or the Hay.' The Canaries was greatly in vogue in France temp. Louis XIV. Two partners danced, and it appears a variant of the jig. p. 67. Sell the Earth a bargain. To sell bargains was a piece of foolery which consisted in answering innocent questions with some impudent vulgarity. Dryden sufficiently explains it in Mac Flecknoe, where he lashes Shadwell for having introduced this dirty buffoonery in The Virtuoso. In his prologue to The Prophetess (1690), he pictures the ladies, whose gallants are in Ireland with King William, gazing at the empty places, and sighing * Then think on that bare bench my servant sat ! I see him ogle still, and hear him chat ; Selling facetious bargains, and propounding That witty recreation, called dumfounding.' 1 48 Notes Lee, also, in the prologue to The Rival Queens (4^0, 1677), has the following lines : ' As for you, sparks, that hither come each day To act your own, and not to mind our play, Rehearse your usual follies to the pit, And with loud nonsense crown the stage's wit ; Talk of your clothes, your last debauches tell, And witty bargains to each other sell.' Young Ranter, a town spark, in Crowne's The English Friar (1690), is much given to this form of amusement, evidently regarding it as a gentlemanly accomplishment. p. 67. Tom Tyler. 'Tom Tyler' and 'Robin Hood' were popular old country tunes, the latter being especially asso ciated with May Day revels. p. 68. Trenchmore. Trenchmore is an old English rustic dance. According to Chappell it is first mentioned by William Bulleyn in 1564. Trenchmore first appears in The Dancing Master, Fifth Edition (1675). The direction is, to be danced 'longways for as many as you will'. The tune there given is found in Deuteromelia (i 609), where it is called 'To-morrow the fox will come to town'. p. 69. Great bobby horses. Cf. the stage direction to Ed. Howard's The Man of Newmarket (4to, 1678). 'The scene opens with the 3rd and 4th jockey mounted on the shapes of two horses.' p. 69. Achilles. The character of Almanzor Dryden tells us was largely based on Homer's Achilles. p. 69. How shall all the dead men go off? In a tragedy the principal deaths were enacted well forward on the projecting portion of the stage in front of the proscenium, and when the curtains closed the bodies were solemnly carried out by bearers. Cf. the much quoted epilogue to Tyrannic Love ( 1669). Nell Gwynne as Valeria, the tyrant's daughter, had in the last act stabbed herself. She lies dead on the boards, and at the end of the piece follows, 'Epilogue spoken by Mrs. Ellen when she was to be carried off dead by the bearers.' ' To the Bearer. Hold ! are you mad ? you damned confounded dog ! I am to rise and speak the epilogue. Notes 1 4.9 To the Audience. I come, kind gentlemen, strange news to tell ye ; I am the ghost of poor departed Nelly.' In Sir Robert Howard's The Vestal Virgin ; or The Roman Ladies (folio, 1665), as originally acted, the stage is heaped with dead, and Emilius ends with the tag : 'The world shall weep for me whenever fame Does but relate the Vestal Virgin's name.' Just as the last words were spoke, Lacy entered and began the epilogue. 'By your leave, gentlemen, After a sad and dismal tragedy I do suppose that few expected me ! ' Sir Robert however altered the end of his fourth act, and almost entirely rewrote Act v so it could be acted the comical way'. Only one character, Mutius is killed, and the 'epilogue spoken by Lacy, who is suppos'd to enter as intending to speak the epilogue for the tragedy', commences : ' By your leave, gentlemen How ! What do I see ! How ! all alive ! Then there's no use for me. Troth, I rejoice you are revived again ; And so farewell, good living gentlemen.' p. 70. Claris, in despair, drowns herself. Cf. Mrs. Behn's The Amorous Prince; or, The Curious Husband (4to, 1671), Act iv, Scene 2 : ' Guilliam. Oh, sir, the poor maid you speak of is dead ! Curtius. Dead ! Where died she ? And how ? Gull. . . . Why, sir, she came into the wood and hard by A river side she sighed and wept full sore ; And cried two or three times out upon Curtius, And then (howls.} Curt. Poor Cloris, thy fate was too severe. Gui I. And then, as I was saying, sir, She leaped into the river, and swam up the stream.' p. 71. Go to Dinner. In 1658 when Sir William Davenant was very cautiously attempting his Entertainments of Music with scenes, the hour of the play was three o'clock as we learn from the title of The Cruelty of the Spaniards in Peru 150 Notes (4to, 1658), 'represented daily at the Cockpit in Drury Lane, at three afternoon punctually.' At the Restoration the play began half an hour after. In the prologue to The Wild Gallant^ produced 5 February, 1663, an astrologer appears and reads C A figure of the heavenly bodies in their several apartments, Feb. 5th, half an hour after three afternoon from whence you are to judge the success of a new play The Wild Gallant? This hour for the curtain was maintained for at least a couple of decades, though it gradually became a little later. Some alteration was made, I am inclined to think, soon after the death of Charles 11. By the end of the century, at any rate, five o'clock was the regular time. It may be remarked that the famous play-bill for the opening of Killigrew's 'New Theatre in Drury Lane ', this day being Thursday, 8 April, 1663, with The Humorous Lieutenant, says, ' The play will begin at three o'clock exactly ; ' but Mr. Lowe has acutely shown that this bill is indisput ably a forgery. The Playbill of The Confederacy 'the sixth day of November, 1705 ' has 'beginning exactly at Five of the Clock', whilst in the epilogue to Farquhar's The Recruiting Officer (1706), all who wish to see this comedy are bidden 'repair tomorrow night, by six o'clock, to the sign of the Theatre Royal, Drury Lane.' Six o'clock was the hour for more than half-a-century. On 6 November, 1740, when Peg Woffington made her first appearance at Covent Garden the bill has, 'By the Company of Comedians, At the Theatre Royal in Covent Garden. This day will be presented a Comedy, call'd The Recruiting Officer, written by the late Mr. Farquhar. The part of Sylvia by Miss Woffington, (being the first time of her performing on that Stage). . . . To begin exactly at Six-o-clock.' On 28 September, 1750, the Covent Garden bill tells us that the play was Romeo and Juliet. 'The part of Romeo to be perform'd by Mr. Barry. . . . And the part of Juliet to be performed by Mrs. Cibber. . . . To begin exactly at Six-o-clock.' The rehearsal of Mr. Bayes' tragedy would have taken place in the morning. p. 72. Let's set up bills. In Restoration times one method of announcing the next day's performance to the public was Notes i r i by putting out bills on posts in the streets adjacent to the theatre. Pepys, going to see what play was to be acted on 24 March, 1662, found the theatres closed during Passiontide ; another occasion (28 July, 1664) he notices on the posts that Massinger's tte Bondman, a prime favourite of his, was to be given at the Duke's House, and so he straightway goes to see it. Isabella, in tte Wild Gallant^ Act ii (originally 1663, reproduced 1667), says : c Your name has been on more posts than playbills.' When a French troop visited London in 1672 they used the novelty of scarlet printed bills. Dryden in the prologue to Carlell's Arviragus and Pbilida (originally 1639, reproduced 1672), spoken by Hart, has the following hit : <A brisk French troop is grown your dear delight; Who with broad bloody bills call you each day To laugh and break your buttons at their play.' The whole subject of these bills has been most exhaustively treated by Mr. W. J. Lawrence in his The Origin of the Theatre Programme' Elizabethan Playhouse (Second Series). p. 72. Haynes. Joseph Haines, the celebrated farceur, was educated at St. Martin's-in-the-Fields and Queen's College, Oxford. He appears to have fallen in with a company of strollers at Stourbridge fair ; to have belonged to the Barbican Nursery, and then joined the King's Theatre, soon after it was first opened by Killigrew in Drury Lane, May, 1663. An exquisite dancer, he became famous for both writing and saucily delivering the broadest of prologues and epilogues, and soon attained no small notoriety from his pranks off as well as on the stage. Owing to his propensity for sheer buffoonery and to the results of his practical jokes upon such men as Hart and Betterton, he seems to have shifted his quarters from house to house at no infrequent intervals. His first recorded role was Benito in The Assignation (1672), a character especially written for him by Dryden. As a regular actor, save in some few parts which he made peculiarly his own, he met with no extraordinary success. However, as the French Master in Ravenscroft's Citizen turned Gentleman (1672) ; Plot in Orrery's Mr. Anthony (410, 1690) ; Roger in Vanbrugh's Aesop (1697) ; Tom Errand in 1 5 2 Notes Farquhar's The Constant Couple, or a Trip to the Jubilee (i 699), he chanced on his own vein and gave first-rate performances. As early as May, 1668, Pepys pronounced him { an incom parable dancer'. Anthony Aston has many anecdotes concerning this merry droll, and more than one life of him has been penned. He died in 1701, leaving a large number of prologues and epilogues, and one play, A Fatal Mistake, or the Plot spoiled (4to, 1696). A contemporary satire on the Duke of Buckingham referring to The Rehearsal has the following lines : I confess the dances are very well writ And the time and the tune by Haynes well set.' During Lacy's illness and after his death Haines often acted Bayes in the following circumstances : c The Rehearsal, writ by His Grace the Duke of Buckingham was to be acted. The famous Lacy, whose part was that of Bays, unreasonably falls sick of the gout, and consequently is incapable of appearing on the theatre. Hayns is looked upon as the fittest person to supply the place of the distempered, his Grace himself being pleased to instruct him in the nature of the part, and Mr. Lacy, by his Grace's command, took no small pains in teaching it him ; nor did Lacy gain less reputation by this his suffragan and schollar than if he had acted it himself. So well did Hayns perform it that the Earl of R[ochester], Lord B[uckhurst], Sir Charles S[edley], and several of the most ingenious men, ever after held him in great esteem, which increased more and more with his conservation.' At the accession of James II he became a Catholic, but shortly after recanted, and spoke a special prologue to The Rehearsal writ ten by Tom Brown. They are dirty lines and offensive. He masqueraded in c a white sheet with a burning taper in his hand'. Haines died in 1701. p. 72. Shirley, vide p. 102, note e p. 26, Enter Shirty' p. 72. Let's go away to dinner. Thomas Thomson's The English Rogue (4to, 1668), concludes thus : ' Plot-thrift. Come, let's have a dance or two and so to dinner. All. Agreed ! Agreed ! (dance.} Arantius. Well, now let's in to dinner.' APPENDIX READINGS OF Q. i. 1 p. 2, 1. 1 6. Johns. Why, your Blade, your frank Persons, your Drolls : ' p. 3, 1. 28. C I think it is o' this side.' p. 4,1. 1 8. * Smi. How's that, Sir, by a Rule, I pray ? ' p. 5, 1. 27. c Bayes. I, Sirs, when you come to write yourselves, o' my word you'll find it so. But, Gentlemen, if you make the least scruple', &c. p. 7, 1. 9. c Bayes. I, it's a pretty little rogue; she is my Mis tress. I knew her face would set off Armor extremely ; and, to tell you true, 1 writ that Part only for her. Well, gentlemen I dare be bold to say, without vanity, I'll show you something here that's very ridiculous, i'gad. [Exeunt Players.~\ Johns. Sir, that we do not doubt of. Bayes. Pray, Sir, let's sit down. Look you, Sir, the chief hindge', &c., continuing as 1. 27, p. 8. p. 9, 1. 25. omits c [that is, ... the Prologue] : ' p. 14, 1. 23. 'ACTUS II. Sc^ENA I. BAYES, JOHNSON and SMITH. Bayes. Now, Sir, because I'l do nothing here that ever was done before [Spits. Smi. A very notable design, for a Play, indeed. 1 This appendix is not to be taken as exactly recording every minor divergence in punctuation and the like between Quartos i and 3, but as embodying only those differences of text which are of real importance and value. 154 Appendix Bayes. Instead of beginning with a Scene that discovers something of the Plot, I begin this with a whisper. Smi. That's very new. Bayes. Come, take your seats. Begin Sirs.' p. 15, line 1 6. ' physicians', p. 17,1.^0. omits from 'Foppery' to beginning 'Sc^NA II,' p. 19. p. 20, line 13. ' It was I, you must know, writ the Play I told you of in this very stile ; and shall I tell you a very good jest ? I gad, the Players would not act it : ha, ha, ha. Smi. That's impossible. Bayes. I gad, they would not, Sir : ha, ha, ha. They refus'd it, I gad, the silly Rogues : ha, ha, ha. Johns. Fie, that was rude. ' p. 2i,l. 14. omits from 'proud Players, I gad' tol. 19 'Sc^NA III.' p. 22, 1. 1 6. after 'dry my tears. [Exit.' omits to ' effects of an Amour.' and continues straight 'Bayes. 1 am afraid, Gentlemen, this Scene,' &c. p. 22, 1. 29. omits c Bayes. That's all.' p. 23, 1. 28. 'close to it, with a pipe of Tobacco in my mouth, and then 1 whew it away, i'faith.' p. 24, 1. 2. ' which I divide thus : into when they heard, what they heard, and whether they heard or no.' omitting lines 3-9. p. 24,1. 17. ' they are both politicians. 1 writ this Scene for a pattern to show the world how men should talk of business', and continues as 1. 26, p. 25, with Johnson's speech, 'You have done it exceeding well indeed.' p. 25, 1 29. after Pbys.' speech inserts ' Ush. No bodie else will take us/ Appendix \ 5 5 p. 26,1. 17. omits from '[Exit. 1 to 1. 23 ' Smi. But, pray. Sir', &c. p. 28, 1. 21. omits 'Smi. Like Horsemen ! what, a plague, can that be ? ' p. 29, 1. 8. 'Bayes. Sir, all my fancies are so. I tread upon no mans heels ; but make my flight upon my own wings, I assure you. As, now, this next Scene some perhaps will say, It is not very necessary to the Plot : I grant it ; what then ? I meant it so. But then it's as full of Drollery as ever it can hold : 'tis like an Orange stuck with Cloves, as for conceipt. Come, where are you ? This Scene will make you die with laughing, if it be well acted : it is a Scene of sheer Wit, without any mixture in the world, I gad. [Reads- Enter Prince Pretty-man, and Tom Thimble his Taylor. This, Sirs, might properly enough be call'd a prize of Wit ; for you shall see 'em come in upon one another snip snap, hit for hit, as fast as can be. First one speaks, then presently t'other's upon him slap, with a Repartee; then he at him again, dash with a new conceipt : and so eternally, eternally, 1 gad, till they go quite off the Stage. [Goes to call the Players. Smi. What a plague, does this Fop mean by his snip snap, hit for hit, and dash ? Johns. Mean ? why, he never meant any thing in's life: what dost talk of meaning for ? Enter BAYES. Bayes. Why don't you come in ? Enter Prince Pretty-man and Tom Thimble. Pret. But pr'ythee, Tom Thimble, why wilt thou needs marry ? If nine Taylors make but one man ; and one woman cannot be satisfi'd with nine men : what work art thou cutting out here for thy self, trow we ?' p. 30, 1. 6. c trow we ? ' 156 Appendix p. 30, 1. 24. c cloath '. p. 30, 1. 29. omits ' Bayes. There's pay, upon pay ! as good as ever was written, 1 gad ! ' P. 3 2 > 1- 3- c . . . What are they gone and forgot the Song ? Smi. They have done very well, methinks, here's no need of one. Bayes. Alack, sir, you know nothing : you must ever interlard your Plays with Songs, Ghosts, and Idols if you mean to a ' continuing as 1. 8, p. 33. P- 35> 1 -.9- omits c Sc^NA III.' p. 35, 1. 22. after ' . . . lose the conceipt.' ' Johns. Indeed the alteration of that accent does a great deal, Mr. Bayes. Bayes. O, all in all, sir : they are these little things that mar, or set you offa play. Smi. 1 see you are very perfect ', &c. P- 35, L . 2 5- omits 'one would think.' p. 36,1. 13. c Bayes. Mark how I make the horror of his guilt con found his intellects ; for that's the design of this Scene.' p. 36,1.^22. omits 'Sc^ENA IV.' P- 37> 1- J 5- marks '[Exit.* P- 39> 1- 3- omits 'Sc^NA V.' p. 40, 1. 28. omits c Bayes. Now that's the Partbenope, I told you of. Johns. I, I : I gad you are very right.' p. 4 i,l. ii. c as he is pulling on his boots falls in love. Ha, ha, ha. Smi. O, I did not observe : that, indeed, is a very good jest. Bayes. Here now you shall see a combat ', &c. Appendix 157 p. 41, 1. 23. omits in stage direction ''to pull on . . . be speaks if.' p. 41,1. 29. gives Smith's speech to Johnson, p. 42, 1. i. gives Johnson's speech to Smith ; commencing L the fool', &c. p. 4 2,1. 19. reads { [Exit with one Boot on, and the other off.' p. 42, L 25. c in the world I gad. But, Sirs, you cannot make any judgement of this Play, because we are come but to the end of the second Act. Come, the Dance. [Dance.'] Well, Gentlemen, you'll see this Dance if I am not mistaken, take very well upon the Stage', &c., continuing as 1. 4, p. 44. p. 44, 1. 31. c I write for Fame and Reputation.' p. 46, 1. 5. c That is my sense. And therefore, Sir, whereas every one makes five Acts to one Play', &c. p. 51,1. 9. '[The Coffin op ens ^ and Banquet is discover d. Bayes. Now it's out. This is the very Funeral of the fair person which Volscius sent word was dead, and Pallas^ you see, has turn'd it into a Banquet. Johns. By my troth, now, that is new, and more than I expected. Bayes. Yes, I knew this would please you : for the chief Art in Poetry is to elevate your expectation, and then bring you off some extraordinary way. K. Ush. Resplendent Pallas, we in thee do find,' &c. p. 52, 1. 6. < [Vanish Pallas. Enter Drawcansir. K. Pbys. What man is this that dares disturb our feast?' &c. 158 Appendix p. 52, 1. 24. * Johns. . . . good one, I swear. K. Ush. Sir, if you please ', . . . omitting lines 25-9. P- 53> 1- 5- c my Boles.' P- 53, 1- 2 3- c as fast as they can possibly be represented.' p. 53, 1. 25. omits from c Bayes. Now there are some . . .' to 1. 29 'Bayes. Go on then.' p. 54, 1. 2. c my design is Roman cloaths, guilded Truncheons.' p. 56, 1. 19. omits this, the stage direction, p. 56, 1. 30. omits from c [He puts 'em off the Stage.] ' to 1. 6, p. 57, reading, 'Johns. But Mr. Bayes, pray why is this Scene ', &c. P- 57,1- 13- c So, now let down the Curtain.' p. 57, 1. 25. c I have brought in two other Cardinals.' p. 58, 1. 4. c By gad, I won't tell you. Smi. I ask your pardon, sir. K. Ush. Now, Sir, to the business of the day. Vols. Dread Soveraign Lords', &c. p. 58, 1. 6. omits 'K. Phys. Speak Fohcius* p. 58, 1. 16. puts Pretty-man's two lines before Bayes' and Johnson's speeches, p. 62. 1. 8. c they had broke this design. Smi. That's true, indeed. I did not think of that. i King. Here, take', &c. p. 62, 1. 26. omits* BayeSy Is not that . . . come off:' Appendix l ^ p. 63,1. 17. 'Bayes. Why, there's it now', &c. p. 64, 1 7. ' represents fighting enough,) each of 'em holding a Lute in his hand. Smi. How, Sir, instead of a buckler?' &c., as 1. 13. p. 64. 1. 22. adds { of war. Is not that well?' p. 64, 1. 30. * ... recitative first. 'Enter at several doors', &c., omitting Johnson's speech and Bayes' answer, p. 67, 1. n. * Johns. No doubt on't, Mr. Bayes. Bayes. But, Sir, you have heard I suppose', &c. p. 67, 1. 29. . . . Joque, 1 make the Moon sell the Earth a Bar gain.' &c. p. 68, 1. 9. omits c Bayes. There's the bargain.' p. 68, 1. 10. omits 'To the Tune of Robin Hood.' p. 68, 1. 21. omits c To the Tune 0/Trenchmore.' p. 68, 1. 24. c Omnes. And we etc. Bayes. So, now, vanish Eclipse', &c. p. 69, 1. 19. c 1 have read of your Hector, your Achilles, and a hundred more ; but I defy ', &c. p. 69,1. 31. c Come, Sir, I'l show you go off. Rise, Sirs, and go about your business. There's go off for you. Hark you, Mr. Ivory. Gentlemen', &c. p. 70, 1. i. I'll go fetch 'em again. [Exit. 3 Play. Stay, here's a foul piece of paper of his. Let's see what 'tis. [Reads. The Argument of the Fifth Act' 1 60 Appendix p. 70, 1. 28. 4 ... by the river side. i Play. Pox on't , this will never do : 'tis just like the rest. Come, let's be gone. [Exeunt: p. 7 i,l. 8. c Enter Players again\ and marks stage-keeper's speeches 'Play: p. 71,1. 27. The conclusion is given thus : Bayes. That's all one. I must reserve this comfort to my self, my Book and I will go together, we will not part, indeed, Sir. The Town ! why, what care I for the Town ? I gad, the Town has us'd me as scurvily, as the Players have done : but I'l be reveng'd on them too : I will both Lampoon and print 'em too, I gad. Since they will not admit of my Plays, they shall know what a Satyrist I am. And so farewel to to this Stage for ever, 1 gad. [Exit. 1 Play. What shall we do now ? 2 Play. Come then, let's set up Bills for another Play: We shall lose nothing by this, I warrant you. 1 Play. I am of your opinion. But, before we go, let's see HayneSy and Shirley practise the last Dance ; for that may serve for another Play. 2 Play. I'l call 'em : I think they are in the Tyring- room. ne Dance done. i Play. Come, come ; let's go away to dinner. [Exeunt omnes.' INDEX OF PLAYS Abdelaxar (Mrs. Behn), 113, 14.2 Aesop (Vanbrugh), 151 Alchemist (Jonson) xiii, 90, 94 All for Love (Dryden), 76, 87 All Mistaken (J. Howard), xiii, 100, 102, 113 Amboyna (Dryden), 90, 94 Amorous Old Woman (Duffet), 102 Amorous Prince (Mrs. Behn), 93, 112, 149 Anatomist (Ravenscroft), 103. Ar-viragus and Philicia (Carlell), 151 Assignation (Dryden), 81, 90, 118-20, 151 B Bastard (Cosmo Manuche) , 138 Bayes in Petticoats (Kitty Clive), xxii Beau's Duel (Mrs. Centlivre), 1 1 1 Bellamira^her Dream (T. Killigrew), 122 Bellamira, or The Mistress (Sedley), xii Black Prince (Orrery), 90, 94, 137, 140 Blind Lady (Sir Robert Howard), x, 99, 125 Bloody Brother (Fletcher), 91 Bombastes Furioso (Rhodes), xxiii Bondman (Massinger), 151 Bury Fair (T. Shadwell), 1 1 1 Cambists (Preston), 75 Cambyses (Settle), 112, 125, 138 Carnival (T. Porter), 99, 126 Catiline (Jonson) xi, 133 Cato (Addison) xxiii Change of Crowns (Ed. Howard : not printed), xiii, 78, 79 Changes (Shirley) xii, xiii, 94 Cheats (J. Wilson), xiii, 90, 94 Cbrononhotonthologos (T. Carey), xxii, xxiii Cicilia and Clorinda (T. Killigrew), 122 Circe (Charles Davenant), 89 Citizen Mrned Gentleman (Ravenscroft), 151 Clandestine Marriage (Garrick and Colman, sen.), 88 Committee (Sir R. Howard), x, xii, xiii Confederacy (Vanbrugh), 1 50. Conquest of Granada (Dryden), viii, 75, 81, 82, 83, 88, 90, 94, 99, 100, 103, 109, in, 121, 123, 132, 133, 135, 140 M Constant Couple (Farquhar), xvi, 152 Country Wife (Wycherley), onstant oupe Farquar), xvi, 152 Country Wife (Wycherley), xxiv, 90 Country Wit (Crowne), 134 Court of Alexander the Great (Saville Carey), xxii Critic Sheridan), xvii, xxiii, xxv, 141 of the Spaniards in Peru (Davenant), D Demoiselles a la Mode (Flecknoc), 96 Destruction of Jerusalem (Crowne), 87, 91, III, 122 Distresses (Davenant), 104 Distress upon Distress (Saville Carey), xxii. Don Carlos (Otway), 8 1 Don Quixote (D'Urfey), 122 Dragon of Wantley (T. Carey), xxii Dumb Lady (Lacy), xiii, xiv, 1 1 1 Dutch Lover (Mrs. Behn), 1 1 1 Emperor of the Moon (Mrs. Behn), 84 Empress of Morocco (Settle), xix, 109 Empress of Morocco (Duffet), xx English Friar (Crowne), xii, 148 English Lawyer (Ravenscroft), xiii English Monsieur (J. Howard), xiii, 113, ii4> i5 English Rogue (T. Thomson), 84, 152 Erminia (Flecknoe), 102 Eunuchus (Terence), xii Every Man in His Humour (Jonson), xiii Every One has His Fault (Mrs. Inchbald), 78 Evening's Love (Dryden), 94, in Fatal Mistake (Haines), 152 Flora's Vagaries (R. Rhodes), 90 Forced Marriage (Mrs. Behn), 97, 105, I35> HZ French Conjuror (T. Porter), 126 G Generous Enemies (Corye), 90, 94, 102 Gloriana (Lee), 91 G'dtterdammerung (Wagner), 122 Great Favourite (Sir R. Howard), x, 8$ 162 Index of Plays n Heiress (Duke of Newcastle : not printed), ix Henry VIII (Shakespeare and Fletcher ; altered Davenant?), 27, 57, 84, 105, 137 Henry IV (i) (Shakespeare), 75, 90, 91, 94 Henry the Fifth (Orrery), 135, 137 Henry the Third of France (Shipman), in Hero and Leander (Stapylton), 118, 144 Herod the Great (Orrery), in History of Sir Francis Drake (Davenant), 9 2 39> H3 Honest Thieves (T. Knight), x Humorous Lieutenant (Fletcher), 150 Humourists (T. Shadwell), 103 I Imperial Tragedy (Anon. Sir W. Killi grew?), 140 Indian Emperor (Dryden), 85, 90, 94, 99, 109 Indian Queen (Sir R. Howard and Dryden), x, 84, 85, 88, 109, 122, 137, 139 Island Princess (Fletcher), 90 Island Princess (Motteux), 110 J Jew's Tragedy (W. Hemmings), 112 K Kind Keeper $ or, Mr. Limberham (Dryden), xi King and no King (Beaumont and Fletcher), 90, 94 Knight of the Burning Pestle (Beaumont and Fletcher), xxi Libertine (T. Shadwell), 103 Limberham (Dryden : vide Kind Keeper), xi London Gentleman (Ed. Howard : not printed), 78 Lost Lady (Sir W. Barclay), 97, 115 Love and Honour (Davenant), 115 Love for Love (Congreve), xxiv Love in a Maze (Shirley : vide Changes}, xii, xiii, 94 Love in a Wood (Wycherley), xiii, 94 Love in the Dark (Sir F. Fane), xiii, 91, 94 Love's Triumph (Ed. Cooke), 99 Lucky Chance (Mrs. Behn), 106 M Macbeth (Shakespeare), xx, 107 Maiden Queen (Dryden), 79, So, 81, 104 Man of Mode (Etheredge), xii, 111 Man of Newmarket (Ed. Howard), 78, 148 Marriage a la Mode (Dryden), xviii, 81, 82, 83> 9 94, 101, 112, 113 Measure for Measure (Shakespeare), 107 Medecin Malgre Lui (Moliere), xiii Merry Wives of Windsor (Shakespeare), 90 Midsummer Night's Dream (Shakespeare), 91 Miser (T. Shadwell), 103 Mock Doctor (Fielding), xv Mock Duellist (P[eterj B[elon]), xiii Mock Tempest (Duffet), xx, xxi Money is an Ass (Jordan), 89 Monsieur Ragou (Lacy), xiv Mr. Anthony (Orrery), 151 Mustapba (Orrery), 93, 95, 134, 140 N Nero (Lee), 91, 94 Nc'w Rehearsal (Gildon), xxii O Oedipus (Dryden and Lee), 87 Old Batchelor (Congreve), 1 1 1 Old Troop (Lacy), xiii, xiv Orgula (L[eonard] W[illan]), 92, 120 Ormasdes (Sir W. Killigrew), 102 Othello (Shakespeare), 90, 91 Pandora (Sir W. Killigrew), 93, 102 Pantomime Rehearsal (Clay), xxiii Pastor Fido (Guarini), 97 Plain Dealer (Wycherley), 91 Play is the Plot (Breval), xxii, xxiii Playhouse to be Let (Davenant), xxi, 92, 139, H3 Poet and Puppets (Ch. Brookfield), xxiii Prophetess (Betterton), 147 Psyche Debauch' d (Duffet), xx Querer por solo Querer (Mendoza), 97, 98, 1 16 R Recruiting Officer (Farquhar), 150 Reformation (Arrowsmith), xix Relapse (Vanbrugh), xxiv Index of Plays Revenge for Honour, 96 Rheingold (Wagner), 122 Richard III (Shakespeare), 1 20 Rivals (Sheridan), xxiv Rival Friends (Peter Haustead), 89 Rival Ladies (Dryden), 97 Rival Queens (Lee), 148 Roman Empress (Joyner), 90, 112, 137 Romeo and Juliet (Shakespeare), 150 Romeo and Juliet (James Howard : not printed), 1 14 Roundheads (Mrs. Behn), xi Rover (Mrs. Behn), in, 122 Royal Choice (Stapylton ; not printed), 144 Rump (Tatliam), xi Sauny the Scot (Lacy. Taming of the Shrew), xiii, xiv School for Scandal (Sheridan), xxiv Scornful Lady (Beaumont and Fletcher), xiii Secret Love, vide Maiden Queen She ivould if She Co#/J (Etheredge), 104, no Siege of Rhodes (Davenant), xi, 115, 116, 137, 141, 142 Siegfried (Wagner), 122 Silent Woman (Jonson), xiii, 78, 90, 94 Sir Hercules Buffoon (Lacy), xiv Sir Martin Mar-All (Dryden), 103 Six Days' Adventure (Ed. Howard), 77 Slighted Maid (Stapylton), 89, 100, 112, 143, 144, 145-7 Spanish Lovers, vide Distresses. Spanish Tragedy (Kyd), 97 Squire of Alsatia (T. Shadwell), 123 The Step Mother (Stapylton), 143, 144 Sullen Lovers (T. Shadwell), ix Surprisal (Sir R. Howard), x, 113, 142 Tailors (Foote), xxii Taming of the Shreiv (Lacy), vide Sauny the Scot Tartuffe (Medbourne), xiii Tempest (Dryden and Davenant), xx, 27, 106, 107 Tempest (T. Shadwell), 107 Thomaso (T. Killigrew), 122 Tom Thumb (Fielding), xxii, xxiii Trappolin supposed A Prince (Cockain), 102 Trip to Scarborough (Sheridan), xxiv Troilus and Cressida (Dryden), 88, 100 Tryphon (Orrery), 88 Tivo Queens of Brentford (D'Urfey), xxi Tyrannic Love (Dryden), viii, 90, 109, 124, '34, 135, 138, 139, H8 Ungrateful Favourite (anon.), 123 United Kingdoms (Col. Henry Howard : not printed), vi, vii, 83, 120 Usurper (Ed. Howard), 76, 77, 94 Valentinian (Fletcher), 91, 94 Variety (Duke of Newcastle), xiii Venice Preserved (Otway), xii Vestal Virgin (Sir R. Howard), x, 149 Villain (T. Porter), 114, 120, 125, 126-32 Virgin Widoiu (Quarles), 116, 118 Virtuoso (T. Shadwell), 147 Volpone (Jonson), xiii, 90 W Walkilre (Wagner), 122 Way of the World (Congreve), xxiv, in What D'ye Call It (Gay), xxii, xxiii Wild Gallant (Dryden), 84, 86, 96, 109, 150, 151 Witty Combat (T. Porter), 126 Woman's Conquest (Ed. Howard), 78, 93, 112, 140 bonder a Woman Keeps a Secret (Mrs. Centlivre), in Printed by A. H. BULLEN, at The Shakespeare Head Press, Stratford-upon-Avon. y*j JAN 2 6 1988 CKE AR	i don't know
The main square in Venice is named after which saint ?	St. Mark's Square, Venice St. Mark's Square 5 174 votes Venice's principal square is full of history and surrounded by great architecture. Several of Venice's major sights are located here, so the square is often crowded with tourists. Early History Basilica, Piazza San Marco Piazza San Marco was constructed in the ninth century as a small square dotted with trees. The square was laid out in front of the original St. Mark's Basilica , at the time a small chapel which was part of the Doge's Palace . The square was separated from the palace by a small canal, the Rio Batario. Already a central gathering place for Venetians, the piazza was enlarged in 1174 after the canal and an adjoining dock were filled in. The square became paved with bricks in 1267 in a herringbone pattern. In 1735 the bricks were replaced with natural stone and laid in a more complicated pattern according to a design devised by architect Andrea Tirali. The design marked the location where merchants could set up their stalls. Around the Square Procuratie Vecchie As the largest square in the city and the only one given the designation of "piazza" (the others are all referred to as "campi"), St. Mark's Square has always been the location of important government buildings and other facilities central to the goings on in Venice. The centerpiece of the piazza is, of course, magnificent St. Mark's Basilica . Commissioned in 1071 by doge Domenico Contarini, this amazing church is built in Venetian-Byzantine style, a mixture of western and eastern styles. Campanile Nicknamed the "Church of Gold" because of its opulence, it has been the seat of the Patriarch of Venice, archbishop of the Roman Catholic Archdiocese of Venice, since 1807. The basilica has a separate campanile - bell tower - that stands 98.6 meters tall (323 ft) and is one of the city's most recognizable landmarks. Originally built in the ninth century, the current version was rebuilt in 1912 after the original tower collapsed in 1902. The other dominant building around St. Mark's Square is the Doge's Palace . A beautiful Gothic structure, it faces the Venetian lagoon and was completed in the early fifteenth century, though portions of it were rebuilt after a fire in 1574. Also located along the square are the twelfth century Procuratie Vecchie, buildings that housed the apartments and offices of the procurators; the Procuratie Nuovo, which Columns of San Marco and San Theodoro provided more offices and was built in the mid-seventeenth century; the National Library of St. Mark's; the Museum of Archaeology; and the Correr Museum. Between the Palace of the Doge and the Library is the Piazzetta (little piazza) San Marco. It is known for the two columns located there that pay homage to two of Venice's patrons - St. Mark and St. Teodoro of Amasea. The columns have long served as the official gateway to the city. Until the mid eighteenth century, the piazetta was also an area were criminals were executed. Venetian Pigeons Feeding Pigeons Besides being filled with people and great specimens of architecture, Piazza San Marco is also full of pigeons. Pigeons have long been a problem in the square but only recently did the city pass a law that banned the feeding of these birds. The pigeons have caused much damage to the delicate mosaics on St. Mark's Basilica and to other buildings around the piazza. Several attempts have been made to control the pigeon population but few have been even slightly successful.	Mark the Evangelist
According to a 16th-century law, what colour must all Venetian gondolas be painted ?	Explore St. Mark's Square in Venice - VacationIdea Explore St. Mark's Square in Venice By VacationIdea Staff. Last Updated on January 5, 2015. Tweet [] Regardless of where you are staying in Venice , you will end up spending quite a bit of time in St. Mark's Square. St. Mark's church, the Doge's Palace and Museo Correr are located in the square which comes alive during the day with hundreds of visitors. The cafes in the square play life classical music at night, so plan to have a sit and relax with a drink. Feeding the pigeons is a popular activity. You can purchase packets of corn from the vendors and take your picture balancing the birds on your arms. St. Mark's Church St. Mark's Church is spectacular. Ornamented with golden facade mosaics, marble and bronze statues, and five domes, this basilica is unlike any other. It stands on the eastern end of the square. The interior is open to visitors on almost all days for a few hours. Sometimes, the line is quite long, especially during the holidays. You can find the current schedule in English at www.basilicasanmarco.it. If you are planning a visit in the summer, be sure to wear a shirt with sleeves and a skirt or pants that fall below your knees, or you will not be allowed inside. There is no admission fee to enter the church. Once inside, you can admire amazing frescoes and floor mosaics, statues, tombs, columns and other beautiful details. The Doge's Palace The Doge's Palace is a popular stop for many out-of-town visitors who go inside the former home of the city's doges to tour the torture chamber, prisons and the Great Council Hall. You can find the current opening times and admission information in English at www.museiciviciveneziani.it. Once you purchase your ticket, you will also get access to the nearby Museo Correr. If you don't have the time to tour the museum, stroll around the building and note some of the details. The 15-century Gothic Porta della Carta use to be the main entrance. It leads to the internal courtyard which you can enter even without a ticket to the museum. The balcony facing the Piazzetta features a lion, a symbol of the city. The main entrance is around the corner. Museo Correr Museo Correr is situated in the Napoleonic Wing, the western end of the square. The museum houses a collection of works that highlight the art and history of the city. The Neo-classical Rooms house sculptures by Antonio Canova (1757-1822). The Procuratie Nuove, designed by the architect Vincenzo Scamozzi (1552-1616), contain items that document the history of Venice: naval achievements, festivals, and daily life. The Art Collection includes pieces from the earliest days of Venetian painting through the sixteenth century. Tickets cost 11 Euro. The museum is open almost every day, except on major holidays. For current opening times, visit www.museiciviciveneziani.it. Columns of San Marco and San Teodoro Located in the Piazzetta next to Piazza San Marco, the columns of San Marco and San Teodoro were brought from Constantinople and erected in the 12th century. One of the columns is topped with a statue of San Teodoro, the patron of Venice before San Marco. The statue is a replica - the original is stored in the Doge's Palace. The second column features a bronze lion with wings, a symbol of the city. Campanile di San Marco Campanile di San Marco is over 300 feet high. Visitors can take an elevator up the tower and enjoy spectacular views of the city. If you decide to go, however, you should be prepared to stand in line. The tower houses five bells that toll every hour. At the base of the tower is the Loggetta, decorated with Classical sculptures and reliefs. View the tower from the boat. Spectacular Facade Mosaics When you stand in the square facing the font of the church, there are quite a few details to note. The four horses above the doorway are replicas of the statues that are on exhibit inside the basilica. Above the horses, the gilded Venetian lion, the symbol of Venice, and St. Mark and the Angels crown the top of the church. Facade mosaics are just spectacular. Depicting scenes from the life of St. Mark, the gilded mosaics shine brightly on a sunny day. Notice also the five huge domes on top of the church. Cafes The Piazzetta is flanked by the palace on one side and the Libreria Sansoviniana on the other. There is a cafe in the square where you can order an espresso and rest your feet. From here, you get a nice view of the palace, the bell tower and the church. The best time to go is early in the morning before the square becomes crowded with tourists. Best Ideas in Your Inbox What to See, Family Attractions & Things to Do, Best Romantic Places to Visit.	i don't know
Which is the only creature that is capable of turning its stomach inside out ?	Why does a starfish turn its stomach inside out? \| Reference.com Why does a starfish turn its stomach inside out? A: Quick Answer A starfish turns its stomach inside out in order to consume food that is too large to fit through its small mouth opening. By wrapping its stomach around an object or inserting it into a shell, a starfish externally digests its food, producing a slurry that it pulls into its body as it withdraws its stomach. The food then passes into its pyloric stomach, which always remains inside its body. Full Answer Starfish possess two stomachs: the cardiac stomach and the pyloric stomach. The cardiac stomach is expelled in order to digest large food items. The digestive process finishes in the pyloric stomach. Starfish have ravenous appetites, their size and maturity dependent not on their age but on their diet. A starfish feeds on mussels, clams, oysters and other bivalves, fastening a few suckers to the shell of its prey and then exerting a long, slow, continuous pull to force open the shell. Large starfish have even been witnessed eating small fish. Some starfish supplement their diets with coral and with algae or food particles in the water. The starfish's unique ability to retract its stomach once ejected has been linked to a particular neuropeptide. Neuropeptides are molecules that the neurons of the brain use to communicate with each other. Interestingly, this particular neuropeptide is evolutionarily linked to the human neuropeptide that is responsible for regulating arousal and anxiety.	Starfish Prime
Achieving fame in the late 19th century , who was the first actor to be knighted?	12 FUN FACTS ABOUT THE STOMACH 12 FUN FACTS ABOUT THE STOMACH 12 FUN FACTS ABOUT THE STOMACH Facts The stomach is an important and intricate part of our body. It is essential to a healthy survival but doesn’t generally get a lot of thought. Some myths and misconceptions cloud our thought. Here are some fun facts about the stomach: It is possible for people to live without their stomach! People have done so in the past when their stomachs were removed because of diseases. While swallowing food, we also swallow air. This air is responsible for the gas in your stomach and intestinal tract. To get rid of this gas, we often burp! Every two weeks, our stomach produces a new layer of mucus to keep itself from digesting itself! A moth has no stomach at all! A starfish is capable of turning its stomach inside out. It is a myth that cutting down on food intake will shrink the size of the stomach and result in a loss of appetite. The stomach cannot be shrunk unless you go for a surgery! When you blush, the lining of the stomach turns red too! An adult stomach is capable of holding 1.5 l of material. There is absolutely no correlation between stomach size and body weight. A thin person could have the same stomach size as an obese one. The stomach has hydrochloric acid that kills bacteria and is essential to the digestive process. The stomach is not responsible for digestion. It is the mixing bag of the digestive system where food is broken down into small particles. Actual digestion takes place in the lower intestine. Exercising will not affect the size of your stomach. Exercising only burns fat while the stomach is an organ. The stomach is capable of processing pretty much everything, from truffle to car tyre, owing to its complex enzymes and acids.	i don't know
The famous tree inside the boundary at Canterbury cricket ground was blown down in a gale in 2005. What kind of tree was it ?	Wisden - The end of the lime WISDEN 2005 home The end of the lime In the early hours of January 8, 2005, there were widespread storms across Britain, and summer afternoons at Canterbury felt very distant. But at some time in the darkness, Kent's most regular and durable spectator suddenly gave way. The cause of death was technically the howling gale and ganoderma, a heartwood fungus. In truth, it was just old age. No one was about on such a night, and it was dawn before the body was discovered. "To be honest I'd been out in the middle sweeping the square for about 20 minutes when I looked up and thought `Something's missing,'" said the head groundsman, Mike Grantham. It was the lime tree, which had stood guard on the Old Dover Road boundary - at wide mid-wicket or deep backward point - ever since Kent first used the St Lawrence ground in 1847. It was already semi-mature then. It grew in stature, girth and reputation to become the most famous tree in cricket, matched only by Parr's elm at Trent Bridge, which was blown down in 1976. But Parr's Tree was behind the stands. The St Lawrence lime was inside the boundary, and the Laws of Cricket had to be adapted to allow for it. Sir Charles Igglesden in 66 Years' Memories of Kent Cricket (1947) refers to an incident in which a Hampshire batsman was caught off the tree. "Was the batsman out? He was given out as the tree was not the boundary. You can imagine the annoyance of the visiting team and the heated annoyance around the ground." This episode apparently led to the local rule that hitting the tree is neither six nor out, but four. David Robertson, the Kent archivist, assumes this must have been before 1910, when the vague law regarding boundaries began to be tidied up. Robertson's records suggest only three men have ever cleared the tree in first-class cricket: Sir Learie Constantine, playing for the West Indians in 1928, Jim Smith of Middlesex in 1939 and Carl Hooper, on his Kent debut in 1992. But in his book Hit for Six, the historian Gerald Brodribb tells the story of the renowned big-hitter, Colonel A. C. "Jacko" Watson of Sussex, who in 1925 reportedly drove "Tich" Freeman over the lime tree. It then bounced off the inside of a catering van and into the bushes, where it was found next winter with bits of china embedded in it. The fall of the lime was a shock but not a surprise. Kent were aware the tree was ailing; they were also aware of "public liability issues" - what if it fell on the crowd in the middle of a one-day international? - and in 1999 E. W. Swanton planted a sapling close by, ready for this moment. That is now 15ft tall, and Kent were planning to shift it on to the field before the season to replace the fallen sentinel. The old tree is being cut up to provide souvenirs. Some believe it a mistake to replace the old tree. The new lime could be damaged by a full-blooded shot; and, whereas everyone knew the old tree was there, a young one might not be obvious to a fielder, who could end up damaged himself. Others think the legend should be left alone, and that it won't be the same with the new tree. It won't, not for many decades. © Cricinfo	Tilia
A type of foodstuff, what can be either blanket or honeycomb ?	Play Grounds: The Arenas of Game Play Grounds: The Arenas of Game Steven Connor A talk given in the Bartlett School of Architecture International Lecture Series, February 13th 2008. This talk will be a reflection on the relations between architecture and the spaces of play, gaming and sport. What is play space, I will ask, and what might be the spatial grounds of play? Can one say that when space is set aside for play, space itself must always then come into play? There are two architectures of sport. One is the kind with which, in this age of the stadium, we are all-too-familiar; the rising, resounding torus or hollow O of the classical sports-stadium, its tiers of seats hemming the space of contention marked out below. On the outside, such edifices routinely effect some kind of compromise between high and high-visibility technology and the fluency and grace of 'natural' formations, an habituated conversation between girders and swerves that duplicates the two features of industrialised sport-as-entertainment. As stadiums are required to deliver more and more functions � restaurants, accommodation, office facilities, communications, commerce, the stadium has become a playspace for architects and civic bodies. But the space constituted by the physical stadium is ultimately accessory to another space, a space that by definition it contains, and with which it must of necessity be conjoined, but from which it must also always stand not only physically but also ontologically apart, namely the space where the play occurs. The role of the stadium is to allow the access to this space, to accent, enhance and amplify it, while also standing apart from it, most particularly by preventing encroachment. The stadium both opens and comprehends the space of play, both discloses it, and closes it off. On the one hand, then, there are the spaces of play. On the other, there is the play of space that is set on within the space of play. I want to try to understand some of the traffic between these two. There are other such arenas, where space is set off in order that space may be in various ways be put into play � courtrooms, cinemas, dancehalls, art galleries, theatres � but, as the prominence in such discussions of the word 'arena' might itself suggest, the spaces formally set aside for playing as such may have a particular salience and command. Indeed, as we will come to see, such spaces may be beginning to impinge upon whatever space is left that is not in play. Decisions The space of play is carefully patrolled, to the millimetre. For there can be no mid-space, no space between secular space and the space of play. Either the ball has wholly crossed the line, and it is a goal, or it has not, and play will continue from where it left off. If a lace from the fielder's boot be in contact with the boundary rope when he takes the lofted catch, it will be four runs; if not, the batsman walks. If the ball is deemed to have clipped the line � betrayed by the puff of chalk or detected by the automatic sensor � there may be a new grand slam champion; if it misses, the player's chance may have receded forever. In this sense at least, in its implacable abhorrence of the middle way, its intolerance of any tertium quid, there is obviously no room for play in the space of play. What is more, these boundary decisions are not just effected at the extreme edges of the field of play. Similar caesuras shear through the play itself, the play being textured by the alternation between states of play and suspensions of play, playtime and time-out. Thus the space of play is not entirely spatial. Rather it is the place where the space and time of play are decided on. There can be endless reopening of the case of the dubious LBW or penalty decision among the spectators in their seats and in their subsequent generations, but there can be no two minds, no equivocation, no agreement to differ, no fancy Aufhebung lifting and preserving the thesis and antithesis in a new synthesis, in the matter of play. Instead, play solicits and precipitates decisions at each moment, forking paths that mimic and confirm the anterior and ultimate deciding on the space of play as a space of decision � from caedere to cut, which engenders a sizeable clan of similarly incisive words in English, including scissors, abscission, circumcision and the sadly obsolete occision, which provides a passage to the many words that link deciding with cutting down or cutting off � homicide, suicide, genocide, and so on. Yes, yes, there is a fatality in play. Hence perhaps the striking difference, as Jean Baudrillard has articulated it, between a rule of play and a law in social life: A rule can be perfectly arbitrary in its enunciation, but it is much more unbreakable than the �law,� which can be transgressed. You can do anything with the law. With the rule, on the other hand, either you play or you don't play. If you play, the rule is implacable. You can't get round it. It would be idiotic to transgress it. (Baudrillard 1987, 92). The stadium effects the opening, the admission without access, to this arbitrary and absolute space of absolute arbitrations. In play: that is to say, in crisis. It is for precisely this reason, that the crisis of play runs quietly and cleanly through the middle of it, that, in the space of play, space is neither given nor fixed. Instead, it is absolutely in play, which is to say, the subject of contention. Although teams have their own territories, their own end-zones, the point of every game is that such ground is dubitable, impermanent, in contention. The space of play is a mutable product of the play itself. In rugby for example, the two team's territories slide back and forth like the shuttle of a loom, as determined by the 'gain line', or front feet of the attacking team. In extremis, the defending team's territory may have diminished to a strip of ground fifty yards across and one foot wide. The difficulty of explaining the offside rules in rugby and more especially in football arises from the fact that it requires just this Einsteinian wrench from absolute to relative space. We will repeatedly have to cope with the following contortion. The space of play is set off, by an act of pure decision, by the simple decision to decide the matter. In this space of play, space is decidedly in play, in a way that it is not in spaces not so marked off. And yet the play of space is not always limited to the space of play. Space will increasingly prove to be in play not just within the designated spaces of play, but also between those spaces and those spaces that adjoin, administer and attend on them. Wherever there is a space of play, there is a chance for the play of space within it to propagate beyond and across that constitutive division. The space of play is a semi-conductor, a black box, which is closed off on one side and open on the other. This complexity unfolds in a number of different dimensions, of which I will for the time being distinguish five: interiority, orientation, height, proximity and time. Inside-Out Interiority and exteriority are particularly in play in a sports arena. The arena itself is a surrounding, an environment, a setting, a local habitation and an enclosure for the field of play. It is the darin, the within-which within which the sporting action plays out. If an open space is necessary for any kind of game, the bounding of that open space is also requisite. Play needs space in which to occur, but even more fundamentally, play is agoraphobic. The enclosed space of play is itself intensive, an interiority with respect to the sequestering clinch of what surrounds it. When the ball leaves the space of play, it is called 'out', and the lookers on in the enclosing stadium are an indeterminate outside to that which they have as their inside. And yet the inverse also seems true: the game transpires in an open enclosure, which is usually unsheltered, subject to the vicissitudes of rain, wind and sun, compared to the spectators, who will usually have immediate access to the facilities characteristic of the indoor � lavatories, electricity, catering, communications and so forth. Thus the teams 'come out', and the action transpires 'out on the field'. The most striking feature of a stadium is the fact that it really has no interiority. When one enters a stadium, one finds at its innermost core aperture, exposure and expanse. A stadium has two exteriors; the outside that bounds and surrounds it, and the open expanse which it itself bounds and yet, for that reason, in a Heideggerian sense, 'opens'. The field of play and the stadium which surrounds it are configured as a Klein bottle � at once each other's inside and outside. The interior portions of a sports arena lie between the outside and the evacuated middle, in a compact zone or p�riph�rique, the rind that separates the outside of the stadium from the pitch or ground that constitute the outerness at its heart. There is a tendency to regard the enclosure of modern sports as part of the creation of passive spectacle out of participative action. According to this view, the sports activity which had previously consumed or spread out into an entire space, taking over a market square or even entire villages, is split between players and spectators, which turns the entire activity of sport into a form of display or exhibition rather than a m�lée, a mixed or mingled striving. An important accessory feature of this newly restricted economy of sport is the almost total concentration on human action � for the medieval world, sport was unthinkable without the involvement of animals, as quarry or accomplice, in hunting, hawking and so on. The removal of the spectators from the action is equivalent to the isolation of the spaces of sport, which detaches them from the spaces of ordinary life and work. If it is true that in one sense sport seems more diffused than every before � with runners a familiar sight on the streets of almost every major city (even those, like Tokyo and Amsterdam, that call for the greatest powers of alertness and endurance), and sport ubiquitous in print and electronic media � it also seems more insulated, or partitioned off than in previous eras, as sports facilities have become more and more 'artificial worlds' (Dietrich 1992, 24). The separation of protagonists and spectators is often seen as equivalent to the great enclosures � of infants, the insane, the infirm, the criminal, the animal � that, according to Foucauldians, have sliced and diced the plenitudinous hurly-burly of the pre-modern. John Bale has tried to bring alternative evidence to bear, pointing out that, for every sport in which spectators have become more sedated and sedentary, there may be another sport � cricket and tennis would be good examples � in which spectators are becoming more raucous and assertive (Bale 1995, 316). However, the degree of apparent involvement between players and spectators is only an accessory symptom. For in fact, in any game played before a crowd of spectators, the game is always suffused from top to bottom with this condition of being-for its spectators, which can be emphasised or overlooked, but can never be minimised. Young boys who develop the skills of commentating on their game even as they are playing it exhibit an intuitive understanding of this interinvolvement of player and spectator. Players are nowadays increasingly required to offer commentary, in some games actually during the course of play. To play is to be inside and outside the game, to be player and spectator at once. The space of play thus begins to put the space between it and the space outside it into play. Orientation The space of the stadium is theatrical, in the sense that the space is both literal and ideal, both particular and general, both this place hic et nunc, and an any-place-whatever. Sport, like John Donne's love, 'makes one little roome, an every where' (Donne 1965, 70). There is always some kind of home advantage in any stadium (though many stadiums are in fact not owned and occupied by particular teams or even particular sports). But the actual field of play is in fact the paradoxical particularisation of a general set of relations �between service line and net, corners and touchlines, goalposts and penalty spots � that produce a layout that is in essentials exactly the same whether the teams line up in Brighton or Beijing. This is the first of many intersections that characterise the stadium � between place and space, here and anywhere. Sports arenas evolve as a circling of squares, a smoothing out of corners, and an ensphering of edges. The resilient rectangle of the oxymoronic 'ring' in boxing is the obvious exception to this tendency. Bullfights in southern Spain originally took place in the central square, overlooked on four sides by high buildings, with spectators stationed at the windows and balconies. As the bullfight was relocated to a sandy arena, the area of combat became a circle, with the seats arranged tightly around it. Football stadia exhibit the same evolution. A lowly non-league club will usually only run to one stand, either on the left or the right hand side of the pitch. As the club's fortunes increase, stands may be added at either end, and gradually the awkward spaces at the corners grouted in. Finally, the most successful clubs will aspire to a purpose-built stadium, in which the pitch will be circumscribed by an unbroken oval, maximising seating and visibility on the inside while closing it off from the outside. Sports stadia tend, in other words, towards he creation of sealed or introverted environments, in an instance of the generalised 'air-conditioning' that, according to Peter Sloterdijk, characterises modern spaces. As the form evolves, it tends towards the dome or the globe, in which there is no priority of viewpoint, in which orientation gives way to omnispectivity and opacity is purged in ostentatious appearance. The dome is supplemented by the technological enhancements which ensure that all viewers have access to the authoritative view provided by the video cameras. The promise of the dome is that one can be everywhere at once. Its ritual enactment is the Mexican wave, traditionally performed as a sour comment on a boring match, but enacting a utopian assertion of the identification of the crowd with the energetically orbital forms and mobilities of the stadium. Stadia are all designed to look cosmic, or at least extraterrestrial. They imply circuits, orbits and zodiacs, rather than a topology of positions. The form of the stadium is mimicked in the running-track, which doubles the stadium's enclosing form, and yet is part of the space of play. According to John Bale, the running track helps confirm the stadium as an Aug�an 'non-place' or 'placeless plane' (Bale 2004, 38). The enclosed, perfectly-level, precisely-calibrated running-track is the endpoint of an evolution 'from being an unspecialized, unsegmented and non-territorialized place to becoming close to an isotropic plane surface' (Bale 2004, 38). It is for this reason that Bale can assert that '[t]rack is one of the most placeless of sports and in few, if any, other areas of life is there so much pressure for one place to be the same � exactly the same � as any other of its kind' (Bale 2004, 39). The closed loop of the running track epitomises the tendency towards placelessness in modern stadia more generally, confirming Bale's judgement that '[t[he modern sports landscape can be described as tending towards �placelessness� in its geographical sense of places looking and feeling alike with �dictated and standardized values� ' (Bale 1995, 318). This flaunted surpassing of the phenomenological requirement of oriented perspective must purge or suppress the archaic or surviving traces of orientation. This became strongly apparent to Arsenal supporters when they moved from their traditional four-square stadium to the new Emirates stadium. The rivalrous versicle and response that used to be exchanged between parishioners of the North, South, East and West stands at Highbury suddenly had no purchase in a stadium where there were no breaks in the continuity of the seating. One is never likely to build up loyalty to the genius loci of the Orange Quadrant as one has done to the North Stand, the Kop at Anfield, or the Shed at Chelsea. But, as they persist through time, stadia may decay back into orientation, become susceptible to the phenomenological drag of listing, orientation, laterality. The uniform space of the stadium becomes pulled out of shape, as the open space of sensory awareness is pulled out of shape in the sensory homunculus, with its massive puffy lips and clownish hands. The uniform distribution of temperature becomes a meteorological landscape, in which hot-spots of attentiveness and intimacy are sprinkled across dark zones of indifference or abandonment. Of course, the greatest obstacle to the alateralism of the stadium is the game itself, in which the antagonism of the two sides is indispensable and irreducible. But this is an antagonism which aims to reproduce the white uniformity of the stadium not by abstracting space, but by saturating it with movement. At the beginning of the game, there is the immaculate, moist, geometrical green of the pitch, the wicket, the court. It represents possibility, it is possibility itself, like a wind-razored dune or the white witness of a field of fresh snow. Its laser lines are out of Euclid, abstract, absolute, unearthly, as though they were lines of light, or the luminous idea of lines. When the actual lines are doubled by electronic lines that enable one to determine absolutely whether a line has or has not been crossed, as in the system in use in tennis, the line moves even further towards the condition of electronically-absolute geometry. Anything can happen in a space like this. The form of the stadium mimics and substantiates this dwelling in possibility. When we say that we 'draw a line in the sand', we mean to dignify the act of establishing some arch�, some absolute, originating, governing distinction between that and this, then and now. But the real arch�, the real archi-tecture, is the condition of absolute openness, allowing any and every line to be drawn, of any breadth, in any direction, but before any line, any direction, has actually appeared. The moment play begins, this perfection, this pregnant vacancy, will be ruined irretrievably. With the first moment of play, the equilibrium of possibility is broken in on by choice, or hazard: will I kick long or short, serve wide or narrow, cut, glance or drive, pitch the ball up or try a bouncer? I am absolutely free in the space of play, that is to say, absolutely constrained to make a move to inaugurate the play of space. The only choice not available is the choice of remaining in the condition of being able to choose anything. As the play develops, it will leave its traces in the pitch, to the bitter Platonic rage of groundsmen the world over. The open space will become striated by the play, deeply rutted in certain areas, the goalmouth, the service line, relatively untouched in others. The apparition of essence will decay into a scarred cartography of accidence. The space is now no longer topographical, but rather topological. It is folded and refolded, its fixed distances subject to stretching, twisting, tilting and contraction. But this then creates the possibility of a passage beyond orientation. We can understand this in terms of the distinction that Michel Serres draws between the 'scenography' and the 'ichnography'. In the scenography, space is broken up, differentially distributed. It is diacritical, allowing for fort and da, over there and right here, locking one in location, in fixed intervals and distances. The ichnography is a mapping not of spaces, but of passages, itineraries and traversals and reversals, all of them more or less lateralised, off-balance, or like the Earth in Milton's Paradise Lost, 'Mov'd contrarie with thwart obliquities' (Milton 2007, 229, 8.132) For Serres, the ichnography approximates to the ensemble of possible profiles, the sum of horizons� It is the complete chain of metamorphoses of the sea-god Proteus, it is Proteus himself' (Serres 1995, 19). The ichnography is an integral of all actual and possible movements, a white totality, not because it is blank and therefore open to any possibility, but because it is a white noise, a brass rubbing as opposed to a blueprint, a spectrum compounded of every colour, a map at once obliterated and reconstituted in the scribbled blizzard of itineraries. The practice of changing ends, to ensure that both teams suffer the same advantages and disadvantages of any variation in the pitch or other imbalance, belongs to the logic of the ichnography, for it creates equality, not by erasing the space, but by maximally overwriting it, creating an equivalence between the logic of neither�or and that of both�and. The tendency of sports practised in the 'fourth-generation' arenas and stadia described by Rod Sheard of the giant architectural firm HOK Sport (Inglis 2001, 254-7), which is to say practised amid the networks of communications that such structures imply and implicate, is to move further towards this integral, for example, by action replays, that overlay unique instants, aggregating different angles, or by the data that integrates the action of this particular game with others elsewhere or in the past. Before the game begins, the stadium is an anorientated space of pure play. The beginning of the game forces a lurch away into orientation. But then the play of space begins laboriously to engender the return to an anorientated condition. Denied physical access to the space of play, the crowd participates in the play of space through sound. There is of course an element of location and laterality in the singing and chanting of the crowd, which aims to enlarge the space of play and enhance the fortunes of one side or the other. But, like the game played on the pitch, the game of sound is played out in the attempt to annihilate the very space in which the play is taking place. The crowd aims at saturation, and the form of the stadium amplifies the tendency of sound to go in all directions, minimising sound's occasions and maximising its powers of expansion and propagation. Simultaneously a megaphone and the amplifying ear it lends itself, the stadium is an auto-auditory apparatus. The stadium prolongs and accelerates sound, giving encouragement to the ambition to make of the sound a kind of architecture or textured mass in its own right, a muniment of din to crush the opposing team. The victory at which orientation � one side opposed to another � aims is not that of one side over another, it is the obliteration of laterality, and the assertion of the one-and-all. This second neutrality or 'no-side' resembles the neutrality of the opening of the match, except that it is a uniformity not of vacancy but of assimilation As Serres writes, 'The cause and goal of a squabble are the taking of a place, and noise occupies space. The whole point is to hold, occupy, or take a place� Noise against noise. Noise against weapon. Noise is a weapon that, at times, dispenses with weapons� And noise occupies space faster than weapons can' (Serres 1995, 52). As on the pitch, the play of sonorous space is formed from the desire to put an end to the play, and the space of sonorous agon is preserved and renewed by the contrary efforts of the rival supporters to extinguish space by cramming it with sound. Up and Under Perhaps the most important instance of orientation is the relation to gravity. There is a certain aspiration to height in nearly all games. The cup is raised high above the winning captain's head, while the losing team measure their defeated lengths on the pitch. Typically, the stadium rises sharply above the pitch, receding at as steep an angle as is necessary to optimise both visibility and comfort. In a stadium, one essentially looks not at but down on the play. But there is a zone of height that the spectators do not occupy, namely the indeterminate area of play above the pitch. The dimension is unlike the other dimensions of play in that it is both invisible and infinite. There is usually no theoretical limit to this zone. The ball can be struck or kicked as high as a player is capable, and will remain in play. A few years ago, an aerial camera was introduced to cover rugby internationals at Paris's Stade de France. The camera shuttled along a line strung over the pitch, diagonally from corner to corner. The plan was abandoned, not just because the straight-down coverage it offered lacked all dynamism, but also because a camera in the apparently spare and untenanted space above the pitch was in fact a trespass into the limitless but included dimension of the upper air. It was as intrusive and in the literal sense transgressive, stepping across a line, as a camera on the pitch would be. And yet the ground does not represent simple lowering. For many games, the scoring of goals or points is achieved by a triumphant grounding or touching down of the ball. In football, in which the goal acts as a surrogate ground, the motion is often completed by the player's ritual celebrations of the fact of scoring, which may involve a dramatic slide, either on the knees, or face down, with arms wide in a kind of magnificent, skidding prostration. Far from achieving height, the climax of the game is a kind of superbitas of abasement. Whatever is achieved in the time and space of play is achieved against the pull of time, fatigue and gravity, to which the players must eventually succumb. Victory is achieved over this succumbing not by disavowing it, in feeble spasms of levitation, but through the exaltation of cadenza, or dying fall. There is much that is resistant to upwardness in a stadium. Greek amphitheatres often took advantage of natural slopes or gradients, and were carved out of the side of hills. The fact that, before the Hillsborough Stadium disaster of 1989, the term 'terraces' was the favoured synecdoche for the stadium itself suggested that the space was carved out of earth rather than constructed upon it. The stadium is always a kind of pit or declivity, scooped or gouged out. Although many stadiums do rise high, the effect of the elevated perspective is to suggest looking down into the earth, rather than down on to it, as would be the case from a tall building. The habit of filming or photographing stadia from above assists this sense that they are to be thought of as craters rather than eminences. There is evidence that what David Larmour calls the 'agonal space' of Greek theatrical and athletic events was often synchronised with the passage of the sun across the sky (Larmour 1999, 134), a practice recalled in the 'day-night' cricket matches, inaugurated at the Sydney Cricket Ground by Kerry Packer in 1978, which begin in early evening and are concluded under floodlights. This is, in the strict sense, an 'orientation', inaugurated by the rising of the sun in the east, but the lateral passage of the sun also involves a sinking into the west. One of the effects of the closed circle of the stadium is to mitigate the ill effects of the low sun, though it remains enough of a factor in cricket grounds and tennis arenas to function as a distributor of advantage. For all its celestial annulations and concentricities, the stadium has a stronger affinity with the gorge, chasm or quarry, and other spaces of chthonic excavation, than with the heavens. Hence, perhaps, the favouring of the rainbow or arch form in stadium architecture, which seem to emblematise the up-like-a-rocket-down-like-a-stick parabola of all sporting aspirations. Although the crowd has a kind of perspectival advantage in looking down on the pitch � for seats at ground level rarely afford a very animated or informed view of the game � they are actually marooned in their elevation, which represents a fundamental exclusion from the field of play. Although players may occasionally climb into the crowd at the end of the match, most notably in the old Wembley, when players had to undertake a long climb up to the Royal Box � a tradition mimicked by Pat Cash who climbed through the crowd to greet his girlfriend after winning the Wimbledon title � the domain of the players is the underworld. They come out of what is usually called a tunnel, as though from under the earth, and the management team will typically spend the match in a 'dugout', like goblins or other burrowing elementals. The throwing of light materials, like balloons and streamers on to the pitch and their slow drifting to the ground also emphasises the inexorably gravitational pull to which the stadium is always subject. The floodlights slanting down at the field of play suggest that in the stadium, even brightness falls from the air. The very word arena seems to have some reference to this insistent declension. For arena means simply sand. Unlike grass, which, though porous, is tightly-textured and therefore relatively impenetrable, sand was strewn primarily to provide drainage, for blood and other bodily issues. (Of course, good drainage is also a feature of the very best grass pitches.) What blood remained to stain the surface could be removed simply by turning the sand over it, thus visibly inhuming the last traces of the slaughtered beast or mauled combatant. The fact that most stadiums are open to the sky in fact emphasises this lowering tendency of the bowl, which can resemble a sink or sump, and its implicit evocation of the swirling away of wastes. In the days of closely-packed terraces, where one was in constant danger from the weight of the crowd behind and above one, there used to be a very literal signalling of this at the Kop end of Liverpool's Anfield stadium. Since fighting one's way to the crowded lavatories during the match or even at half-time was such an ordeal, many would relieve their bladders, distended by lunchtime pints, illico, where they stood, by rolling their copies of the Liverpool Echo into a cone and using it as a funnel. The lower down the terraces you were, the more important it was to have waterproof footwear to protect against the cascade. On the Spot Stadia offer some strange distortions of scale. In most stadia, the players and the action they unfold are much more vividly visible and seem much closer than they in fact are, as though the space of play acted as a magnifying lens. A player on the pitch a hundred yards away seems clearer and better-defined than a member of the crowd just a couple of rows away. There used to be a time when proximity to the action was determining. Thus, in theory, nobody could be better placed to make a ruling than a referee, who is in the thick of the action. The supplementation of human vision with automatic sensing devices and with replay facilities is in the process of changing all this. Nowadays, when there is uncertainty about whether a try has been scored in an international rugby match, we may hear the commentators say 'We'll have to go upstairs for a decision on that', meaning, that the referee is about to invoke the advice of an external official who has access to replays of the action provided from a number of different viewpoints. It would be perfectly possible for this fourth official to be sitting in front of his monitors on the touchline, or even under the pitch � and, come to think of it, he may well be, since the point is that it is entirely mysterious where he is. When the referee speaks to him via wireless headset, he never looks in any particular direction, as though to indicate that the fourth official in fact does not inhabit the visible space of the arena at all. He certainly may as well be in the car park as in the gods, for at this point somebody on the other side of the world watching the replays to which the television audience are privy will see and know more, and more quickly, than the players and referee. The privilege of proximity here yields place to the ecstasy of pantopia. Full Time Like sacred spaces, stadiums are outside normal, quotidian time. But where sacred time is parallel to but does not intersect with quotidian time, sporting time, the calendar of events and the chronicle of exceptional encounters and achievements, plays in and out of ordinary time. And, unlike the spaces in which other festivals and rituals take place, sports stadia also make time; they are both batteries and factories of sporting history. Ordinary, elapsing, progressive time has no place in the experience of the stadium. This is not because time is here stalled or suspended, nor because one is unconscious of the passing of time, even if this may be the experience of the spectators. Rather, it is because in the stadium time is so remorselessly and exceptionlessly materialised. Everything now is time, time solidified, materialised, made palpable and therefore put into play. The game, whatever it may be, from hockey to tennis to volleyball, is an choreographed agon of speeds and durations, with the ball, puck or shuttlecock as the switcher and transmitter of these speeds. The struggle against the other team is really a struggle against their time. One side struggles to accelerate time by gaining advantage. If I am 3-0 ahead, I will have wound the clock forward, starving the other team of the time available to them by increasing the work that they must do in it. The other team responds by trying to distend time; to defend is to defer, to hold time open, to maximise the reserve of time that remains. So, far from being a timeless space, the space of play is gravid and engrained with time. Time here has no transcendence, for it is nothing but its measurement, and everything measures it out. Rather than standing behind or having to be inferred from changes of physical form, time is here absolutely immanent in physical form, which is to say visibly displaced into it. Just as certain medical conditions produce the phenomenon of 'referred pain', pain felt in some other place than the site of an injury, so the space of play produces 'referred time'. For is not pain indeed the primary index of time in play? All the time, of course, the time is running out, the players attempting to synchronise their chronic fatigue with its elapsing. But there are moments of recoil and resilience, pockets of time in which time is held up. We had a boy in my school called Nigel Gallop, who played fly-half. He had the ability, at the moment he received the ball from his scrum-half, to hold time up as he leaned, say, to the right, suspended like Aphrodite amid the foam on the tip of his right toe, drawing both his team and the opposing team in the direction of his expected pass, as though with a nudge of his left hand he had tipped up a tray of marbles. But then, as the rest of the field of play slewed away to his right, he would suddenly pivot to his left, to run or kick through the corridor momentarily opened up by his feint. Just as the theory of relativity shows us that light is bent by gravity, so here the space of play was puckered together in one point and stretched out in another. By taking a stitch in time in one part of the field, he purchased for himself a precious rent in time in another. Gaps in space and gaps in time are entirely equivalent. In any sport, an epoché or aperture of this kind is a wormhole in time, a lusus temporis. The field of play winks and shimmers with these breaches and pockets, opening and closing, actual and virtual. The play of space worked within the space of play is nothing but the fluctuation of these chronotopological compossibilities. And there are moments in the game at which something like the plenitude of original possibility can be restored. To wait to receive serve, or to try to save a penalty, is to be prepared to move in any direction whatsoever. Michel Serres has evoked this suspension of space-time: Have you ever kept goal for your team, while an opponent rushes in to take a clean, close shot? Relaxed, as if free, the body mimes the future participle, fully ready to unwind: toward the highest point, at ground level, or halfway up in both directions, left and right; toward the center of the solar plexus, a starry plateau launches its virtual branches in all directions at once, like a bouquet of axons. This is that state of vibrating sensitivity � wakeful, alert, watchful � a call to the animal who passes close by, lying in wait, spying, a solicitation in every sense, from every direction for the whole admirable network of neurons. Run to the net, ready to volley: once again, a future participle, the racket aims for all shots at once, as if the body, unbalanced from all sides, were knotting a ball of time, a sphere of directions, and were releasing a starfish from its thorax. (Serres 1997, 9, translation modified) Serres sees this as nothing less than the figuring of the soul, as an 'unfurled omnitude'. As opposed to the necessary Dasein, or having to 'be-there' of the animal, soul is 'the kind of space and time that can be expanded from its natal position toward all exposures' (Serres 1997, 31). But, in the space and time, the time-held-up-as-space of play, one cannot remain in play, that is, in potential. For the space of play is one in which you are always having to make your play, to move to left or right, to stretch or dive. In the space of play, time is always being divided into, decided as space. World-Objects Peter Sloterdijk has suggested that the spatiality of the contemporary world must be understood as a multiplication and diversification of the unifying images of the macrocosm that had reach and purport for previous eras. His three volume work Sph�ren reads human history � philosophical, religious, artistic, political � as the elaboration of different kinds of spheres, or spaces of introversion. The first volume concentrates on 'microspherology', the construction of the intimate and elementary spheres, typified by the simplest dyadic relations between the child and the womb, or mother. The second follows through the macrospherological evolution of larger, more inclusive, and metaphysical spheres, typified in imperial conceptions of the One World, or in Marshall McLuhan's notion of the global village. The third volume proposes, by contrast, that the modern world must be understood nonholistically, and in terms of a polyspherology, which will take account, in a 'multifocal, multiperspectival and heterarchical' manner, of the complex aggregations of different spheres that make up the world (Sloterdijk 2004, 23; my translation). Where the governing metaphor for microspherology is the bubble, and the governing metaphor of macrospherology is the globe, the aptest and most versatile metaphor for the polyspherological condition of the modern world is that of foam: 'In place of the philosophical super-soapbubble, of the All-Monad of the unitary world�there is a polycosmic agglomeration. This may be described as an assemblage of assemblages, a semi-opaque foam of world-making constructions of space' (Sloterdijk 2004, 63-4; my translation). The stadium seems to be an anachronistic defiance of this global movement away from centring, presence and concentration. The stadium has become the most representative form of secular monument, a space of ludic reflexivity in which cities, nations and cultures offer to image themselves. Arenas are microcosmic, magnifying, monomaniac, monarchical. They feed and famish the craving for the absolute. A stadium is a pompous omphalos, which proclaims itself the centre of the world. This is surely another reason why stadiums always suggest a depression in the ground; the omphalos was the navel of the world because it reached down into its heart. The most famous omphalos stone in the ancient world marked the place of the oracle at Delphi, the spot where two eagles released by Zeus to fly round the world met, and where Apollo defeated the earth-serpent Pytho, and where, according to a later legend, the Pythian priestess was inspired to prophecy by the mephitic vapours rising from the interior of the earth. The braggadocio profile of the stadium makes us understandably uneasy about it. There is something dangerous, hubristic, barbaric in this attempt to mass the whole world together into one place. There is much in it of the concentration camp � what is a camp, after all, but a champs, with champions those who command the field of tourney or battle? All stadia are dangerous places that, whatever the safety measures in place, are much harder to get out of than into. The only way to make stadia completely safe would be to have exits every few rows. But the effect of this would be to diffuse the very cramming and cramping, the very time-trap, from which the energy and excitement of being part of a stadium crowd derive. Many American stadia, which are provided with much more in the way of food and other franchises to tempt the spectators away from their seats, lack the focus of the European stadium for this reason. Stadia connect back to the tradition in which they functioned as microcosmic concentrations, presumptive worlds; the point of the Roman circus in particular was to emphasise both the reach of the Empire and its capacity to oversee it as though its compass were no more than that of the colosseum � super-vision being precisely the mode of observation requisitioned by this kind of superbowl. And yet emperors and dictators are not always at their ease in the stadium, for it is not entirely clear from what position one may dominate it. A story from the beginning of the modern period of stadium experience makes this point. When the Austrian Emperor Joseph II visited Verona, the Governor of the town laid on a bullfight for him in the town's Roman amphitheatre. The Emperor was led to his seat, and, in the contemporary description offered by the Prussian historian, Johann Wilhem von Archenholz, 'all at once he arrived via a small opening at his seat, and saw in this confined circle all the inhabitants of the town and its neighbouring areas, filling the amphitheatre from top to bottom, who all immediately rose and applauded him. It was a sight that quite knocked the Emperor sideways' - more specifically, 'ein Anblick, der den Kaiser ganz auβer sich setzte', 'a sight that set the Emperor quite outside himself' (Archenholz 1785, 2.60-1, my translation). His displacement finds its modern equivalent perhaps in the dilemma of the occupants in the Royal Box: do they join in the Mexican wave pulsating round the stadium and thus surrender their distinction, or do they abstain from it and thus in a sense endure their eviction from the space? Interestingly, stadium rock usually wrenches the round space of the stadium into a scenography, setting the star and the audience in a more familiar and governable face-to-face relationship. And yet, stadia help constitute and are themselves taken up in a play of space that throws this microcosmic mirroring off-centre. Not only is the space of play put into play by the fact of its being-for the crowd in front of whom it transpires, this play of contention is itself increasingly drawn into relation with a set of other audiences, near and far, in space and time. The stadium has become what Michel Serres calls a 'world-object' (Serres 2001, 179-80). For Serres, a world-object is distinguished by two features. The first is that it is not restricted to any one culture, tradition or locality, but spreads throughout the world, and therefore, itself transported everywhere, provides a kind of portal or passe-partout to all parts of the world. The second is a consequence of the first. Serres reminds us that, according to the medieval understanding, an object is that which is 'thrown before' the subject: 'Held by a subject, a technical object acts on other objects, sometimes even on other subjects; all these elements inhabit a spatiotemporal ensemble that is restricted in space and relatively invariant in time' (Serres 2001, 180). But, since they are everywhere, and provide passage to anywhere, world-objects (such as the 'World-Wide Web', for example) are not merely items set out in a world-space. Rather than being disposed in front of us, in the relation of availability signified in Heidegger's relation of Gestell, they form a habitat, an Umwelt. They are world-objects because we inhabit them as we inhabit the world. The difference between this and other kinds of habitat is that it is not a specific location or coordinated niche in space. Rather it is the opening into the generalisation of environments, the pantopic and panchronic ubiquitisation of man that Serres has called 'incandescence' (Serres 2003, 216-27). There have always been games which are open to the world, and perhaps none more than cricket. Whereas most games strive for the perfection of a perfectly even playing surface, that offers no advantage in any direction to either side, cricket assimilates the imperfection of the ground, building entire strategies out of the variable and inevitably entropic state of the wicket. Unlike most other sports, cricket often allows spectators to graze over the pitch during the lunchtime interval; the wicket remains roped off, but one can approach close enough to inspect it and form one's own judgement as to the likelihood of its taking spin on the fifth day. Until it was blown down in a gale in January 2005, a lime tree grew inside the boundary of the Kent County Cricket Ground in Canterbury, requiring the formulation of special local rules: a ball hit into the tree scored four, and a batsman could not be caught off it. Rather than attempting to close itself off from the contingencies introduced by meteorology, cricket allows itself to be impregnated by them, the better to be able to draw them into play. Is there another game in which fortunes (along with the ball), can swing so dramatically as a result of a cloud covering the sun, and in which players need to pay so much anxious attention to the sky? This provides a match for the careful specifications for playing dice given by Gerolamo Cardano in his Liber de Ludo Aleae: Set the round gaming boards in the middle; if they incline toward you opponent, then the dice box will incline in the opposite direction, and this is unfavorable to you. Similarly, if there is a slope toward you, then the box will be out of plumb in your favor; but if the dice box is not moved, then this does not matter. Similarly, if the board catches the light from the side opposite to you, then this is bad, since it disturbs your mind; on the other hand, it is to your advantage to have the board against a dark background. Again, they say it is of benefit to take up your position facing a rapidly rising moon. (Cardano 1953: 191) Games like cricket in which the world enters into the play contrast with games which spill out into the world. Perhaps the game in which worldhood is most in play is baseball. As is suggested by Robert Coover's The Universal Baseball Association, Inc (1968), about a man who manufactures an entire alternative world of baseball history through dice-rolling, baseball is certainly a powerful way of worldmaking. But baseball is most other games in one important respect. The dimensions of the infield, the diamond whose principal apex is the home plate, are absolutely fixed. There must be 90 feet between bases, with 13 feet arcs around each base. The distance from the apex of the pitching mound to the home plate must be 60 feet and 6 inches. But the outfield, which radiates from the central point of the diamond, can be and is, different in every ball-park (Shore 1994, 353). When one asks for a 'ball-park figure', this play between exactness and approximation is called into play. This makes baseball the perfect enactment of the ambivalently open-closed condition of the space of play in sport. Don DeLillo's Underworld (1997) exploits and forms itself on this quasi-aperture. The opening scene is set in the Polo Grounds, the stadium where the New York Giants won the epic final game of a three-match pennant-deciding series against the Brooklyn Dodgers on October 3, 1951. The game was won by a home run hit by the Giants outfielder Bobby Thomson. In DeLillo's novel, the ball is caught by a skinny truanting kid called Cotter, who carries it away in secret triumph amid the elation and lamentation of the two teams' supporters. The home-run became known as 'the shot that echoed around the world', partly because of the number of serviceman in Korea who listened to the match. But DeLillo also reminds us of the fact that news broke during the Giants-Dodgers play-off of the first nuclear test by the Russians. The purloined ball will pass from hand to hand throughout the novel, a perfect enactment of what Michel Serres and Bruno Latour have characterised as a 'quasi-object', an object that, in its passages from hand to hand, acts as a distributor of meaning and subjectivity. DeLillo gives us J.Edgar Hoover's reflections on the proliferations of secrets: This is what he knows, that the genius of the bomb is printed not only in its physics of particles and rays but in the occasion it creates for new secrets. For every atmospheric blast, every glimpse we get of the bared force of nature, that weird peeled eyeball exploding over the desert � for every one of these he reckons a hundred plots go underground, to spawn and skein. And what is the connection between Us and Them, how many bundled links do we find in the neural labyrinth? It's not enough to hate your enemy. You have to understand how the two of you bring each other to deep completion. (DeLillo 1997, 51) The home-run will be both closed and open, complete and incomplete and the peregrinations of that uncompleted home-run will come to constitute the entire 'underworld' of the novel. At once closed and open, the stadium is beginning to constitute and participate in the same play of space. No longer either ancient or modern, it is a new-old transformer and transmitter of times. The stadium may continue to have the archaic look of a mimic world, monomaniacally entire and autistically closed upon itself. But stadia no longer enclose and surpass the world, they suppose and open into it. Where stadia used to be presumptuous imitations of the world, they are now its intimations. References Archenholz, Johann Wilhem von (1785). England und Italien. 2 Vols. Leipzig: Dykischen Buchhandlung. Bale, John (1995). 'The Stadium as Theatre: A Metaphor for Our Times.' In The Stadium and the City, ed. John Bale and Olof Moen. Keele: Keele University Press, 311-22. ------------- (2004). Running Cultures: Racing in Time and Space. London and New York: Routledge. Baudrillard, Jean (1987). 'Forget Baudrillard: An Interview With Sylv�re Lotringer.' In Forget Foucault, New York: Semiotext(e), 65-135. Cardano, Gerulamo (1953). A Book on Games of Chance. Trans. Sydney Henry Gould. In Ostein One, Cardano: The Gambling Scholar. New York: Dover. Coover, Robert (1968). The Universal Baseball Association, Inc: J. Henry Waugh, Prop. New York: Random House. Donne, John (1965). The Elegies and The Songs and Sonnets. Ed. Helen Gardner. Oxford: Clarendon Press. DeLillo, Don (1997). Underworld. London: Picador. Dietrich, Knut . (1992). 'New Demands for Sports Facilities: Principles for Future Planning.' In Sport and Space: New Challenges to Planning and Architecture, ed. S�ren Riiskj�r. Copenhagen: Danish State Institute of Physical Education, 21-5. Larmour, David H.J. (1999). Stage and Stadium: Drama and Athletics in Ancient Greece. Hildesheim: Weidmann. Milton, John (2007). Paradise Lost. Ed Barbara K. Lewalski. Oxford: Blackwell. Serres, Michel (1995). Genesis. Trans. Genevi�ve James and James Nielson. Ann Arbor: University of Michigan Press. ----------------- (1997). The Troubadour of Knowledge. Trans. Sheila Faria Glaser and William Paulson. Ann Arbor: University of Michigan Press. ------------------ (2001). Hominescence. Paris: Le Pommier. ------------------ (2003). L'Incandescent. Paris: Le Pommier. Shore, Bradd (1994). ‘Marginal Play: Sport at the Borderlands of Time and Space.’ ‘Sport in Space and Time’, special issue of International Review for the Sociology of Sport, 29, 349-66 Inglis, Simon (2001). Sightlines: A Stadium Odyssey. London: Yellow Jersey Press. Sloterdijk, Peter (2004). Sch�ume: Sph�ren, Vol. 3: Plurale Sph�rologie. Frankfurt: Suhrkamp. Vieth, G.U.A (1794). Versuch einer Encyklop�die der Leibes�bugen. 2 Vols. Halle: Kunsth�ndler Dreyssig. 3	i don't know
Films. At which educational establishment, in the 1950s and 1960s was there blue murder , pure hell and a train robbery ?	The ST. TRINIAN'S Films (1954-1960) THE ST. TRINIAN'S FILMS (1954-1980) Commentary by Judy Harris Visit my homepage at http://www.bestweb.net/~foosie/index.htm or e-mail me at [email protected] I never saw any of the St. Trinian films in theatres near the time of their release. I was 7 years old when the first film, BELLES OF ST. TRINIAN'S, was initially released. However, I was lucky enough to see the first three films on TV when I was a child. I had always liked and admired British accents and British eccentrics, at least the type that appear in films. Although ultimately 5 films were made, I consider the first three classics; I saw the fourth on video many years after it was released and didn't think much of it (I've recently tracked it down again and my low opinion is confirmed), and finally, in 2001, was able to see the fifth one, which makes the fourth look like a masterpiece by comparison. The films were inspired by the illustrations of Ronald Searle , who created the cartoons to amuse his friend Cecile Johnston who attended St. Trinnean's School in Edinburgh. Before being compiled in book form, these cartoons were published approximately one a month from 1941 through 1953, when Searle announced their demise in SOULS IN TORMENT. The humor of these books is so universal that 50 years after their creation, they are still much sought-after collectors items. All of these comedies were: produced by Frank Launder and Sidney Gilliat directed by Frank Launder Prefect Shirley Burniston In a pre-opening sequence, we see being riddled with bullets a sign, hand lettered St. Trinian's School for Young Girls. The opening credit sequence is drawn by Ronald Searle and includes a wonderful caricature of Alastair Sim in his dual role as Millicent Fritton, headmistress of St. Trinian's and her ne'er-do-well bookmaker brother, Clarence. The plot is introduced early when the Sultan of Makyad sends for the governess of his children to ask for her recommendation of where to "finish" his eldest daughter, Fatima and, coincidentally, get her away from the nearby American airbase. The governess recommends a school run by an old schoolmate, St. Trinian's. By a happy coincidence, the school is in Barchester where the Sultan keeps his race horses, so he agrees. Roger Delgado, the first Master on DOCTOR WHO, plays an employee of the Sultan who drops Princess Fatima off at the train station. It is here we get our first inkling of what the school body of St. Trinian is like. We hear in the background a constant din of girlish shouts, and observe the fate of a railway employee who, in an early example of a St. Trin's prank, is tied to a luggage cart and hauled away. As the train pulls into Little Twinings, the railroad employees run for cover. The fire alarm goes off, alerting the shopkeepers to board up their shops and restaurants; hens rush back to their coop; the bank padlocks its doors; a policeman locks himself in his cell. Superintendent Kemp-Bird (Sammy to his long-time girlfriend, policewoman Ruby Gates) helps himself to a stiff drink. As the bus pulls into the grounds, we get our first look at the Belles of the title. Wardrobe mistress Bridget Sellers has done a wonderful job of outfitting them to look exactly like the Searle illustrations. The girls all wear hats with wide striped hatbands. The older girls wear theirs with the brims down; the younger girls with the brims up. All the girls wear a uniform with a large "T" emblem over their hearts. The hemlines for the older girls are quite short, making the uniforms into early minidresses. The younger girls seem to have an enormous amount of unruly hair. The girls emerge from the bus, some of them climbing out of the window, brandishing hockey sticks and tennis rackets; the stressed driver has been de-pantsed. Clarence Fritton, brother to the headmistress, drives up with his teenaged daughter, the cigarette-smoking Arabella. Clarence is dressed in a checked suit as befits his calling as a bookmaker. As they enter the school, they pass a teacher, Miss Waters, resembling a Charles Addams drawing of Morticia, who totally ignores them. Bella tells her father Miss Waters teaches scripture and needlework. Inside, St. Trinian's is full of armor and bric-a-brac including tusks and a gong. There is a police helmet on one of the statues. Clarence goes to meet his sister, Millicent. Alastair Sim is so wonderful in this role; he went bald early in life and always looked elderly, even when he was quite young. (He was 54 at the time this was filmed.) He had a hangdog look (perfectly captured in the Searle caricature in the opening credits) and appeared to be a large, shambling man. Here, in drag, he puts on small, dainty gestures and a feminine voice and is just so adorable. Again, the costume created by Bridget Sellers is perfection: A long skirt, ruffled blouse, dangling necklace and earrings, several rings and a bracelet, topped off by a marceled wig and pince-nez glasses. We learn that Arabella has been expelled for burning down the sports pavilion. Clarence has come to request Millie take her back. After all, Monica Drew was not expelled for burning down the gymnasium. Millicent points out that the gymnasium was insured. She had to make an example of someone to stem the incidents of arson. (In the novel, TERROR OF ST. TRINIAN'S (1954), the school is burned down for once and all). Clarence has heard that the Sultan of Makyad is sending his daughter to St. Trinian's. He wants Arabella to find out anything she can about the Sultan's race horses. He blackmails Millicent into taking Arabella back by threatening to tell their mother (represented by a portrait of Sim as an older version of Millie) that Millicent has mortgaged the family home. Fatima arrives and is introduced to Clarence and Arabella. As Clarence leaves, we learn the race course is only a half hour away by car. Millicent gives her welcome speech to Fatima and two other new girls. Explaining the unorthodox approach taken by St. Trinian's, she says when most girls leave school they are quite unprepared to cope with the "merciless world" but when the St. Trinian's girls leave, it is "the merciless world which has to be prepared." Miss Holland enters Miss Fritton's office, bearing the post and reporting there is not an ounce of food in the school and, unless the tradespeople are paid something at once, there won't be. We learn the school is also mortgaged, even the school challenge cups have been pawned. The post contains a letter from the Sultan mentioning he has given Fatima ï¿½100 pocket money. Miss Fritton makes a cautious exit from her office while three hopeful schoolgirls wait for a bucket of paint they have poised atop her door to fall, but she hasn't been at St. Trin's since 1926 for nothing and squeezes out without disturbing the bucket, which falls (off screen) on the unsuspecting Miss Holland. Fatima is getting a tour of the school, including the mistresses' common room, a smoke filled den which reminds Miss Fritton of the ladies loo in Port Said. The arts and handicrafts mistress is having a stiff belt; a monocle-wearing teacher of maths (the very butch Beryl Reid) is practicing her golf swing; the geography mistress is passed out; the English Lit mistress (Irene Handl) speaks in a heavy Cockney accent. As Fatima leaves, the mistresses gripe; they haven't been paid since Easter; we learn one is wanted by the police for an offense that carries a 5-year prison term; one has no teaching qualifications at all. Miss Fritton arrives to tell the mistresses the Ministry of Education is threatening to close the school, and asks them to pull together this term to muster "the odd school certificate". Miss Fritton lets slip the news of Fatima's pocket money and is soon speaking to an empty room, but it's too late, she has already given Fatima an IOU for this cash. A gong signals bed time, setting off a pillow fight of such ferocity that the ceiling plaster starts to fall; this is how Millicent nostalgically knows the term has officially started. At the Ministry of Education, Superintendent Kemp-Bird visits Manton Bassett (the wonderfully dry Richard Wattis ). Bassett is all smiles until the Superintendent mentions St. Trinian's. Then he has to take a precautionary painkiller; his "T" files take up 9 volumes because of problems with this school. He sent an inspector there but he never returned; he sent a second inspector and he disappeared as well. Bassett then went to see a psychiatrist who recommended he put the school out of his mind, and that's what he's done. The Superintendent tells him of a crime wave that occurs only when school is in session: arson, forged fivers, poison pen letters. He suggests putting a woman police office at the school, undercover, posing as a member of the teaching staff. Bassett agrees. Back in his Barchester constabulary office, Kemp-Bird summons Sergeant Ruby Gates to his office. When he tells her he has an important assignment, she is thrilled: "Good-o, Sammy!" she says. Words cannot describe how fabulous Joyce Grenfell is in this role. She was quite modest about her contribution to these films, calling Ruby Gates a "galumphing school girl" but the fact is that she is just hilarious as the beset Ruby. She and the Superintendent have had a long time (but low key) romance and now Sammy sweet talks her into taking this odious undercover job, as games mistress Chloe Crawley. Ruby is horrified at the false name he's chosen for her, the girls will call her "Creepy Crawley" but it's too late, Kemp-Bird has already applied to the school for her under that name. Blowing her nose, Ruby caves in and agrees. At her interview, Ruby (her hair now in plaits twined around her head) asks about the school hockey record. Miss Fritton tells her that owing to the "spirit of defeatism" even the littlest girl has instilled in opponents, the school has won every cup in the county. Miss Fritton warns Ruby not to trip a wire that would bring down an axe-like medieval instrument next to a suit of armor. Gamely, Ruby leaps over the wire, to the disappointment of the watching girls. They pass by the spot where the school cups are meant to be. Beneath the stand is the school motto: IN FLAGRANTI DELICTO. Miss Fritton tells Ruby the cups have been sent out to be polished. Alerted by one of the girls whistling out the window, Ruby spots a man (the side-splitting George Cole ), who always seems to emerge from behind a bush. He wears a hat at a raked angle and an oversized overcoat, and walks with a rolling gate. Not in this scene, but in subsequent appearances, a rollicking happy go lucky musical theme accompanies his appearances. When Ruby points him out, Miss Fritton is not sure, but thinks this is Harry, a bootboy she engaged in 1940 when he was 12 before he grew up and grew a mustache. Miss Fritton takes Ruby to see what the fourth form are up to in their chemistry lab. Smoke billows out as she opens the door. Bessie is busily pounding a considerable amount of nitro glycerine. Miss Fritton tells her to be careful. The girls have a large working still where they produce gin which they lower in cases out the window. "Flash" Harry completes the product by applying St. Trinian's labels to the bottles. Miss Fritton has a taste and asks that a few bottles be sent to her room. As she and Ruby leave, there's an explosion. "Poor little Bessie," says Miss Fritton, "I warned her to be careful of that nitro glycerine." In geography the girls are learning about wine vintages. Arabella is summoned to the phone where her father tells her that he has a horse entered in the Gold Cup and the Sultan has a horse, Arab Boy, in the same race. Arab Boy has a trial scheduled for the next morning and Clarence wants his daughter to find out his running time, distance and weight he carries. Ruby overhears Arabella saying to her father "We'll get the dope". A fourth former overhears as well and is tortured for this knowledge by her fellow fourth formers; soon the whole student body is determined to find out about Arab Boy and make money on him. At the trial, Arab Boy is timed by all the girls. One of the sixth form girls flirts with the stable boy ( Michael Ripper looking unbelievably young) and discovers the weight he carries. As a result, it is revealed he can run the Gold Cup 10 seconds faster than the horse who won last year. The girls decide to pool their money and bet on Arab Boy. Harry is summoned by another whistle and is followed by Ruby to a room where she listens at the keyhole. He tells the fourth form girls that the ï¿½20 they have is hardly worth betting, so they put Fatima up to asking for her ï¿½100 pocket money back from Miss Fritton. Miss Fritton meanwhile is getting some sad economic facts from Miss Holland, as her parting duty before she quits. She has ï¿½400 in the bank and owes ï¿½4,000. Fatima arrives with some other girls to ask for her pocket money; Miss Fritton has no intention of returning it, but when she finds out it is to bet on a horse race, even a "stone cold certainty" of 10-to 1, she is appalled and sends the girls away. Miss Fritton has twice observed the girls summoning Flash Harry and now puts her dainty fingers in her mouth and lets out a whistle. When Harry isn't sure who it is that's called him, Miss Fritton gestures to him through her window. Ruby tries to follow but Miss Fritton seems to sense her outside her door and sends her away. Arabella reports Arab Boy's form to Clarence, who is distraught. He's bet all his money on his own horse to win and now it looks as if Arab Boy is sure to win. Arabella suggests nobbling (kidnaping) Arab Boy. Clarence is appalled and sends her away. As she leaves, Bella says if he changes his mind to come to the school tomorrow; some parents are expected for a hockey match. Next day Ruby, in a coat and scarf, gallumphs onto the field leading some reluctant scantily clad sixth form girls. Ruby notices that one goal is two feel smaller than the other one. One of the girls tells her this is St. Trinian's goal. As the goal is chosen by the flip of a coin, Ruby doesn't see how they know which goal will be theirs, but they show her a two-headed coin. Ruby is incensed at this cheating. She says what about the second half when the teams change over? One of the girls tells here there never is a second half. Ruby tries to get the girls to put up the hockey net, but they skive off. Ruby dashes after them and discovers them having a French meal in the summer house with two men. Ruby rushes to tell Miss Fritton of this scandal, but Miss Fritton already knows. These are the two missing school inspectors. They are now the school gardener and fencing master. The girls adore them; they meet to discuss things under the name the Lotus Eaters. Out the window we once again hear the din of girlish shouts. Armed with tennis rackets, hockey sticks and lacrosse nets, the girls storm the bus of the opposing team, breaking a window. Miss Fritton sends Ruby off to oversee the hockey game. As she leaves Miss Fritton's office, Harry emerges from behind a suit of armor and enters. He has opened an outgoing letter from one of the mistresses. It is from Ruby to the Superintendent. Her cover is blown; Miss Fritton and Harry now know she is a "copper's narc in skirts". She has reported the illicit still, the gambling, etc. Miss Fritton tells Harry to tear up the letter, get rid of the still and take a holiday. At the hockey game, Clarence arrives and Arabella explains the plan to "borrow" Arab Boy and keep him just long enough for him to miss the race with the help of the stable boy who they will bribe with ï¿½100 in advance and ï¿½100 after the race. St. Trinian's win the toss to choose the goal. The fourth form are taking bets on the outcome of the game. Ruby tries to referee but is almost immediately knocked on the head with a mallet and carried off the field on a stretcher. The mistress representing the opposing team demands a replacement referee and we see quick cuts of a stack of stretchers becoming fewer, and more bodies carried to the First Aid tent. St. Trinian's wins, to the delight of Miss Fritton and the girls. Miss Fritton awards a trophy but the cup goes immediately back to the pawn shop. Under stretching torture this time, one of the fourth form girls spills the beans about the fate Bella intends for Arab Boy. The fourth form realize that if he doesn't compete, they will lose the money they bet. Ruby calls Sammy from the sanatorium. He has had no report from her and tells her Arab Boy has been stolen. St. Trinian's girls were spotted nearby and he wants Ruby to find out their names. Ruby wonders if she pulls this off if it could be wedding bells. Brusquely, Sammy tells her if she doesn't it will be curtains. Miss Fritton calls her bookie and tries to get her money back, but he tells her the facts of life and hangs up on her. As she emerges from her office, she sees one of the girls riding Arab Boy up the main stairs. Ruby asks Miss Fritton for the names of the girls who went riding but Miss Fritton sends her back to the sanatorium. Miss Fritton tracks down the horse and admonishes the girls: "pets are not allowed in dormitories." When she hears about Bella's plan to steal the horse (so the fourth form stole him first), she says the horse has to get back to the stable first thing in the morning and the girls must clean up signs the horse has been there because it's Parent's Day tomorrow. Next morning, the school snitch tells Bella there's a horse in the fourth form dormitory. Bella calls her father and tells him the sixth form has barricaded the fourth form dormitory so the horse can't get out. Harry overhears. Miss Fritton calls together the staff and tells them the sixth form has imprisoned the fourth form in their dormitory with a race horse. She says they must all storm the barricades because she's bet the school money on this horse and they won't get paid unless the horse can get to the race on time. With the use of smoke bombs and the usual dirty fighting, however, the sixth form quickly defeats Miss Fritton and her staff, who are sadly bedraggled. Clarence and some of his friends arrive to make sure the horse stays barricaded in. Ruby tries to reason with the sixth form and is once again knocked cold. Miss Fritton reveals to the staff that Ruby is a police officer and has her locked in the headmistress' bathroom. Clarence and Miss Fritton have a testy conversation about the horse which the recently revived Ruby overhears. She writes down ever word on the linoleum in Miss Fritton's bathroom and rolls it up as evidence. She discovers she's locked in and tries to chip her way out with a toothbrush. Manton Bassett arrives from the Ministry of Education for a surprise inspection. Harry, who has been directing parents to a Brownie's camp fire as if it were a sideshow attraction, "Roll up for the bloomin' Brownies camp fire", sends Bassett off to be reunited with the missing school inspectors. The Old Girls (graduates) of the school arrive, properly lubricated with liquor. As they enter the school, trampling Flash Harry underfoot, they make an adult version of the din of the present school girls. The fourth form send a message to Miss Fritton asking for a diversion, so the Old Girls gear up with spears and shields from the wall decorations and storm the barricades. Meanwhile, the fourth form lowers Arab Boy on blankets out the window (shown in shadow as Ruby tries to escape Miss Fritton's bathroom) and hitch him to a milk cart. Arab Boy appears at the stables in time for the race. Bassett and the two ex-inspectors watch the race on TV, with Bassett sorely tempted to join his ex-Ministry colleagues permanently at St. Trinian's. Arab Boy wins the race. Miss Fritton is in full stiff upper lip mode as she faces the wrath of some parents who witnessed the storming of the barricades, when Harry breaks in to announce that Arab Boy has won. Miss Fritton regally rises, with a polite putdown to the parents and goes off arm and arm with Harry to collect her lolly and redeem the cups from the pawn shop. The Sultan, after acknowledging his debt to the fourth form, is about to present the annual school awards. The award for good conduct has not been given out since 1927. Just as he names the winner, however, the lights go out and when they are turned back on the award is missing. Miss Fritton says she will turn the lights out again for 30 seconds so that the guilty party can replace the cup unseen, but when the lights come on again, all the cups have been stolen. As a final prank, some of the fourth form girls topple the table and platform. Miss Fritton just regally sits alone amid the chaos. Click here for the BFI webpage on BELLES OF ST. TRINIAN. St. Trinian's! St. Trinian's! Will never die! Once again the plot is set in motion on foreign shores. This time it is Italy, where Flash Harry Edwards, as a representative (and sole proprietor) of the St. Trinian's marriage bureau, is showing a scrapbook of photographs of candidates from the sixth form to Europe's foremost bachelor prince, Prince Bruno. Meantime, we cut to a brief glimpse of Alastair Sim, again in drag, this time as Miss Amelia Fritton, former headmistress of St. Trinian's, now behind bars for crimes unknown. At the Ministry of Education, entries for the Unesco competition are received. The school with the best scores will win a free tour of Europe. Prestwick has his headaches with St. Trinian's. The whole teaching staff resigned when Miss Fritton was sentenced. ("Sisters in crime" is Mr. Prestwick's opinion.) He's had to call in the Army to deal with the 200 girl student body until the new headmistress, Dame Maude Hackshaw, can arrive from her last post at a borstal (reformatory) institution in New South Wales. "Kill or Cure" Hackshaw is how she's known. The Army has set up sandbags around the perimeter of St. Trin's. A whole radar unit has disappeared, as well as a Bren gun and its crew. Major Whitehart (Thorley Walters) calls his C.O. to request reinforcements due to the heavy casualties and low morale suffered by his men, but his C.O. refuses. Amid gunfire from the Bren gun, Harry drives up in a 3-wheeled car. The door opens in front. He heads for the sixth form dormitory where the girls are dancing to rock and roll music with some of the missing soldiers. He tells the girls the prince is anxious to meet them, but they have to get to Europe quickly because a film star is scheduled to meet the prince in June. If only they could win the Unesco competition; the papers were due today and they've already gone. There's no hope the school's answers are correct. Harry has a friend who could provide the correct answers. The papers won't be marked until Monday; they hatch a plot to break into the Ministry of Education over the weekend and plant the revised tests. At the Ministry, the fourth form drills through the floor above where the papers are stored; Myrna, from the sixth form, cracks the safe. Police drive by and think they spot a light in the Ministry of Education but, luckily, before they can investigate, they are called away by news of a diamond robbery on their radio. The girls plaster the ceiling, relay the carpet over it, pick up their cigarette butts. The next day when the papers are marked, St. Trinian's has won the competition. Culpepper-Brown (Eric Barker) paces the floor in consternation, eventually falling through the spot where the girls had hastily replastered. On a train heading to Barchester, Joe Mangan (Lionel Jeffries), Gelignite Joe, who specialized in diamond robberies and was considered incorrigible, runs into his old prison governor. Hastily, he exits the train, and minutes afterwards, the Governor reads in the paper that gelignite has been used in a daring diamond robbery. He stops the train and alerts the police. Disoriented in the dark, Mangan stops to ask a spooning couple the way to St. Trinian's but when he sees the couple are police officers, he asks for the time instead. The couple turn out to be Superintendent Kemp-Bird and Sergeant Ruby Gates. Ruby reminds Sammy he promised as soon as things are under control at St. Trin's, they'll have a white wedding. She urges him to ask for June off so they can get married as soon as Dame Maude Hackshaw takes over the school, but the Superintendent is reluctant to commit. As they head back to the constabulary to return the police car to the night shift, they hear a description on the police radio of Mangan as a possible diamond thief. Mangan has climbed over the wall to St. Trinian's, where his daughter, Myrna, is a student. Meantime, Culpepper-Brown has sent a cable to Dame Maude requesting that she withdraw the school from the Unesco competition so as not to cause potential trouble in Europe. The cable is intercepted by the sixth form who bring it to Harry. Dame Maude is expected at any minute, so Major Whitehart musters his troops to withdraw, just as the Superintendent arrives to search the premises for Mangan. Kemp-Bird is alarmed the Army is leaving them alone with the 200 school girls and warns his officers to stay in pairs. The police spread out in a music hall kind of step as they perform their search, rather more of them than necessary searching the bedroom of Virginia, the scantily clad luscious blonde "school swot" (brain). As the Army prepares to depart, it is noted that 34 men are in hospital, 32 are absent without leave and 7 are drunk and incapable. The remainder are shown bandaged and on crutches. Hearing the girls have gathered for a protest meeting over the cable from Culpepper-Brown, Major Whitehart unwisely decides to give a piece of his mind to them before he leaves. He is shortly ejected from the building dressed in a St. Trinian's hat and uniform. At the protest meeting, many of the angry girls brandish swords. Harry proposes a ringer replace Dame Maude. As a diversion, the fourth form tell the police they've seen a man in the clocktower. While the police are searching there, the sixth form spirit Mangan away and dress him in drag. Meantime the real Dame Maude Hackshaw arrives; the fourth form lull her by once again singing the school song and when her attention is distracted, thrust her through a sliding panel in the wall. A beat later, Mangan appears in drag. Harry chats up the Superintendent and discovers he intends to leave a cordon of policemen around the school. Mangan says he would rather go to jail then be caught in drag, but the sixth form blackmails him into continuing his impersonation of Dame Maude in order to chaperone them on their trip to Europe, to which Mangan wishes to escape in any case. A fourth former forges Dame Maude's signature on a reply to Culpepper-Brown in which she refuses to withdraw the school from the Unesco competition. Prestwick puts Bassett in charge of the St. Trinian's travel arrangements. Given St. Trinian's reputation, no transport agency is willing to take their business. Bassett calls Superintendent Kemp-Bird who manages to find a down on his luck bankrupt proprietor of a bus line, Captain Carlton Ricketts (the amusingly venal Terry-Thomas ). The Superintendent, meanwhile, has been chewed out by his Chief for bungling the investigation into Mangan and apparently letting him get away. He feels his job is on the line and sweet talks the reluctant Ruby into going to Europe with the St. Trinian's girls as an interpreter. Because Ricketts' telephone has been disconnected, Bassett is forced to visit in person. He finds Ricketts living in a double decker bus with a goat. He commissions Ricketts to supply a couple of buses to take a party of school children on a continental tour. When he asks to see the buses, Ricketts shows him two dilapidated old heaps without any tires. Well, Ricketts did warn him they were not in "tip top shape". In fact, a pig is living in one. Ruby reports to Sammy in her interpreter disguise; she is dressed for a walking tour with pots and pans hanging off her backpack, clanging as she moves. Sammy recognizes her, to Ruby's disappointment; she is further depressed that he disapproves of her disguise as inappropriate but he bucks her up with talk of a ï¿½10,000 reward for the return of the diamonds Mangan stole, holding out the promise of a honeymoon on the Isle of Capri. He reminds her of her undercover identity of Ursula Bluette, interpreter. On the day of departure, the buses are still in such bad repair that one has to tow the other. Mangan hides the jewels in a water polo ball. Cynthia, peeking through a keyhole, observes this. The Ministry has blackmailed Eric, their liftman (elevator operator), to be one of the chaperones of the tour. This is the wonderful Michael Ripper again, looking considerably older than the stable boy he played in the earlier film. The girls, all 200 of them, are packed like sardines into the buses. Harry has seen through Ruby's disguise and tells the sixth form she is a police officer. Meantime, the real Dame Maude is trying to saw through her manacles in the clocktower, as huge bells peal overhead. After their sea journey, the first stop is Paris where the St. Trin's girls win a game of la crosse, leaving the bodies of their opponents crawling off the field. The headline in the Paris newspaper screams: ALARMING THREAT TO ENTENTE CORDIALE. By now Captain Ricketts has asked Ruby to call him Romney. She has rashly mentioned her hopes of visiting the Isle of Capri, but quickly covered up by saying she has expectations from her grandmother, rather than let slip about the ï¿½10,000 reward. While dancing with Romney in a Parisian cafe, Ruby is overcome with longing for Sammy. When she confesses she is engaged to be married, Romney (with an eye on the money he believes Ruby will inherit from her granny) says "Well, I'm blowed." Pressed for details, Ruby has to admit she's been engaged for 14 years. One of the buses breaks down in Germany. At the Mozart Music Festival in Vienna, the fourth form is a sensation playing jazz. In Florence, Ruby is serenaded by a violinist to the tune of SANTA LUCIA, as Romney flirts with her. Once again, Ruby breaks down, this time confessing her true identity to Romney, who is appalled to find he's been chasing a policewoman. When Ruby tries to get out of telling all, Romney presses her, saying "One second we're swapping sweet nothings to a Neapolitan love song, the next moment we're up to our nostrils in Agatha Christie." Suddenly Ruby is distracted by seeing Mangan out of drag; she makes a clumsy effort to see him up close; he pretends to be Italian, and since Ruby has no command of the language, she is not sure whether or not it is really "Dame Maude". She tells Romney of the ï¿½10,000 reward and telegraphs Sammy that Mangan is Dame Maude. The Superintendent gets the cable just as the real Dame Maude manages to release herself from the manacles and shows up at the constabulary to lodge a complaint. The Superintendent misinterprets Ruby's telegram; we hear the screams of the outraged real Dame Maude as we imagine Kemp-Bird examining her behind his closed door. Cut to the real Dame Maude at the Ministry of Education tendering her resignation to Culpepper-Brown. Prestwick immediately sends the appalled Bassett to Rome to bring home the St. Trinian's tour. The school has finally reached Rome; their hotel is a shambles. Ruby and Romney wait for "Dame Maude" to leave his room and then enter with a pass key to search for the jewels. Meantime, Mangan goes to a nearby room to get the water polo ball with the jewels inside. Ruby and Romney hear Mangan returning; Ruby hides under the bed; and Romney in the wardrobe. Mangan goes into the bathroom and removes his wig; he comes out of the room and spots Ruby under the bed so quickly returns to the bathroom. Ruby and Romney try to exit as quickly as possible, but the fourth form arrives and blurts out their names, as they pick up the ball for the water polo game about to start before Mangan can prevent them. Cynthia finally tells Harry about seeing Mangan stash the jewels in the ball. At the water polo match, the Prince is there to see the sixth form girls play. "Dame Maude" arrives and, getting the ball from them, suggests it would be nicer to let the Italians use their ball. The game is furious and during it, the ball gets tossed to Harry who runs out of the building, passing the newly arrived Bassett en route. One of the fourth formers gets the remaining ball from Mangan before he can stop her. Bassett arrives and demands the referee stop the game, but no one is paying any attention to him. Harry brings the wrong ball to the Italian police (Ferdy Mayne). Reading from a book of Italian phrases, he tries to explain the situation. After using several wrong phrases, he realizes the policeman can speak English. He tells him about the jewels (the "real mazooma") in the ball, but when he cuts it open, it's empty. Back at the game, the fourth formers drain the pool; one of the St. Trinian's girls gets the bathing suit off of one of the opposing team. Bassett and the Italian referee are carried off in stretchers. In the melee, the ball is shot into the audience, and Mangan leaps up and grabs it. He rushes out of the building, down the Spanish Steps, through the Forum and into the Coliseum, chased by the entire fourth form. Hiding inside the Coliseum, exhausted, he has a momentary blackout during which he imagines himself emperor of ancient Rome, with the fourth form facing gladiators many times their size. However, not only do the gladiators run from the fourth form, but so do the lions. When he comes to, Mangan faces the wrath of the fourth form. He's nicked. At a party to celebrate the engagement of the Prince to Myrna, the Prince is hit by a tomato to the face by one of the fourth form. Upon their homecoming to the school, the girls are greeted by the return of Miss Fritton, surrounded by a new teaching staff of men in drag "recruited from the resort where I've been spending my vacation", Miss Fritton announces. Moreover, she has a check for the ï¿½10,000 reward money. Harry negotiates with her for his 10%, but she beats him down to 7 1/2%. "See ya later, educator," he tells her. Meantime, it looks as if Ruby has decided to throw in her lot with Romney. She goes to tell Sammy but she can't find him. Riding along in Romney's bus, they discover him walking the beat, demoted in rank. Ruby realizes she "must stand by Sammy in his hour of trial. It's the only decent thing to do." Romney takes this with his usual poor grace: "Well, I'm blowed." Ruby kisses Romney goodbye, mentioning how foolish she feels. Romney retorts, "I feel an absolute Charlie." As Ruby leaves the bus and goes to Sammy, the soundtrack plays "A policeman's lot is not a happy one." Sally Bulloch Martin Benson The third film opens with the burning down of the school. The fourth form are enjoying the fire hugely and several of them creep away to hook up one of the fire hoses to a handy oil truck, Mobilgas, parked nearby. One little girl fiddles, like Nero, as the conflagration flares up to become a Searle cartoon. Once again we hear the theme song with words by Sidney Gilliat over the opening credits. Then we cut to the trial at the old Bailey. All 200 girls are crowded into the dock, accused of the crime of arson. The prosecuting attorney informs the court that not one single girl revealed the names of the culprits responsible. The girls all cheer, while one of the sixth form girls, Rosalie Dawn, makes doe eyes at the uncomfortable judge (Raymond Huntley), Mr. Justice Slender. The prosecuting attorney further informs the court that no teacher was present on the premises on the night of the fire. In fact, the only adult about was Harry Cuthbert Edwards, who occupies the school lodge. Harry is summoned to give evidence with his usual rollicking musical theme. He explains about the marriage bureau he runs at the school, how it is so respectable, he even "runs advertisements in the 'orse and 'ound and has proper printed notepaper". Harry calls it a public service for the girls interested in a career. Leaning confidingly over the witness stand, Harry explains that he provides "top introductions to eligible geezers, no rubbish." The next witness is too small to be seen over the rail of the witness stand, so she waves her hat overhead to signal she's there. The judge orders something for her to stand on. She gives her name as Lolita Chatterley Peyton Place Brighton. Before he hears her testimony, the judge asks if she knows what morals are. Morals is "not going out with boys after dark", in Lolita's opinion; the other St. Trin's girls nod their agreement. She gives evidence as to the time of the fire; she is sure of the time because she was on her way home from the race track. As the defense attorney finishes his questions, he notices two of the fourth form girls peering over his papers; he shoos them away only to find a third, even tinier girl, sitting between him and his colleague at their bench; he lifts her away. Next on the stand is Maud Birdhanger. She reported the fire to the police and the next day offered to "give them the griff for 200 nicker." The other girls boo from the dock, as Maud hangs her head in shame. Now it's Rosalie's turn to give evidence; she asks if she might abstain from giving her name, and the judge allows it if she will write her name on a piece of paper. She does this, adding her phone numbers, the regular one and her holiday one. The judge puts this away for further use. As the prosecuting attorney sums up, he is hit in the face with a tomato. The jury finds the prisoners guilty and the foreman is also struck in the face by a tomato. The judge decides to adjourn the proceedings to consider the punishment. Back in Barchester, newspaper in hand, Ruby runs to tell Sammy the good news. She finds the Superintendent in a compromising position, leaning over his lovely young secretary, Policewoman Partridge (the delightful Liz Frazer). Ruby reminds Sammy his promise made on the cliffs at Ventnor that "when the bell tolls for St. Trinian's, that means a merry peal for us." Ruby intends to shop for her wedding dress tomorrow. When Sammy suggests they not rush into things, Ruby says, "Rush, after 16 years engagement!" Next day before the judge can deliver his punishment, he reveals that he's been asked to hear a plea from Professor Marcus Canford (the dandified, tremulous-voiced Cecil Parker ). The judge is not inclined to allow this intrusion, but Rosalie mouths "please" in such a delightful way, that he gives in. Canford is a doctor of philosophy from the University of Bagdad. He has made his life work the study of the child mind. He announces he has adequate funds to establish a new school. "'e got lolly!" Harry exclaims. The Professor has engaged the services of one of the world's great headmistresses, Matilda Harker-Packer ( Irene Handl ), also a doctor of philosophy. As Canford makes a heartrending plea for leniency for the girls, the little girl who fiddled at the fire once again plays a sad lament on her violin. There is not a dry eye in the court. The judge, moved perhaps more by Rosalie than by Canford, agrees, subject to investigation of his statements, to grant Canford custody of the students for a probationary period of 12 months. The judge prepares to lecture the girls, but this is cut short in another rain of tomatoes, as we see the statue of Justice high atop the Old Bailey wears a St. Trinian's hat and uniform. At the Ministry of Education, Butters (Thorley Walters) gleefully sends the St. Trinian's files to the vaults. However, Pritchard, the lift operator (Michael Ripper) comes in with the newspaper to announce the dreadful news of the judge's verdict. Butters immediately puts on the record player, which plays a pastoral measure, and begins to dance, rather gracefully, miming the plucking and smelling of a flower. Culpepper-Brown and Pritchard look on in bafflement. When the music ends, Butters sits down as if nothing odd has occurred. Culpepper-Brown asks him what is going on. Butters explains that his psychiatrist sent him for a course of instruction in dance movement so that whenever he heard about St. Trinian's he can relax. Butters starts to take all his medications out of the trash and put them back into his desk. Culpepper-Brown asks for the name of Butters' psychiatrist. Sammy is at the tailor's, being measured for a new uniform for his wedding to Ruby the following week, when the Chief Constable calls with the news about St. Trinian's. He cancels all leave and wants the Superintendent to draft extra men because the school is taking over Hannington Manor, under police supervision. The Chief says Sammy can get married but he can't go on a honeymoon. Sammy, greatly relieved, offers to postpone the wedding. Still wearing the try-on suit full of pins, he dashes off to tell Ruby, as the tailor orders his shop assistant to put the cash in the safe, put up the shutters and hide the Harris tweed. He contemplates getting a dog for the shop to protect him from the St. Trinian's girls. At the dressmaker, Ruby is blissfully having her wedding dress fitted. Sammy calls through the door, but Ruby won't let him see her, as it's bad luck before the wedding. Sammy tells her that St. Trinian's is coming back and lies, saying the Chief insisted they postpone their wedding. Ruby faints. At the Ministry of Education, Culpepper-Brown and Butters have been summoned to meet with a parliamentary undersecretary, Mr. Gore-Blackwood (Dennis Price). Gore-Blackwood is under the mistaken impression that they have a vested interest in keeping St. Trinian's in existence and, refusing to let them get a word in edgewise, warns them that theirs will be the first heads to fall. As he prepares to leave in the lift, Gore-Blackwood hears music coming from Butters' office; opening the door, he is shocked to see both Culpepper-Brown and Butters doing the flower dance. At Hannington Manor, the Superintendent and his men hide in the surrounding bushes as Canford, Miss Harker-Packer and the mistresses lead the girls onto the new school grounds. The girls brandish la crosse and tennis rackets and hockey sticks as they once again sing the St. Trinian's song. Some of the fourth form girls, armed with slingshots, shoot darts into the police, knocking them out of the trees. A car drives up to the school, as Harry and the sixth form observe a man (Sidney James) emerge wearing a Stetson hat. In order to give the older girls culture, Canford suggests to Miss Harker-Packer taking the sixth form to Greece. She points out they are on probation and will need to curry favor to get permission. She suggests Canford "shove on a slap-up festival of culture". She asks Canford to call her Tilly. "All the patients used to call me Tilly at my other place," she says. When Canford asks what other place, gleefully, Tilly says soon she'll be the only one who can "produce a certificate to prove [her] sanity." The Ministry of Education receives an invitation to the festival of culture from the new St. Trinian's. Gore-Blackwood tells Culpepper-Brown and Butters to go, take careful notes and after that, he should be able to persuade the Minister to take immediate action. At the festival, Tilly introduces a collection of school dresses designed by the girls themselves. She hopes the guests like these fashions because the girls have "all worked like stink." Two of the items, designed and worn by sixth formers, are a skimpy outfit made out of leaves and feathers and another outfit made chiefly out of playing cards with a roulette wheel on the girl's behind. Butters can hardly tear his eyes away to take notes. At the art exhibit, Tilly exhorts the guests to seat themselves: "squattez-vous!" ["Squattez-vous" is actually a cod French phrase invented by Joyce Grenfell for her monologue HEAD GIRL in Herbert Farjeon's LITTLE REVUE, 1939.] The fourth form is dressed in smocks, but it's more like a race, starting "ready, steady, go". It turns into a fight when there is a disagreement over paint and the guests wind up spattered. Later Rosalie declaims the "To be or not to be" soliloquy from HAMLET while stripping. Gore-Blackwood is delighted with the report turned in by Butters and Culpepper-Brown. But the Minister (the wonderful John LeMesurier ) rejects their findings, saying in this day and age an unorthodox approach to education is essential. The St. Trinian's dress design and artwork are to be exhibited in London and the theatre at Stratford is making an offer for their version of HAMLET. Furthermore, the Minister has OKed their request for a cultural cruise to the isles of Greece. Ruby once again breaks in on Sammy and Policewoman Partridge in a compromising position, on the floor, looking at the plans of the St. Trinian's yacht. Sammy wants Ruby to stow away on board, reminding Ruby that he's always been faithful to her ever since they met at the carpark attendants ball. Ruby, as usual, refuses: "Not on your nelly!" but also as usual, Sammy prevails. Harry and the sixth form notice that the Stetson hat man is on board. This is Alphonse O'Reilly, Canfield's secret funder. He had approached Canfield in a bar in Beirut with a proposition: ï¿½500 to take over the school and another ï¿½500 "on delivery". Canfield has not inquired too closely what exactly Alphonse wants with the girls, but the ship seems to be taking a very convoluted route, around Africa, heading toward Arabia. Alphonse doesn't need Canfield any more and tells him to jump overboard. Ruby (who has stowed away) checks the log book and realizes they are off course for Greece; she employs a ruse to get the radio operator out of the way so she can send a signal to Sammy. Canford tries to confide the situation to Harry, but they are interrupted and arrange to meet on deck later. When they meet up they smell cooking and discover Ruby stowed away in a covered life boat. Hearing someone approach, they jump into the life boat with her. Ruby tells Harry they are off the coast of East Africa. O'Reilly also discovers Ruby because of her cooking and, seeing Harry and Canfield also in the boat, orders the captain to set the life boat adrift. Unaware of this, Harry suggests mutiny. He decides to slip back to tip off the girls but instead falls into the ocean. Canfield, taking a life preserver to help, also falls in. Back in Barchester, as Ruby feared, things have progressed between the Superintendent and Policewoman Partridge. He now calls her "Susan, my love" and she calls him "Samuel, darling". When he receives the cable from Ruby, he contacts the Ministry of Education to report the St. Trinian's sixth form have been kidnapped. On the lifeboat, Canford and Harry row, with laundry strung out drying above them. Canford wears a knotted handkerchief on his head, like a Gumby, and one of Ruby's dressing gowns. Harry is bare chested, revealing a St. Trinian's tattoo. They are adrift on the Indian Ocean but luckily Ruby has packed enough food and drink for six months. Saying "we cannot afford another Suez," the government meet to decide how to rescue the St. Trinian's girls with diplomacy, urgency and secrecy. Meantime the fourth form have found out about the kidnapping by torturing a classmate whose father is postmaster general and so learn the contents of Ruby's wire to Sammy. Ruby spots a deserted island and soon the trio have landed and set up camp. Canford asks Ruby her name and asks her to call him Marcus. The Army has tracked the yacht with the kidnapped girls to Baraca. Their nearest installation is an RASC Mobile Bath Unit. They send a signal to alert them that two civilians will be arriving shortly to negotiate for the release of the girls. Major Hargraves (Nicholas Phipps) is none too pleased to receive the wire announcing the hush-hush Operation Gym Slip, lamenting the waste of their "training at enormous expense" as a "unit of first class ablutionists". At their campsite, Ruby wears a flower behind one ear. Marcus tells Ruby of his first teaching job, where he fell in love with the headmaster's daughter and got the sack. At his next school, he fell in love with the headmaster's wife. Then he joined the Army and served with Lawrence of Arabia. ("Unusual chap; he used to call me Tiger Canford.") After the war, he got a job with the Emir of Afroda teaching his wives English. "Oh, Marcus, where was your self control?" Ruby asks. As Marcus asks Ruby to play her recorder (which she is only just learning), Harry manages to get Desert Island Disks on Ruby's radio. Ruby strikes up an Elizabethan lament, "Woe is My Bosom Friend, Lack a Day". [In a June 13, 1960 letter to her best friend Virginia Graham, Joyce Grenfell wrote: "I am, obviously, trying really hard to play it right and that is what is so funny. Cecil Parker's look of rapt attention slowly fading is pretty funny too."] Harry breaks into this romantic interlude as the radio plays "Knees Up, Mother Brown." "Shut up," the distraught Ruby tells Harry, turning off the radio, "You've no soul." Gore-Blackwood tells Culpepper-Brown and Butters they have been chosen for this secret rescue mission because they're the only ones who can recognize the kidnapped girls. Their instructions will be on rice paper which they must read and immediately swallow. Butters is allergic to rice and requests tapioca paper, if there is such a thing. The fourth form have infiltrated the Ministry of Education and overhear these secret plans, including the location where the plane will take off. When Culpepper-Brown and Butters board the plane, the girls are already on board and quickly overwhelm them. Back on the island, Harry spots a ship and signals with Ruby's service bloomers, but it's only Culpepper-Brown and Butters, who have been chucked out of the plane by the fourth form and are adrift in a rubber raft. In preparation for the civilians, the Mobile Bath Unit is on parade, tin tubs, towels and loofahs at the ready. But when the plane lands, the fourth form swarm out and overrun the place. Eventually, however, they are rounded up and put under armed guard behind barbed wire. Culpepper-Brown and Butters tell Ruby and company that the southern coast of Arabia is quite near, so they pack the life boat and set sail for Makrab. Meantime, the sixth form has been spotted near Makrab, 50 miles away from the Mobile Bath Unit, who set out, disguised in Arab kit. In a market in Makrab, Culpepper-Brown and Butters are spotted by the disguised Mobile Bath Unit officers. They make contact and introduce themselves, pretending to be selling something. "I don't want a carpet, thank you," Ruby says loudly, playing along. Harry spots the radio operator from the yacht and runs after him to the nearby Club Mohammed where he sees a photo of Rosalie billed as "Farida". Major Hargraves, Captain Thompson, Ruby, Marcus and Harry attend the show, at which the radio operator is the master of ceremonies. He introduces Rosalie as Farida and she does a striptease, much to the discomfort of Ruby. Rosalie throws her bra at Marcus; there's a note inside saying "see me behind" which causes Ruby to faint, but Harry explains this means to meet Rosalie backstage. Her dressing room is so crowded, it's like the stateroom scene from a Marx Brothers film. [In a June 24, 1960 letter Joyce Grenfell tells her best friend Virginia Graham: "We also did a pure Marx Bros. sequence that felt terribly funny, tho' whether it will be - who knows. Into a tiny back stage dressing room, about 3 feet wide, came crowding Cecil, George Cole, Nike P. Cyril Chamberlain, Monte Lairds, a girl dancer and a very fat lady being an Arab dresser -- and me. We all kept moving as we came in, in a sort of circular dance. They say it looked wonderful and it felt so funny we were hard put to it not to giggle."] Rosalie tells Harry the sixth form girls have been taken to the Emir of Afroda, the very Emir whose wives Marcus previously taught English. Major Hargraves points out the Emir has 35 sons. "Cripes, we're outnumbered", Harry exclaims. Knowing her duty, Ruby takes off in a laundry delivery van, dressed as a veiled Arab woman carrying laundry on her head; the Army take off in jeeps; and Harry and Canford take off on a bus with a goat. Ruby arrives first, then Harry and Canford who bribes the houseman, Yosef, to let them in. Ruby tells them the girls are OK, having barricaded themselves upstairs. She also reports the eunuchs have gone on strike for danger money. Meantime, Culpepper-Brown and Butters locate the British consulate in a shop. He's also the ICA and Hotpoint washing machine representative. When they tell the consulate they're looking for girls, he misunderstands and brings out two scantily clad Arabian beauties who get them quite drunk. Back at the Mobile Bath Unit the fourth form tempt their guards with booze. They get them drunk and then raise the St. Trinian's flag. Then they load weapons and ammo into a tank and set off. Canford and Harry are taken to see the Emir who is surrounded by beautiful women and not pleased to see Canford again. Harry ticks him off as well. Seeing the negotiations are not going well, Ruby presents herself and admits to being a police sergeant. Canford asks for time to speak to the girls and the Emir gives him, Harry and Ruby five minutes. The Army prepares to advance but are easily overcome. When the five minutes are up, the Emir's 35 sons storm the barricades but the girls manage to fend them off by bashing them in the head, as Harry and Marcus cower nearby. Just then the St. Trinian's fourth form arrives, in tanks, singing the school march. The Emir breaks up the fight saying he cannot risk another Suez. Back in Barchester, Policewoman Partridge shows the Superintendent the newspaper report of Ruby's triumph in rescuing St. Trinian's sixth form. Susan wants to know when Samuel will tell Ruby about them. Kemp-Bird is his usual evasive self. The Chief Constable arrives, saying what luck that Sammy's fiance is a national heroine; it will mean promotion for both the Superintendent and Ruby. On the ship home, Marcus asks Ruby to marry him. He admits he's been married twice before; he is a Muslim; the other two are in a caravan on Canby island, but it has four berths. In tears, Ruby rushes away, as Canford congratulates himself on telling her such a convincing lie. Newspaper headlines announce Ruby's imminent wedding to Sammy. Dressed as a bride, she starts down the aisle, but before she can reach him, a messenger shows up to say there's another fire at St. Trinian's. Relieved to have evaded marriage once again, Kemp-Bird leaves Ruby at the altar, dashing off in a car with a JUST MARRIED sign on the back. Under the end credits we see one last dance for Culpepper-Brown and Butters, this time with real flowers. Also, for the first time, we see others whose lives have been blighted by St. Trinian's do the same therapeutic dance; first Pritchard the liftman with Miss Brenner; then Major Hargraves and Captain Thompson; and finally the Minister and Gore-Blackwood. Schoolgirl Sally-Jane Spencer The fourth film in the series boasts only George Cole as Flash Harry (although he was Harry Edwards in the previous films; now he is Harry Hackett), Richard Wattis as Bassett, Michael Ripper as the Liftman and Lisa Lee as Miss Brenner from the original cast. Gone are the wonderful police characters, Ruby and Sammy. The terrific Eric Barker is back as Culpepper-Brown, but he appears for only a minute and is given nothing to do. Peter Gilmore replaces Thorley Walters as Butters. George Benson replaces Dennis Price as Gore-Blackwood and he is given nothing to do as well. What are we given to replace them, and Alastair Sim from the first film? Frankie Howerd as a train robber masquerading as a hairdresser, and Dora Bryan as the St. Trinian headmistress who tangos with a Grenadier guardsman. The film opens with the train robbery of the title, 2 1/2 million pounds, planned by an unseen "Voice" (Stratford Johns) who ticks off each step of the plan. The money is stashed somewhere to be retrieved later. Then comes the opening credits, once again accompanied by some Searle drawings which are animated in a limited way, and an awful song about the train robbery. Then we cut to the Ministry of Schools; the department heads are watching the election on TV, in a festive mood, wearing paper party hats. They are hoping for a Labor win, which they expect to mean an end of public schools. Their highest hope is for the end of St. Trinian's. Labor does win, the new Minister of Schools is Horace Bedford (Raymond Huntley). He meets with the ministry staff and they discover that not only is St. Trinian's not due to be closed, despite it having experienced 3 fires in the last 4 years, but also the Minister is issuing them a grant of 80,000 British pounds for rehousing. Then we cut to St. Trinian's headmistress, Amber Spottiswood (Dora Bryan), having a tryst with one of the Queen's grenadier guards. The Minister arrives, so the guard bolts out the window, and Horace tells Amber about the 80,000 pounds she's getting for the school. Amber quickly reassembles the teachers: Mabel, the deputy headmistress, is released from Holloway Prison where she's done time for running an illegal charity; the math's mistress (the wonderful Elspeth Duxbury) leaves a poker game when she hears about the school reopening, trailing aces behind her. The French mistress (Carole Ann Ford, the first companion on DOCTOR WHO back in the William Hartnell days) gives up her job as an artist's model. The games mistress bolts from a women's wrestling match. The arts mistress gives up her job as a stripper and the music mistress rolls out of a pub somewhat the worse for drink. The Chairman of the Board of Governors, Flash Harry, has been selling vegetables from a pushcart. Hamingwell Grange is sold to St. Trinian's. The locals picket the site. For sale signs go up on nearby homes. A protest meeting is held which the teachers penetrate and manage to steal the "fighting fund". The residents would prefer an open prison rather than St. Trinian's, such is the reputation of the girls. Alf Askett, going by the name Alphonse (Frankie Howerd), has accidentally dyed a customer's (Aubrey Morris) hair lavender. He is summoned to his home behind the shop and we learn that the whole place is wired with transmitters. He gets instructions from the TV from the Voice, and we discover he is one of the participants in the train robbery. Now the Voice instructs him to round up the gang for further instructions about retrieving the loot from where it has been stashed. Just as the teachers were introduced one by one, we are now introduced to Willy the Jelly-Man, Len the Lender (a bank officer) and Gilbert the Wheel (a driving instructor who abandons his student mid-lesson). They meet at the hairdressers where Alf helps them put on disguises. They get further instructions from the Voice through a hairdryer and the faucet sprayer (the one bit of bizarre humor in the entire film). One of the Fourth Formers, Rose, raids the fridge at St. Trinian's. The girls are having a weenie roast over an open fire. The crooks arrive to retrieve the loot, and the girls and the teachers drive them off by pelting them with free range eggs, tomatoes, lacrosse rackets, hockey sticks, water from a hose and mustard. When the Voice learns that the location of the loot is now occupied, he tells Alf they need detailed inside reconnaissance. Alf will have to send his two daughters, Lavinia and Marcia Mary, to the school. Harry has set up a turf accounting operation on the grounds, ready to take bets on greyhound races. The school supplies arrive, and they include slot machines and some dubious literature such as LADY CHATTERLEY'S LOVER. Lavinia and Marcia Mary sneak into the headmistress' office and discover that Parents Day is coming up. Traditionally activities are held outside, leaving the school empty for the crooks to retrieve the loot. Pickles the dog has gotten into the hiding place of the loot and Rose follows him and discovers the bags of money. She puts a 50 pound bid down on a race, raising Harry's suspicions. Bassett and Butters see the Minister with copies of invoices for the supplies St. Trinian's has ordered; they question the slot machines, but the Minister refuses to listen. The Liftman suggests they need photographic evidence and offers to take the photos himself. Amber dallies at the school , tangoing with her grenadier guardsman. Harry follows Rose into the hiding place and discovers the bags of loot. He finds a newspaper article offering a measly 10,000 pounds for return of the 2 1/2 million. Butters, Bassett and the Liftman arrive as the Sixth Form are dancing in their short nighties with male interlopers. They also see the slot machines and a machine which dispenses pep pills. They manage to take some photos and march to the headmistress' office to confront her. The Minister opens the door and they hear the headmistress call him an endearment; he is now ruined and will be forced to resign. However, Amber has the girls kidnap Butters, Bassett and the Liftman. She plans to have compromising photos taken of them so they won't be able to accuse the Minister of unethical behavior with Amber. The caterers arrive and turn out to be the crooks, who put in a low bid in order to assure they would get the job on Parents Day. Harry phones the number in the paper about the reward for the train loot and arranges to meet Noakes, the insurance adjuster (Colin Gordon) in a nearby pub. Amber gouges more money out of the parents at Parents Day, forcing them to cough up back fees and also raking in the lolly through Bingo, Fortune Telling and other booths. At the pub, Harry asks Noakes for 10% of the loot, but Noakes refuses. Harry decides to stay anonymous and keep the loot, but he is recognized by a friend in the pub and Noakes get his real name. The Voice is somehow aware of what is going on; he communicates with Alf, who is attending Parents Day as a parent, through a transmitter in a Polaroid camera, telling him to eliminate Noakes. Nothing ever comes of this plot point and Noakes is never seen or mentioned again. The parents have lunch during which pounding can be heard in the cellar, where the girls have stashed Bassett, Butters and the Liftman. As soon as lunch is over, everyone goes outside for the Parents Day events, so the crooks are free to pull up the floorboards and get hold of the bags of money. The Minister tries to give a speech to the parents but is drowned out by the racing results being transmitted from Harry's establishment, as well as the loud singing of the music mistress who is drunk again. Then the rains come down, forcing everyone to go inside. Harry calls the police to claim the reward, but the police are not interested because a dozen people have already tried to claim the reward for the train loot. Alf has had his transmitter/camera lifted by the Fourth Form who bring it to Harry. The Voice, thinking Harry is Alf, gives instructions that the person Noakes met at the pub is to be eliminated, meaning Harry himself. Morris dancing begins, making enough noise to mask the racket the crooks are making to get the loot. From what the Voice has said over the transmitter, Harry works out that the crooks must be at the school. One of the Fourth Formers has recognized one of the "waiters" and tells Harry the caterers are the train robbers. Meantime, one of the Morris dancers notices what the crooks are doing, so he is spirited away and Alf takes his place. Harry rallies the Fourth and Sixth Forms into a pincer movement but they are too late, and the van with the crooks and the loot drives off. Harry and the girls follow in several cars and many bicycles. The headmistress asks one of the girls what is going on and finds out about the train loot having been stashed on the premises. She calls the police to alert them and claim the reward. She and the teachers set off in cars after Harry and the girls. Bassett, Butters and the Liftman escape from the cellar but are immediately nabbed as train robbers by the police who have miraculously shown up virtually instantaneously. The Ministry employees appeal to the Minister to explain who they are, but he tells the police he doesn't know them. The crooks arrive at a train and transfer the loot to it. Harry and the girls arrive at the signal box, knock out the trainman and pull the switches which delays the crooks' train long enough for some of the girls to uncouple the car with the loot. The crooks' train drives off without their noticing this. One of the Fourth Formers, Mona, knows how to drive a train, so all the girls and Harry hop onto a train, get to the car with the loot, and couple it to their engine. There is a long and boring sequence while these two trains chase each other, sometimes joined by the teachers in a small inspection train, and two of the Fourth Formers on a hand-pumped car. The police eventually arrive, just as the St. Trinian's girls are about to escape with the loot, but the police just compliment them on getting it away from the crooks and offer them the reward. All the crooks are nabbed except Alf who disguises himself in blackface and puts on a railroad uniform. The newspaper headline proclaims: 300 MBEs FOR ST. TRINIAN. THOUSANDS RETURN THEIR MEDALS. "A DIABOLICAL LIBERTY" SAYS RINGO. A reference to all the people who supposedly turned in their MBEs when the Beatles got theirs. Back at Amber's house, she is dallying with Horace when there is a knock at the door. She warns him it is the police and he bolts out the window, but it is just her grenadier guard, an extremely unfunny and non sequitur ending.	St Trinian's School
Which is the largest mammal to build a nest ?	George Cole, actor - obituary - Telegraph George Cole, actor - obituary Comic actor who excelled at playing shifty 'spivs’ such as the roguish Arthur Daley in Minder George Cole in Minder as Arthur Daley Photo: Rex Features 12:23PM BST 06 Aug 2015 Comments George Cole, the actor, who has died aged 90, was best-known as the devious and conniving Arthur Daley in the popular ITV series Minder and as Alastair Sim’s crooked accomplice Flash Harry in the St Trinian’s films of the 1950s. One of the most endearing and enduring popular players of rueful light comedy, and once described as looking like “an amiable pall bearer”, Cole played numerous untrustworthy characters in a career spanning 70 years. He believed that his “crafty but sad” appearance was responsible for his repeated casting in what he described as “spiv” roles. Apart from a weakness for strong-smelling cigars and a passion for horse racing, Cole had little in common with the roguish Arthur Daley. An inveterate punter, he confessed that “the ITV Seven was my downfall. I got it the very first time, about £1,100. After that I couldn’t leave it alone.” It was perhaps just as well that Cole’s portrayal of Arthur Daley had made him one of the highest-paid actors on British television. Unlike his screen persona, Cole considered himself primarily a family man. After his unofficial adoption at the age of 16 by Alastair Sim and his wife, Naomi, Cole moved in with the couple. When he later married, he built a house on a five-acre plot of land next to the Sims’ home at Nettlebed in Oxfordshire and lived there with his own family. George Cole as Arthur Daley in Minder in 1985 (REX) Despite his long career Cole claimed that he had never been ambitious as an actor, insisting that he preferred “an afternoon pottering in the garden to almost anything”. He distinguished himself from later generations of artists by taking up acting at the age of 14 to avoid starting work as a butcher’s boy. Cole claimed that his success was based on a sense of timing and a talent for droll facial expressions, skills he had learned from Alastair Sim whom he described as “one of the most talented actors in the business”. George Edward Cole was born on April 22 1925 in Tooting, south London, and adopted when he was 10 days old after being abandoned by his mother. Educated locally, he won a scholarship to the Surrey county council school at Morden, but his educational hopes were dashed when his father had to give up work because of illness. “My father was gassed in the First World War and was an epileptic,” Cole recalled. “He couldn’t hold down a job, and when we couldn’t pay the rent the council gave him a job pulling a road roller. That did for him in the end.” Cole – who described his upbringing as “the poorest you could get” – left school at 14 to help support his family. He worked as a newspaper delivery boy before gaining an apprenticeship with the local butcher. Due to start at the butcher’s on Monday morning, he answered an advertisement in The Star on Friday night that read “Boy wanted for West End show”. He auditioned on the Saturday, declaring that he could recite a poem by Julius Caesar called Friends, Romans, Countrymen. Cole was offered a part and joined the touring company performing The White Horse Inn in 1939. When the tour ended after six months, Cole returned home and made his London debut as a Cockney evacuee in Cottage to Let (Wyndham’s, 1940). Hailed in The Daily Telegraph as “a very youthful actor with spirit and a grand sense of the occasion”, Cole reprised the same role in the film version two years later, appearing for the first time opposite Alastair Sim. Sim and his wife were responsible for all Cole’s theatrical training, including the thankless task of eradicating Cole’s Cockney accent. George Cole and Alastair Sim star in Belles of St Trinian's (TELEVISION STILLS) With Sim’s help he appeared in his second film, Those Kids from Town (1942) before joining the RAF the following year. Cole ended his service career running an officers’ mess bar in occupied Germany. After the war Cole returned to acting, appearing in a variety of mediocre films including My Brother’s Keeper (1948), The Spider and the Fly (1949) and Gone to Earth (1950). He had greater success with Alastair Sim in the classic comedies Laughter in Paradise (1951) and Scrooge (1952). Over the next decade, Cole and Sim repeated their screen partnership in a string of films, the most successful of which were the St Trinian’s series, directed by Frank Launder. In the first, The Belles of St Trinian’s (1954), Cole (as the spiv Flash Harry) received third billing after Sim and Joyce Grenfell. The film was extremely successful and was followed by five more, including Blue Murder at St Trinian’s (1958) and Cole’s only films in the series without Sim, The Pure Hell of St Trinian’s (1961) and The Great St Trinian's Train Robbery (1966). Dawn Beret and George Cole in The Pure Hell of St Trinian's, 1960 (REX) Between films, Cole starred as the bumbling bachelor David Bliss in the long-running radio series A Life of Bliss (1952-67). The show was broadcast on Sunday afternoons. Cole recalled it as “wholesome to the point of nausea”, and insisted that the best part of the show had been Percy Edwards’s performance as Psyche the dog. By the mid-1960s, along with the rest of the British film industry, Cole’s film career had stalled. Parts dried up and Cole turned to the stage to revive his flagging fortunes. He worked consistently throughout the 1960s and 1970s in productions such as Banana Ridge, The Philanthropist and Too Good to be True. He also appeared in several musical hits such as Front Page (1981), The Pirates of Penzance (1982) and as Captain Hook in Peter Pan (1987). But his greatest success came on his move into television, in series like The Bounder (1976) and Minder (1979). Cole was offered the part of Arthur Daley in Minder while making Dennis Potter’s banned play, Brimstone and Treacle. Minder was not an instant success, and the first two series flopped. But by 1984, the show had become a hit, with Cole becoming inseparably linked with the shifty second-hand car dealer Arthur Daley. He was not the first choice for the role, and recalled that the writer and most of the production team were unhappy about the casting. “Verity Lambert [the producer] was the only one who thought I’d do,” he remembered, “and she was right.” Playing the part with droll understatement, he helped to revive Cockney rhyming slang and deployed many a fine malapropism – “The world is your lobster, my son” being one of the most memorable. He was unable to account for his enormous success in the part or the longevity of the series, which ran until 1991. “It’s a bit worrying really,” he said. “After all, Arthur is a crook. He nearly always lets [his boneheaded bodyguard] Terry down and yet he’s one of the most popular characters on television.” Cole appeared in each series of Minder, seamlessly adapting to a new sidekick when Dennis Waterman left the programme. Cole became so identified in the public’s mind to the Arthur Daley character that even when he appeared away from the series – as in television commercials for the Leeds Building Society – Arthur’s pork pie hat and sheepskin coat were in evidence. The series sold all over the world, making it (as Arthur himself would have noted) “a nice little earner” for ITV. George Cole and Dennis Waterman, the stars of Minder In 1991 Cole followed the final series of Minder with an appearance as Henry Root in the film dramatisation of The Henry Root Letters. Asked if he minded being typecast as a string of unscrupulous characters he replied: “I think it’s just marvellous to be in work. Before Minder I never really knew where my next job was coming from. Now I’m booked up for the next two years.” His later television work included appearances in staples such as Agatha Christie’s Marple, Midsomer Murders and Heartbeat. In the mid to late-1990s he played in two short-lived sitcoms, first as a lonely pensioner in My Good Friend and then as a cantankerous father in Dad. He was appointed OBE in 1992. George Cole was twice married, firstly in 1954 to Eileen Moore (dissolved 1966), and secondly in 1967 to Penelope Morrell, by each of whom he had a son and a daughter. George Cole, born April 22 1925, died August 5 2015 George Cole's career: a timeline April 22, 1925	i don't know
Which children's comic was named after the son of Andy Capp ?	Andy Capp (Comic Strip) - TV Tropes — Homer Simpson Andy Capp is a British comic strip set in Hartlepool , created by Reg Smythe in 1957 for the London Daily Mirror. It also was syndicated in the United States by Creators Syndicate, starting in 1963. In its early days, the Andy Capp strip was accused of perpetuating stereotypes about Britain's Northerners , who are seen in other parts of England as chronically unemployed, dividing their time between the living room couch and the neighborhood pub, with a few hours set aside for fistfights at soccer games. Even his name is a perfect phonetic rendition of that region's pronunciation of the word "handicap" (which the cartoonist chose because a handicap is exactly what Andy is to his hard-working wife, Flo). But Smythe, himself a native of that region, had nothing but affection for his good-for-nothing protagonist, a fact which showed in his work. Since the very beginning, Andy has been immensely popular among the people he supposedly skewers. (Maybe the comic should be criticised for glorifying such negative behavior instead.) By the way, Smythe claimed he modeled his main characters after his own parents. But it seems unlikely that his father, who built boats for a living, could possibly have been very much like Andy, or his family would have starved. It's also been suggested that Andy Capp owes something to Ally Sloper, Britain's first successful comics character, also a lovable lowlife. The first British paperback reprints of the strip appeared in 1958, and American reprints started in the early 1960s. In both countries, the volumes now number in the dozens. Andy has also been the star of a minor TV series; its six episodes featured James Bolam in the title role and Paula Tilbrook as Flo, and were aired by ITV in 1988. It's arguable that the series died a death because it was trying to be a three-dimensional comic strip rather than a conventional Sitcom . The strip even had a spin-off of sorts in 1960, Fleetway Publications, which was owned by The Mirror, launched a successful comic book titled Buster , whose main character was supposedly Andy Capp's son (though this family connection was never mentioned in the strip itself and was later forgotten in the comic book as well). Andy was even animated once, when he crossed over with Family Guy in the episode "And the Wiener Is...", which first aired on August 8, 2001. Reg Smythe wrote and drew Andy Capp, both daily and Sunday, until his death in 1998. Since then, the strip has been continued by unnamed successors, though for years, Smythe's signature remained affixed to it. Since November 2004, it's been signed by Roger Mahoney and Roger Kettle. It now appears in over 1,400 newspapers worldwide ï¿½ not quite in the range of top strips like Peanuts , Blondie , Hï¿½gar the Horrible and Garfield , but well ahead of B.C. , Dennis the Menace (US) , FoxTrot and other very successful comics. And it's translated into 13 different languages, proving that Andy's appeal goes far beyond the minor regional stereotype he supposedly represents. He is also the mascot for a line of snack foods. Tropes present:	Buster
Which character in the Old Testament killed one quarter of the world's population ?	Reg Smythe [Andy Capp] - British Cartoon Archive - University of Kent British Cartoon Archive About About Reg Smythe was born Reginald Smyth in Hartlepool, in the north of England, on 10 July 1917. He was the son of Richard Smyth, a boat-builder in the Teesside shipyards, and his wife Florence. The family was poor, and Smythe later described himself as a "canvas shoes kid", just one step up from going barefoot. "My father hadn't worked since the First World War", he later recalled. He attended Galleys Field School in Old Hartlepool, but left aged fourteen to work as an errand boy for a butcher. In 1936, with the shipyards idle, and after a long period on the dole, Smythe "decided to get out of it" and joined the Royal Northumberland Fusiliers. He was sent to Egypt, and the day he left was the last time he saw his father, who had left his mother. "He took me down to the Snooker Rooms, loser pays", Smythe recalled: "The last words I can remember him saying were 'Take care o' yerself, lad, we haven't seen much of each other, pink in the middle pocket'. I paid. I never saw him again." Smythe remained with his regiment during the Second World War, acting as a machine-gunner in North Africa, and in 1945 achieving the rank of sergeant. He also submitted cartoons to Cairo magazines. After demobilisation in 1946 Smythe left Hartlepool, and in 1950 got a job as a telephone clerk for the GPO in London. A poster he designed for an amateur production of Toni Block's "Flowers for the Living" brought suggestions that he should sell some of his drawings. Smythe sent thirty of his cartoons to an agent who quickly sold two of them to Everybody's for three guineas each. "My gross earnings for the two cartoons came to more than I was making in a week at the GPO", Smythe later recalled: "From that day onwards I not only worked at the Post Office, but I also drew sixty cartoons a week." He adopted "Smythe" as his professional name, and maintained a high output of cartoons by using an alarm clock to limit the time he spent on each one to half an hour. Smythe's mentor was the cartoonist Leslie Harding ("Styx") who used the same agent and gave him advice. Smythe began contributing occasional cartoons to specialist journals such as the Fishtrader's Gazette and Draper's Record, and also sketched council meetings for local papers. "I was never a very good artist and couldn't get the councillors' faces right," he remembered: "So I did them from the back." From 1950 onwards Smythe worked as a freelance, contributing to Speedway World ("Smythe's Speedway World"), Monthly Speedway World ("Skid Sprocket"), Evening Standard, and the Mirror Group's Reveille amongst others. "I badly wanted to get into Punch because I couldn't stand being rejected by its editors", he later admitted: "I sent them more than 6,000 cartoons before I had my one and only acceptance." Smythe was a frequent contributor to the Daily Mirror’s “Laughter Column”, and in 1954 the art editor, Philip Zec, chose him over Derek Fullarton to contribute a daily cartoon under the title “Laughter At Work.” Three years later, on 2 July 1957, Smythe was asked to create “a special humorous character for the Manchester edition, who will appear each day on the ‘Laughter’ page.” The letter with this request reached Smythe on a holiday visit to his mother in Hartlepool, and he cut short his holiday, creating the flat-capped, pigeon-fancying, beer-swilling, work-shy northerner on his way back to London. “Andy Capp was born on the A1”, Smythe later explained: “The trip was seven hours, and the name took three.” Hugh Cudlipp was shown the cartoons in the editor’s office at the Daily Mirror, and laughed. He told Smythe to bring them back after lunch, and if he still thought them funny they’d go in. Luckily he still liked them. On 4 July 1957 Smythe's salary was raised to £2,500, and the first single-panel “Andy Capp” appeared in the northern edition of the Daily Mirror a month later, on Monday 5 August 1957. According to Revel Barker, who worked for the Mirror Group, Smythe "told me the inspiration for the strip was a guy he saw at a Hartlepool football match, which he’d attended with his father. It started to rain and the man standing next to him took off his cap and put it inside his coat. Young Reg said: ‘Mister, it’s started to rain.’ The man said he knew that. 'But... it’s started to rain - and you’ve taken your cap off,’ said a puzzled Reg. The man looked at the youngster as if he was stupid. ‘You don’t think, do you, that I’m going to sit in the house all night wearing a wet cap!'" Andy Capp himself was supposedly based on a real person, and although Smythe never revealed who that was, it was widely believed to have been his father. Smythe's reluctance to identify his inspiration may have been due to the fact that Andy Capp was openly portrayed as a drunken wife-beater. "He was too savage, a proper bully," Smythe later admitted of the first Andy Capp cartoons: "In one of the early ones [20 August 1957], Flo is sitting on the floor with a black eye having had a beating from Andy and he says: 'Look at it this way, Honey, I'm a man of few pleasures, and one of them 'appens to be knockin' yer about.' That was a dreadful cartoon and it was terribly naive of me to have done it." However, there were no objections to such cartoons at the time, and in 1958 this was chosen as the opening cartoon in the first Andy Capp album. Smythe's mother Florence believed that her husband Reg was the model for Andy Capp, although she said he was "never an aggressive man." She herself provided the name for Andy Capp's wife, Florrie, and Smythe admitted that Florrie was his favourite character in the strip. "She should have been included in the title," he admitted, "but I wanted a single name and the pun on 'handicap' was irresistible." Another inspiration for Andy Capp was undoubtedly Smythe himself, whose views on marriage were described in 1963 by one interviewer as dating "back to the Neolithic age." Smythe himself claimed in 1965 that at home he did nothing "on principle." After his death the Daily Mirror's cartoon editor, Ken Layson, recalled an occasion when he stayed with Smythe and his wife: "After she had poured Reg his tea, Vera walked back to the kitchen. He looked at his cup and shouted to her that something was not right. Vera walked back and without another word, turned the cup so the handle was pointing in the right direction." Smythe found it easiest to give Andy Capp his own likes and dislikes, and his real friends were also incorporated in the strip, including Jack McLean and Madge Rigg (the models for the barman and barmaid), Alan Goodman (the police sergeant who became Andy's local policeman), and Doris Robinson (the barmaid who appeared as a cleaner). Although originally conceived for northern readers, "Andy Capp" spread to the other editions of the Daily Mirror on 14 April 1958. Smythe had originally been asked to create a daily gag cartoon, but "Andy Capp" was transformed into a strip, and from 6 May 1960 it also featured in the Sunday Pictorial - later renamed the Sunday Mirror. On 28 May 1960 the strip spawned a junior version - "Buster, son of Andy Capp" - complete with flat cap, and this later developed into the children's comic Buster, although not drawn by Smythe. Over the next forty years Smythe made a comfortable living from Andy Capp, whom he described in 1963 as "my best friend yet." From 1961 to 1965 the strip was voted CCGB Best Strip Cartoon of the Year, and with success came a certain mellowing, as Andy stopped beating Flo. In 1966 Smythe became one of the founder members of the British Cartoonists' Association. By 1964 "Andy Capp" was being syndicated overseas, and was proving very popular in the United States, where it was first run by the Chicago Sun-Times. By this time Smythe was being paid around £8,000 a year, but a chance meeting with the American cartoonist Al Capp in London showed him just what he could be earning. Smythe spent that afternoon in a meeting at the Daily Mirror, with Hugh Cudlipp and a lawyer, after which his salary was increased to £25,000 a year, plus a percentage of the income from the Andy Capp annuals published in Britain. In 1976 Smythe returned to live in Hartlepool, which he felt had changed very little since his youth, despite the decline of local industry. "The mindset's exactly the same", he later claimed: "I can still go down to the Boilermarkers' Club and get two or three ideas just listening to the conversation." Andy Capp was now being used to advertise beer, Post Office bonds, etc., and in 1982 became the star of the musical Andy Capp, featuring Tom Courtenay and with music by Alan Price. The drama critic of the Financial Times did not find it "particularly rewarding to watch Tom Courtenay shambling about as a drunken half-wit," but the show successfully transferred from Manchester to London, and later proved enormously popular in Finland. In 1983, in a move that pleased his syndicators, both Smythe and Andy Capp gave up smoking. In 1988 an ITV series based on the character, adapted by Keith Waterhouse and starring James Bolam in the title role, was also screened in Britain, but a second series was cancelled because of poor ratings. In 1993 Andy Capp received praise from one of his fictional followers, Homer Simpson, when an episode of The Simpsons cartoon series showed Homer reading the paper and declaring happily "Oh, Andy Capp. You wife-beating drunk. Heh heh heh." In 1997 a female spin-off named "Mandy Capp" appeared in the Daily Mirror - a new character described by the paper's editor, Piers Morgan, as "a mischievous ladette daughter of miserable old Andy." However, it was not drawn by Smythe, and proved a step too far. Smythe was left-handed and worked with an Osmiroid left-handed pen using a broad nib for lettering and Daler Trimline board. Even towards the end of his life he would sit in a room he called "the den", often sketching away from 9am until 2am next day. Everything he drew was accepted by the editorial staff. As he acknowledged towards the end of his life, "they've never censored anything I've drawn": "I have never yet had a single cartoon turned down by the paper." In politics he claimed to be a Socialist. Smythe died in Hartlepool of cancer on 13 June 1998. At the time of his death the strip was being syndicated to 1,700 newspapers in 52 countries, had been translated into fourteen languages and was read by 250 million people. Smythe continued to draw until just a few days before his death, and left over a year's supply of unpublished Andy Capp strips. His last contract with the Daily Mirror had included an agreement to train another artist to draw Andy Capp, but Smythe could never bring himself to do this, and this stockpile was his alternative. When the stockpile finally ran out, the series was continued in the Mirror by the cartoonist Roger Mahoney and writer Roger Kettle. The international appeal of Andy Capp has proved remarkably durable. In 2010 the strip was accidentally omitted from an issue of the local paper in Lebanon, Pennsylvania, and the editor found himself inundated with "profanity-laced" phone calls. "One or two of them said 'Andy Capp' is the only reason they buy the paper", he confessed: "Who knew that a comic strip could mean so much to so many? Particularly this comic strip, set in a foreign milieu and celebrating the life of a character who's not very likeable and not at all admirable?" As Smythe himself admitted of Andy Capp, "He may be a horrible little man - but he's been very good to me." Ian J. Scott (ed) British Cartoonists Year Book 1964 (London, 1963), p.38. John Edwards "Capp Meets Capp", Daily Mirror, 2 July 1964, p.5. Reg Smythe "My father was an Andy, cap and all...", The Cream of Andy Capp (Daily Mirror, London, 1965) Michael Bateman Funny Way to Earn a Living: A Book of Cartoons and Cartoonists (Leslie Frewin, London, 1966), pp.49-52. Rosalind Carne "Andy Capp/Manchester", Financial Times, 1 July 1982, p.15. Reg Smythe [with Les Lilley] The World of Andy Capp (1990) Tony Horwitz "Britain 1992: The view from Wall Street", The Independent, 23 February 1992, p.3. Joseph Connolly "Many happy strips, mate", The Times, 7 July 1992. Gill Swain "Cappy Birthday", The Mirror, 5 August 1997, pp.18-19. The Times, 15 June 1998, "Obituary: Reg Smythe." Tim Jones "Incorrigible Capp survives creator", The Times, 15 June 1998. Michael Mcnay "The North Star", The Guardian, 15 June 1998, p.15. Denis Gifford "Obituary: Reg Smythe", The Independent, 15 June 1998, p.6. The Mirror, 18 June 1998, p.14, "Thanks For The Fun, Reg." Northern Echo, 18 June 1998, p.13, "Reg Leaves Them With Laughter." Tony Jones "Posh lad from Hartlepool", The Journal (Newcastle), 20 June 1998, p.34. Mark Bryant Dictionary of Twentieth-Century British Cartoonists and Caricaturists (Ashgate, Aldershot, 2000), pp.210-11. "All Capps" at gentlemenranters.blogspot.com/search/label/By%20Revel%20Barker viewed 16 March 2009. Paul Baker “Comics don't quickly run their course”, Lebanon Daily News (Pennsylvania), 7 March 2010. Holdings Description 64 boxes originals (AC0001 - 4540) (AC0001 - 1454 catalogued) 2 boxes memorabilia 1 photographed image (AC0614) 105 framed originals (6 catalogued, 99 uncatalogued) (no.s 1 - 39a, 55 - 77, 213 - 220) Prism: AC0001 - 1454 Date range 50s; 60s; 70s [8/1957 - 12/1972] Number	i don't know
Which scientist became Master of the Royal Mint in 1699 ?	Sir Isaac Newton, Master of the Royal Mint (1699-1727) \| The Old Currency Exchange is a specialist dealer and valuer of coins, tokens and banknotes The Old Currency Exchange is a specialist dealer and valuer of coins, tokens and banknotes The best-stocked coin and banknote shop in Ireland. We buy and sell old collections, attic accumulations and house-clearances. Exchange your old coins and banknotes for euro Menu The Old Currency Exchange / November 28, 2015 Introduction: Sir Isaac Newton is, perhaps, best known as an English physicist and mathematician who is widely recognised as one of the most influential scientists of all time and as a key figure in the scientific revolution. Isaac Newton: Portrait of man in black with shoulder-length, wavy brown hair, a large sharp nose, and a distracted gaze (Godfrey Kneller, 1689) His book “Mathematical Principles of Natural Philosophy”, first published in 1687, laid the foundations for classical mechanics Newton made seminal contributions to optics He shares credit with Gottfried Leibniz for the development of calculus Newton’s Principia formulated the laws of motion and universal gravitation, which dominated scientists’ view of the physical universe for the next three centuries By deriving Kepler’s laws of planetary motion from his mathematical description of gravity, and then using the same principles to account for the trajectories of comets, the tides, the precession of the equinoxes, and other phenomena, Newton removed the last doubts about the validity of the heliocentric model of the Solar System His work also demonstrated that the motion of objects on Earth and of celestial bodies could be described by the same principles His prediction that Earth should be shaped as an oblate spheroid was later vindicated by the measurements of Maupertuis, La Condamine, and others, which helped convince most Continental European scientists of the superiority of Newtonian mechanics over the earlier system of Descartes Isaac Newton predicted the world would end in 2060 ! Among his less well known attributes and feats is the fact that he was a devout but unorthodox Christian and, unusually for a member of the Cambridge faculty of the day, he refused to take holy orders in the Church of England, perhaps because he privately rejected the doctrine of the Trinity – Newton may have been, in principle, a Unitarian ! During that time, any Fellow of a college at Cambridge or Oxford was required to take holy orders and become an ordained Anglican priest However, the terms of the Lucasian professorship required that the holder not be active in the church (presumably to devote more time to science) Newton successfully argued that this should exempt him from the ordination requirement, and Charles II, whose permission was needed, accepted this proposal – thus, at the age of 27, he became Lucasian Professor of Mathematics in Cambridge (a post now held by Stephen Hawking) Thus a conflict between Newton’s secretly held religious views and Anglican orthodoxy was averted Charles II, it should be remembered, may have secretly been a Catholic, and he publicly converted to Catholicism on his death bed Chales II’s brother, and successor, James II publicly declared his conversion in 1675 and when he became king, his Catholicism triggered the Glorious Revolution and, in turn, the Williamite Wars – so Newton was clever enough to avoid publicity Historian Stephen D. Snobelen describes Newton as “a heretic” Snobelen concludes that Newton was “at least a Socinian sympathiser (he owned and had thoroughly read at least eight Socinian books), possibly an Arian and almost certainly an anti-trinitarian” Beyond his work on the mathematical sciences, Newton dedicated much of his time to the study of biblical chronology and alchemy, but most of his work in those areas remained unpublished until long after his death Newton was also an MP for Cambridge University in 1689–90 and 1701–2 According to some accounts, his only comments were to complain about “a cold draught in the chamber and request that the window be closed” He was also Warden and Master of the Royal Mint – the topic of this numismatic article Despite his financial savvy, Newton was one of many people who lost heavily when the South Sea Company collapsed Their most significant trade was slaves, and according to his niece, he lost around £20,000 Warden of the Royal Mint Isaac Newton was appointed Warden of the Royal Mint in the spring of 1696 on the recommendation of Charles Montague, 1st Earl of Halifax, and Chancellor of the Exchequer. This was his first public appointment The Royal Mint was then in the Tower of London and Newton arrived in April 1696 to take up his new duties. It was a time of great activity, for the Royal Mint was grappling with financial challenges associated with the re-coinage of old silver coins dating back to the reign of Elizabeth I and beyond. Auxiliary mints were being set up in various parts of the country Newton took on the the job of deputy comptroller of the temporary Chester branch of the Royal Mint This enormous operation was completed within three years By mid-1699, Newton was able to devote more time to his main duty of investigating and bringing to justice those who clipped and counterfeited the coin of the realm Newton estimated that 20% of the coins taken in during the Great Recoinage of 1696 were counterfeit Counterfeiting was high treason, punishable by the felon’s being hanged, drawn and quartered Newton decided to use his powers to stop counterfeiting Despite this, convicting even the most blatent criminals could be extremely difficult Disguised as a habitué of bars and taverns, Newton gathered much of that evidence himself Newton had himself made a justice of the peace in all the home counties Then he conducted more than 100 cross-examinations of witnesses, informers, and suspects between June 1698 and Christmas 1699. Newton successfully prosecuted 28 ‘coiners’ One notorious ‘coiner’ eluded him – William Chaloner Chaloner had trained as a nail maker’s apprentice, but he found a more lucrative application for molten metals: coining 30,000 guineas. This counterfeiter’s self-made wealth enabled him to pose as a gentleman and his undoubted knowledge of the law allowed him to evade prosecution Chaloner appeared before a parliamentary committee, where he insinuated that Newton was incompetent and blamed Mint employees for the epidemic of phony coins. Enraged, Newton intensified his efforts By September 1697, Newton had enough evidence to lock Chaloner up—but not for long. Working through intermediaries, Chaloner bribed the prosecution’s star witness into fleeing to Scotland. Chaloner was released and accused Newton of framing an innocent man Newton then began to work ‘outside of the law’ in order to catch Chaloner – he bribed crooks for information, he started making threats, and he ‘leaned on’ the wives and mistresses of Chaloner’s crooked associates After nearly two more years of relentless pursuit, Newton’s extreme measures had gathered enough evidence to put Chaloner away for good. This time, the charges stuck. On March 3, 1699, the infamous Chaloner was found guilty of high treason and sentenced to hang. Master of the Royal Mint In 1699 the post of Master of the Royal Mint fell vacant by the death of Thomas Neale. Though technically less senior than that of Warden, it was a more lucrative post because the Master acted as a contractor to the Crown and profited from the rates at which he put the work out to sub-contractors. Isaac Newton in a 1702 portrait by Godfrey Kneller The Mastership was offered to Newton and he took up its duties with effect from Christmas Day 1699 The positions of Warden and Master were intended as sinecures (offices that require or involves little or no responsibility, labour, or active service), but Newton took them seriously, retiring from his Cambridge duties in 1701 Surviving the political upheavals of those troubled times, he remained as Master until his own death in March 1727 In April 1705, Queen Anne knighted Newton during a royal visit to Trinity College, Cambridge The knighthood is likely to have been motivated by political considerations connected with the Parliamentary election in May 1705, rather than any recognition of Newton’s scientific work or services as Master of the Mint Newton was the second scientist to be knighted, after Sir Francis Bacon As a result of a report written by Newton on 21 September 1717 to the Lords Commissioners of His Majesty’s Treasury the bimetallic relationship between gold coins and silver coins was changed by Royal proclamation on 22 December 1717, forbidding the exchange of gold guineas for more than 21 silver shillings This inadvertently resulted in a silver shortage as silver coins were used to pay for imports, while exports were paid for in gold, effectively moving Britain from the silver standard to its first gold standard. It is a matter of debate as whether he intended to do this or not Isaac Newton: The Irish Connection Drapier’s Letters (1724) was a series of pamphlets against the monopoly granted by the English government to William Wood to provide the Irish with copper coinage. It was widely believed that Wood would need to flood Ireland with debased coinage in order make a profit. In these “letters” Swift posed as a shop-keeper—a draper—to criticise the plan. Swift’s writing was so effective in undermining opinion in the project that a reward was offered by the government to anyone disclosing the true identity of the author. Though hardly a secret (on returning to Dublin after one of his trips to England, Swift was greeted with a banner, “Welcome Home, Drapier”) no one turned Swift in 1722 Wood’s Hibernia Halfpenny, D: G: REX, Rocks at Right (pattern) The government eventually resorted to hiring none other than Sir Isaac Newton to certify the soundness of Wood’s coinage to counter Swift’s accusations. The Drapier does not directly attack Isaac Newton’s assay of Wood’s coin, but instead attacks the process behind the assay and the witnesses who testified before the Privy Council. In his criticism of the Privy Council’s report, the Drapier claims that the report is part of Wood’s propaganda and lies, because Wood released three proposals concurrent with the report: lowering the patent production quota from £100,800 to £40,000 worth; that no one is obliged to accept more than five pence halfpenny per transaction; and to sell the coin at 2s 1d a pound or his raw copper at 1s 8d a pound. Wood’s choice of wording, that the Irish would be “obliged” to accept the coin, was criticised by the Drapier who then accused Wood of “perfect High Treason” for obliging the people to take any copper coin when the king lacked the constitutional authority to do such a thing In the second letter, the Drapier walks a careful line between openly indicting the king and merely hinting at his relationship with Wood’s patent; while the Drapier accuses Wood, he constantly refers to the king’s authority and power to issue legal tender (this is called “the King’s Prerogative”). In particular, the Drapier claims that the king is unable to force his people to accept any copper based currency. As the Drapier points out, the constitution establishing Ireland as a kingdom limits the authority of the monarch because it forces the people of Ireland to use only gold or silver coins as official currency	Isaac Newton
This word was on all decimal coins when they were introduced in 1971, and was removed from all decimal coins in 1982. What word ?	Sir Isaac Newton - did you know? \| The Royal Mint Blog The Royal Mint blog Sir Isaac Newton. From a portrait by Kneller in 1689 Isaac Newton was appointed Master of the Mint between 1699-1727. The title ‘Master of the Mint’ is held by the Chancellor of the Exchequer who, at the time of writing, is The Right Honourable George Osborne. Isaac Newton is the most famous ‘Master of the Mint’ in our history – here are ten relatively little known facts about him: Isaac Newton was born on Christmas Day 1642…however there is controversy about this date, some say that he was born on 4 January 1643 (the date varies according to the Gregorian calendar). His father died three months before he was born. The common belief that he was a premature baby, not expected to survive, may have been something that came about later as Newton was keen to avoid the idea that he was conceived outside wedlock. Isaac Newton graduated from Cambridge University …but with no honours or distinctions. Two eminent peers of Newton refer to the ‘falling apple’ inspiration for the theory of gravitation…the French writer, Voltaire wrote about this, citingNewton’s half-niece as his source for the story. But the English Antiquarian, William Stukeley claimed to have received the story first-hand from Newton in 1726. Whatever the origins of this well-known story may be, it is a fact that Newton called the force he discovered ‘Gravity’, which kept the universe balanced, made it work, and brought heaven and earth together in one great equation. Newton discovered white light …through his experiments with the reflecting telescope he made in 1668. He found that white light is composed of the same system of colours as seen in a rainbow, oil on water, or soap bubbles. His work established the modern study of optics, publishing in 1704 ‘The Opticks’ which dealt with light and colour. In 1678 Newton suffered a complete nervous breakdown …followed by a further but shorter-lived one in 1693. This latter one was, perhaps, due to chronic mercury poisoning after decades of alchemical research. ‘Standing on the shoulders of giants’ …the quote found on the edge of a £2 coin, comes from a letter written in 1676 by Sir Isaac to his fellow-scientist Robert Hooke, acknowledging the debt he owed to other scientists. Newton was elected Member of Parliament for Cambridge University …from Dec1688 -90 and 1701–02. Newton was made a Fellow of the Royal Society, and its President in 1703 …a post to which he was annually re-elected for the rest of his life. Queen Anne knighted Newton in Cambridge 1705 …by which time he had become the dominant figure in British science and was considered the most highly esteemed natural philosopher in Europe. A crater on the Moon has been named after Newton …it is considered the deepest crater on the near side of the Moon. Popular interest in Isaac Newton’s life continues to this day, and it is rumoured that he will be the subject of a forthcoming action film to be produced by Hollywood director Rob Cohen (who also made The Fast and The Furious). You can expect to hear a lot more about Isaac Newton, because there’s a lot more to tell! For more on Sir Isaac Newton visit The Royal Mint Museum website Understand that Newton “invented the milled edge to prevent “clipping” of the edge jamesroyalmint Newton made milled edges a feature of the coins made at The Royal Mint. I am not sure if he invented the process, though it is often attributed to him. Mike Taylor Extension of fact 6…..The full quotation in a letter to Hooke, 05 February 1676 was, “If I have seen further, it is by standing on the shoulders of giants.” Mike Taylor. James You didn’t mention that he had people executed for forgery while at the royal Mint. James See Mike Taylor’s comment “If I have seen further, it is by standing on the shoulders of giants.” Newton was not being complimentary, he was being his normal, nasty self. Basically he was “dissing” Robert Hooke. Newton was vindictive to say the least!	i don't know
Who became prima ballerina at the Maryinsky Theatre in 1906 ?	Anna Pavlova \| Russian ballerina \| Britannica.com Russian ballerina Alternative Title: Anna Pavlovna Pavlova Anna Pavlova Anna Pavlova, in full Anna Pavlovna Pavlova (born January 31 [February 12, New Style], 1881, St. Petersburg , Russia—died January 23, 1931, The Hague, Netherlands ), Russian ballerina, the most-celebrated dancer of her time. Anna Pavlova. Culver Pictures Pavlova studied at the Imperial School of Ballet at the Mariinsky Theatre from 1891, joined the Imperial Ballet in 1899, and became a prima ballerina in 1906. In 1909 she went to Paris on the historic tour of the Ballets Russes. After 1913 she danced independently with her own company throughout the world. The place and time of Pavlova’s birth could hardly have been better for a child with an innate talent for dancing. Tsarist Russia maintained magnificent imperial schools for the performing arts. Entry was by examination, and, although Pavlova’s mother was poor—Anna’s father had died when she was two years old—the child was accepted for training at the Imperial School of Ballet at the Mariinsky Theatre in St. Petersburg in 1891. Following ballet tradition, Pavlova learned her art from teachers who were themselves great dancers. She graduated to the Imperial Ballet in 1899 and rose steadily through the grades to become prima ballerina in 1906. By this time she had already danced Giselle with considerable success. Almost immediately, in 1907, the pattern of her life began to emerge. That year, with a few other dancers, she went on a European tour to Riga, Stockholm, Copenhagen, Berlin, and Prague. She was acclaimed, and another tour took place in 1908. In 1909 the impresario Serge Diaghilev staged a historic season of Russian ballet in Paris, and Pavlova appeared briefly with the company there and later in London . But her experience of touring with a small group had given her a taste for independence, and she never became part of Diaghilev’s closely knit Ballets Russes . Her destiny was not, as was theirs, to innovate but simply to show the beauties of classical ballet throughout the world. While she was still taking leave from the Mariinsky Theatre, she danced in New York City and London in 1910 with Mikhail Mordkin. Once she left the Imperial Ballet in 1913, her frontiers were extended. For the rest of her life, with various partners (including Laurent Novikov and Pierre Vladimirov) and companies, she was a wandering missionary for her art, giving a vast number of people their introduction to ballet. Whatever the limitations of the rest of the company, which inevitably was largely a well-trained, dedicated band of young disciples , Pavlova’s own performances left those who watched them with a lasting memory of disciplined grace, poetic movement, and incarnate magic. Her quality was, above all, the powerful and elusive one of true glamour. Anna Pavlova’s toe shoes (before 1917). The Newberry Library, Gift of Ann Barzel, 1982/2006 (A Britannica Publishing Partner) Britannica Stories Ringling Bros. Folds Its Tent Pavlova’s independent tours, which began in 1914, took her to remote parts of the world. These tours were managed by her husband, Victor Dandré. The repertoire of Anna Pavlova’s company was in large part conventional. They danced excerpts or adaptations of Mariinsky successes such as Don Quixote, La Fille mal gardée (“The Girl Poorly Managed”), The Fairy Doll, or Giselle , of which she was an outstanding interpreter. The most famous numbers, however, were the succession of ephemeral solos, which were endowed by her with an inimitable enchantment: The Dragonfly, Californian Poppy, Gavotte, and Christmas are names that lingered in the thoughts of her audiences, together with her single choreographic endeavour, Autumn Leaves (1918). Program featuring Anna Pavlova at Midway Gardens, Chicago, Illinois, U.S., 1915. The Newberry Library, Gift of Ann Barzel, 1982/2005 (A Britannica Publishing Partner) Ballet: Fact or Fiction? Pavlova’s enthusiasm for ethnic dances was reflected in her programs. Polish, Russian, and Mexican dances were performed. Her visits to India and Japan led her to a serious study of their dance techniques. She compiled these studies into Oriental Impressions, collaborating on the Indian scenes with Uday Shankar , later to become one of the greatest performers of Indian dance, and in this way playing an important part in the renaissance of the dance in India. Because she was the company’s raison d’être, the source of its public appeal and, therefore, its financial stability, Pavlova’s burden was extreme. It was hardly surprising, therefore, that, by the end of her life, her technique was faltering, and she was relying increasingly on her unique qualities of personality. Pavlova’s personal life was undramatic apart from occasional professional headlines, as when, in 1911, she quarreled with Mordkin. For some time she kept secret her marriage to her manager, Victor Dandré. The pair never had children; however, in 1920, Pavlova founded a home for Russian refugee orphans in Paris. She loved birds and animals, and her home in London, Ivy House, Hampstead, became famous for the ornamental lake with swans, beside which she was photographed and filmed, recalling her most famous solo, The Dying Swan , which the choreographer Michel Fokine had created for her in 1905. These film sequences are among the few extant of her and are included in a compilation called The Immortal Swan, together with some extracts from her solos filmed one afternoon in Hollywood, in 1924, by the actor Douglas Fairbanks , Sr. Anna Pavlova.	Anna Pavlova
Under the Presidential Act of 1947, who is next in line for the U.S. Presidency after the Vice-President ?	Kathrine Sorley Walker \| Britannica.com Kathrine Sorley Walker Contributor BIOGRAPHY Ballet critic, The Daily Telegraph, and dance historian. Author of Dance and Its Creators, Ninette De Valois: Idealist Without Illusions, and others. Primary Contributions (3) Anna Pavlova Russian ballerina, the most-celebrated dancer of her time. Pavlova studied at the Imperial School of Ballet at the Mariinsky Theatre from 1891, joined the Imperial Ballet in 1899, and became a prima ballerina in 1906. In 1909 she went to Paris on the historic tour of the Ballets Russes. After 1913 she danced independently with her own company throughout the world. The place and time of Pavlova’s birth could hardly have been better for a child with an innate talent for dancing. Tsarist Russia maintained magnificent imperial schools for the performing arts. Entry was by examination, and, although Pavlova’s mother was poor—Anna’s father had died when she was two years old—the child was accepted for training at the Imperial School of Ballet at the Mariinsky Theatre in St. Petersburg in 1891. Following ballet tradition, Pavlova learned her art from teachers who were themselves great dancers. She graduated to the Imperial Ballet in 1899 and rose steadily through the grades to become prima...	i don't know
What do cruciverbalists like doing ?	Cruciverbalists - definition of cruciverbalists by The Free Dictionary Cruciverbalists - definition of cruciverbalists by The Free Dictionary http://www.thefreedictionary.com/cruciverbalists cru·ci·ver·bal·ist (kro͞o′sə-vûr′bə-lĭst) 1. A constructor of crosswords. 2. An enthusiast of word games, especially of crosswords. [From Latin crux, cruc-, cross + Latin verbum, word (translation of English crossword ).] cruciverbalist [C20: from Latin crux cross + verbum word] cru•ci•ver•bal•ist (ˌkru səˈvɜr bə lɪst) a designer or aficionado of crossword puzzles. [1975–80; < Latin cruci-, s. of crux cross + verbalist ] cruciverbalist Someone who compiles or enjoys completing crossword puzzles. Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content . Link to this page: crossword References in periodicals archive ? To celebrate the puzzle's centenary, fans - who are known as cruciverbalists - met in the Belvedere pub off Falkner Street, Liverpool, to compile a special centenary Merseyside cryptic crossword which appears below. Both are addictions, but alcholics at least get to go to meetings, while cruciverbalists tend to stay home and suffer in silence. Both of them raise a small irritation for longtime cruciverbalists like me. I half expected the word to be curmudgeon, geezer, skinflint or something of the ilk, but no, it was - get this - cruciverbalist. No. 15 pomegranates: historic, healthy, and yes, a bit messy, this once-underrated fruit is now big business FOR true crossword fans - or cruciverbalists to give them their proper name - little beats the sheer pleasure of filling in that final, difficult clue. The high proportion of graduates in the town may have something to do with it, though by no means all successful cruciverbalists have an academic background. Clue: Something turned to in times of recession as a cheap entertainment, leading to arguments; For crossword fans the fiendishly clever cryptic is a staple part of the day. But their popularity is now growing as we look for cheaper forms of entertainment as a result of the recession. Robin Turner examines our fascination with solving one up and two down 16 /PRNewswire-FirstCall/ -- More than 64 million Americans are cruciverbalists, or "puzzlers," prompting Starbucks , in collaboration with The Discovery Times Channel, to launch an exclusive six-week-long Sunday crossword puzzle series. This unprecedented contest will unite -- while simultaneously challenging -- cruciverbalists to compete in specially developed crossword puzzles by The New York Times Crossword Editor, Will Shortz.	Crossword
Who was Britain's first Christian martyr ?	Who Invented the Crossword? \| Dictionary.com Blog Home » Sports, Food, and Hobbies » Who Invented the Crossword? Who Invented the Crossword? December 20, 2013 by: Dictionary.com 51 Comments Arthur Wynne is usually credited with inventing the crossword. His first puzzle, called a word-cross, was published in December 1913 in the New York World. But there may have been other predecessors to the crossword: in England in the 19th century and an Italian version called per passare il tempo, which means “to pass the time.” Word crosses eventually became known as crosswords, and their creators became known as cruciverbalists . (They are also called constructors, setters, and compilers.) The word cruciverbalist comes from the Latin word crux, which means “cross,” and the word verbum, which means “word.” Crosswordese seems like a term that could refer to crossword terminology. But in fact, it is used to describe words that frequently appear in crossword puzzles, but are rarely used in daily life. Mead, which means “honey wine,” and etui , which means “a woman’s ornamental case,” are two examples of crosswordese. Oslo, the capital of Norway, is another. Speaking of crossword terminology, the horizontal and vertical lines of white cells are called entries or answers. Lights is another word used to refer to the white cells. Missed our interview with NPR Puzzlemaster Will Shortz? Here’s the first installment . FIELD LARGE BUT NOT TOO FAST.(Sports) Daily News (Los Angeles, CA) February 28, 2000 Byline: Rich Hammond Staff Writer The Los Angeles Marathon, which has long sought to strike a balance between its block-party atmosphere and a desire for intense competition, returns to the streets Sunday, seemingly more popular than ever. go to web site 2000 honda accord The marathon, now in its 15th year, is expected to topple last year’s record of 20,630 participants, even though a minuscule percentage of runners have a realistic chance of breaking the tape and taking home the first-place prize money. The overall quality of the men’s field seems to be down from last year, based solely on the top times of the elite runners who have registered thus far. Only three runners have ever broken two hours, 10 minutes in a competitive marathon, a time that is considered good but far from great among elite runners. One of the three sub-2:10 runners is Simon Bor, no doubt the sentimental favorite of race president Dr. William Burke. Last year, when Burke was desperate for somebody to break the 11-year-old course record of 2:10:19, Bor ran 2:09.:25, and the 31-year-old Kenyan returns to defend his title. “And Simon tells me that he is ready to run a faster time this year,” Burke said. If Bor stumbles, nearly a dozen of his countrymen will be ready to take up the challenge. As usual, Kenya dominates the list of male elite runners. This year’s race is being used as the Olympic trial for Guatemala, but a victory by anyone besides a Kenyan would be considered a major upset. Four American men are seeded in the top 25 but none higher than No. 18 Daniel Gonzalez, a 31-year-old resident of Mountain View whose main goal is to beat 2:19 and qualify for the U.S. Olympic Trials. Gonzalez’s top marathon time is 2:13:19, but that was 14 years ago in the California International Marathon. Bor’s top challengers appear to be Peter Ndirangu and Elijah Korir. Ndirangu and Bor share a personal-best time of 2:08.46, which Ndirangu accomplished with a third-place finish in the 1997 Chicago Marathon. Ndirangu, a member of the Kenyan Armed Forces, has never run in Los Angeles but won his most recent race, the Kenyan Armed Forces 30K last month. Korir, who will turn 34 on March 13, is the oldest among elite runners but seems to be in his prime. He set his personal best of 2:09:43 with a victory in France’s Lyon Marathon last October. The women’s race might feature an almost entirely new set of faces. Among elites already registered, only Aurica Buia of Romania (fourth place) returns from last year’s top 10 finishers. Jane Salumae of Estonia, whose personal best of 2:27:04 would place her second on the marathon’s all-time list and beat last year’s winning women’s time by more than three minutes, has been installed as the top seed. Salumae, 32, trains in San Diego and earned her personal best with a victory in the 1997 Turin Marathon in Italy. The first-place awards of $35,000 and a 2000 Honda Accord will await the winners of the elite races, but the vast majority of runners will simply hope for mild weather and the strength to accomplish their goal of finishing the race. go to website 2000 honda accord The “common man” will have plenty of help along the way. The 26.2- mile course, unchanged from last year, will be lined by hundreds of thousands of spectators and there will be various community and ethnic celebrations. The Marathon will also feature events for the noncompetitive athlete. The Acura Bike Tour, which drew more than 15,000 participants last year, starts and finishes near the Coliseum, and the Motrin 5K starts and finishes near the Convention Center and Staples Center. AT A GLANCE What: Los Angeles Marathon XV When: Sunday Start: 8:45 a.m., Downtown L.A., corner of Figueroa and Sixth Street. Finish: Downtown L.A., corner of Fifth Street and Flower, in front of Los Angeles Central Public Library. Course records: Men, Simon Bor of Kenya, 2:09:25 (1999); Women, Madina Bitktagirova of C.I.S., 2:26:23 (1992) Prize: $35,000 and a 2000 Honda Accord to top man and woman Details: More than 21,000 runners are scheduled to compete in the 26.2- mile race. Bike Tour begins at 6 a.m. near Coliseum, and 5K walk/run begins at 9:30 a.m. near the Convention Center. CAPTION(S):	i don't know
What title is given to the wife of an Earl ?	Earl \| Define Earl at Dictionary.com earl noun 1. a British nobleman of a rank below that of marquis and above that of viscount: called count for a time after the Norman conquest. The wife of an earl is a countess. 2. (in Anglo-Saxon England) a governor of one of the great divisions of England, including East Anglia, Mercia, Northumbria, and Wessex. Origin of earl Old English 900 before 900; Middle English erl, Old English eorl; cognate with Old Saxon erl man, Old Norse jarl chieftain Earl a male given name: from the old English word meaning “noble.”. Dictionary.com Unabridged Examples from the Web for earl Expand Contemporary Examples His wife is the niece of an earl who once worked as a lady-in-waiting to a royal duchess. The Kensington District Geraldine Edith Mitton He could remember clearly now, the earl's explanations of the action of the coronet. Millennium Everett B. Cole The Smuggler's Cave George A. Birmingham He thought of the names he had heard used by the guards of the earl. Millennium Everett B. Cole British Dictionary definitions for earl Expand noun 1. (in the British Isles) a nobleman ranking below a marquess and above a viscount Female equivalent countess 2. (in Anglo-Saxon England) a royal governor of any of the large divisions of the kingdom, such as Wessex Word Origin Old English eorl; related to Old Norse jarl chieftain, Old Saxon erl man 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 earl Expand n. Old English eorl "brave man, warrior, leader, chief" (contrasted with ceorl "churl"), from Proto-Germanic *erlo-z, of uncertain origin. In Anglo-Saxon poetry, "a warrior, a brave man;" in later Old English, "nobleman," especially a Danish under-king (equivalent of cognate Old Norse jarl), then one of the viceroys under the Danish dynasty in England. After 1066 adopted as the equivalent of Latin comes (see count (n.)). Online Etymology Dictionary, © 2010 Douglas Harper	Count
"Which classic film ends with the line ""Louis, I think this is the beginning of a beautiful friendship"" ?"	British Titles and Orders of Precedence \| Edwardian Promenade Subscribe to the newsletter and get Edwardian-themed news delivered straight to your inbox! British Titles and Orders of Precedence The British title and its order of precedence is the most baffling, yet simple concept on the planet. Children of nobility and those who wished to become a part of it had the following concepts drilled into their heads from birth. Since neither of us are lords or ladies, we generally have to muddle along in hope of getting it right. Below you’ll find the order of precedence directly from a book of heraldry published in 1910. Things have obviously changed since then, but this was the rule of thumb for harried hostesses throughout the 19th century. TITLES Duke: The highest rank and title in the British peerage, first introduced by Edward III in 1337 when he created the Black Prince the first English duke. A Duke is “Most Noble”; he is styled “My Lord Duke” and “Your Grace” and all his younger sons are “Lords” and all his daughters “Ladies” with the prefix “Right Honorable”. The coronet of a duke is a circlet, heightened with eight conventional strawberry leaves, and encloses a velvet cap. Marquess/Marquis: The second order of the British peerage, in rank next to that of the Duke. Introduced in 1387 by Richard II. A Marquess is “Most Honorable”; he is styled “My Lord Marquess” all his younger sons are “Lords” and his daughters “Ladies”; his eldest sons bears his father’s “second title”. The coronet is a golden circlet heightened by four strawberry leaves and as many pearls, arranged alternately. Earl: In Latin, “Comes” in French “Comte” or “Count.” Before 1337, the highest, and now the third degree of rank and dignity in the British peerage. An earl is “Right Honorable”; he is styled “My Lord”, the eldest son bears his father’s “second title,” generally that of Viscount; his other sons are “Honorable” but all his daughters are “Ladies.” The circlet of an Earl’s coronet has eight lofty rays of gold rising from the circlet, each of which supports a large pearl, while between each pair of these rays is a golden strawberry leaf. Viscount: The fourth degree of rank and dignity in the British peerage. Introduced by Henry VI in 1440. A Viscount is a “Right Honorable” and is styled “My Lord.” All his sons and daughters are “Honorable.” The coronet has a row of sixteen small pearls set on the circlet. Baron: The lowest rank in the British peerage. A Baron is “Right Honorable” and is styled “My Lord”. The coronet is a golden circlet topped by six large pearls. An Irish baron has no coronet. All children of a Baron are “Honorable.” Baronet: A hereditary rank, lower than the peerage, instituted in 1612 by James I, who fixed the precedence of baronets before all Knights, those of the Order of the Garter alone excepted. ORDER OF PRECEDENCE The Younger sons of the Sovereign The Grandsons of the Sovereign The Brothers of the Sovereign The Uncles The Lord President of the Council The Lord Privy Seal The following Great Officers of the State precede all Peers of their own Degree–that is, if Dukes, they precede all other Dukes; if Earls, all other Earls, etcetera. The Lord Great Chamberlain The Lord Steward of the Royal Household The Lord Chamberlain of the Royal Household The Master of the Horse The Peers of each Degree take Precedence in their own Degree, according to their Patents of Creation. Dukes (a) of England, (b) of Scotland, (c) of Great Britain, (d) of Ireland, (e) of the United Kingdom and, if created since the Union of Ireland. Marquesses (vide Dukes) Bishops of (a) London, (b) Durham, and (c) Winchester Bishops, according to Seniority of Consecration Barons (vide Dukes) The Speaker of the House of Commons Commissioners of Great Seal The (a) Treasurer and the (b) Comptroller of the Royal Household Vice-Chamberlain of the Household The Secretaries of States, when not Peers Eldest sons of viscounts Knights of the Garter, Thistle and St. Patrick, not being Peers Privy Councillors The Chancellor of the Exchequer The Chancellor of the Duchy of Lancaster The Lord Chief Justice The Master of the Rolls Lord Justices of Appeal and the President of Probate Court Judges of High Court Sons of Lords of Appeal in Ordinary (Life Peers) Baronets Knights of the Grand Cross of the Bath Knights Grand Commanders of the Star of India Knights Grand Cross of St. Michael and St. George Knights Grand Commanders of Indian Empire Knights Grand Cross of Victorian Order Knights Commanders of the various Orders (in the same order of progression) Knights Bachelors Companions of the various Orders Members of Fourth Class of Victorian Order Companions of Distinguished Service Order Eldest sons of the Younger sons of Peers Eldest sons of Baronets Members of Fifth Class of Victorian Order Baronets’ Younger sons Knights Younger sons Esquires: Including the Eldest sons of the sons of Viscounts and Barons, the eldest sons of all the younger sons of Peers and their eldest sons in perpetual Succession, the younger sons of Baronets, the sons of knights, the eldest son of the eldest son of a Knight in perpetual succession, persons holding the King’s Commission, or who may be styled “Esquire” by the King in any Official Document Gentlemen The precedence of WOMEN is determined, before marriage, by the Rank and Dignity, but not by the Office, of their father. All the unmarried sisters in any family have the same degree, which is the degree that their eldest Brother holds (or would hold) amongst men. Thus: Of the sons of an earl, the eldest alone has an honorary title of nobility and is styled “My Lord,” while all the Daughters of an Earl have a similar honorary Title and are styled “My Lady.” ORDER OF PRECEDENCE Other Daughters of the Sovereign, according to birth Wives of Sovereign’s Sons, according to seniority of their Husbands Granddaughters of the Sovereign Wives of Sovereign’s Grandsons, according to seniority of their Husbands Wives of the Sovereign’s Brothers Nieces of the Sovereign Wives of the Sovereign’s Nephews Wives of the Sovereign’s Uncles Other Princesses of the Blood Royal Duchesses Wives of eldest sons of Dukes Daughters of Dukes Wives of eldest sons of Marquises Daughters of Marquises Wives of younger sons of Dukes Viscountesses Wives of eldest sons of Earls Daughters of Earls Wives of younger sons of Marquises Baronesses Wives of oldest sons of Viscounts Daughters of Viscounts Wives of younger sons of Earls Wives of eldest sons of Barons Daughters of Ваrons Maids of Honour to the Queen Wives of younger sons of Viscounts Wives of younger sons of Barons Wives of Baronets Wives of Knights of the Garter Wives of Knights of the Thistle and St. Patrick Wives of Knights Grand Crosses of the Bath, Knights Grand Commander of the Star of India, Grand Cross of St. Michael and St. George, Grand Commanders of the Indian Empire, Commanders of the Bath, Commanders of the Star of India, Commanders of St. Michael and St. George, and Knights Commanders of the Indian Empire Ladies of the Crown of India Wives of Knights Bachelors Wives of Companions of the Bath Wives of Companions of the Star of India Wives of Companions of St. Michael and St. George Wives of Companions of the Indian Empire Wives of eldest sons of younger sons of Рееrs Daughters of younger sons of Peers Wives of eldest sons of Baronets Daughters of Baronets Wives of eldest sous of Knights of the Garter Daughters of Knights of the Garter Wives of eldest sons of Knights Grand Cross of the Bath Daughters of Knights Grand Cross of the Bath Wives of eldest sons of Knights Grand Cross of St. Michael and St. George Daughters of Knights Grand Cross of St. Michael and St. George Wives of eldest sons of Knights Commanders of the Bath Daughters of Knights Commanders of the Bath Wives of eldest sons of Knights Commanders of St. Michael and St. George Wives of eldest sons of Knights Bachelor Daughters of Knights Bachelors Wives of younger sons of the younger son of Peers Wives of younger sons of Baronets Wives of Esquires of the Sovereign’s Body Wives of Gentlemen of Privy Chamber Wives of Esquires of Knight of the Bath Wives of Esquires by creation Wives of Esquires by office Wives of younger sons of Knights Grand Cross of the Bath Wives of younger sons of Knights Grand Cross of St. Michael and St. George Wives of younger sons of Knights Commander of the Bath Wives of younger sons of Knights Commanders of St. Michael and St. George Wives of younger wins of Knights Bachelor Wives of Serjeants-at-Law and Queen’s Counsel Wives of Gentlemen entitled to bear arms By marriage, women share the dignities and precedence of their husbands, but the strictly official dignity of a husband is not imparted to a wife (except in India) in the case of the Archbishops and Bishops or holders of other offices. The dignities which ladies have by birth or by right of inheritance, are not imparted by marriage to their husbands, nor does marriage with an inferior in dignity in any way affect the precedence that a lady may enjoy by birth, inheritance or creation–both her own precedence and that of her husband may remain as before their marriage, unless the husband be a peer. To whatever precedence she may be entitled by birth, the wife of a peer always takes her rank, and therefore takes her actual precedence from her husband. The widow of a peer, so long as she remains a widow, retains the rank she enjoyed whilst married, but should she contract a second marriage, her precedence then is determined either by the rank of her second husband, or by the rank that was her own by birth and which she enjoyed before her first marriage. The wife of the eldest son of any degree precedes all her husband’s sisters and also all other ladies having the same degree of rank with them. A peeress by marriage who is also a peerage in her own right signs first her husband’s title, adding her own afterwards: The Countess of Yarborough is Marcia Yarborough, Cauconberg and Conyers. The daughter of a peer if married to another peer takes the precedence of her husband and relinquishes her own, but she retains it if she marries a commoner, and one of the anomalies of the English scale of precedence is to be found in the following circumstances: if the two elder daughters of a duke were to marry an Earl and a Baron respectively, whilst the youngest daughter were to run away with the footman, she would, nevertheless, rank as the daughter of a Duke above her sisters ranking as wives of an Earl and a Baron. Search EP Search for: Subscribe to Blog via Email Enter your email address to subscribe to this blog and receive notifications of new posts by email. Join 606 other subscribers	i don't know
"Which classic film ends with the line "" .... After all, tomorrow is another day.""?"	After all tomorrow is another day - Vivien Leigh - Gone with the Wind - YouTube After all tomorrow is another day - Vivien Leigh - Gone with the Wind Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Aug 13, 2010 "After all tomorrow is another day" - Quote from movie Gone with the wind by Vivien Leigh. For more details visit - http://www.moviequotes.im/gone-with-t... Category	Gone with the Wind
In Greek mythology , who was the god of flocks and herds ?	Tomorrow Is Another Day \| Success byHeart.com Tomorrow Is Another Day By Joyce Courage doesn’t always roar, sometimes it’s the quiet voice at the end of the day whispering, ” I will try again tomorrow” – Mary Anne Radmacher I first read the book, Gone with the Wind by Margaret Mitchell, when I was in my teens. But it was when I saw the film in all its splendour and drama and remarkable performances that the characters came alive for me, which is highly unusual for me as I tend to prefer my own imagination to movies. And what struck me the most was the feisty spirit of Scarlett O’Hara, a southern belle, who refused to give up on her infatuation for Ashley despite his marriage to Melanie. Misguided though she was, and although she resisted failure with all her might, her determination to never say die and to battle on with every scheme under the sun to pursue him, almost costing her marriage to Rhett Butler, impressed me with her passion and tenacity. Many people and many of our famous leaders have experienced failures in their pasts, but have never quit trying and have never given up. They reached the pinnacles of success in their lives and in their careers by stoically refusing to accept failure as an option and as a result have gone on to achieve great things and even carved a place for themselves in history as a result. Sometimes though, no matter how hard we try, our efforts seem not to generate any results and we feel close to failure. The majority of the time we tell ourselves self-defeating lies and at other times we just need to pick ourselves up and start all over again. When we leave ‘failure’ in the dust and dare to begin again, we are deliberately undermining its importance and know that those efforts didn’t work– so now, it’s time to move on to something that does work. No matter where we find ourselves in life, failure doesn’t have to be an option you give too much importance to and we don’t have to resign ourselves to never succeed. Indulging ourselves with self-pitying stories of “what might have been” only keeps us from accomplishing what we’re capable of. Consider the following truths before you accept failure as an option in your life: We learn from our mistakes– After Scarlett O’Hara watched Rhett Butler walk away at the end of the classic movie “Gone With the Wind,” she immediately started planning the best way to get him back. Her mantra, “Tomorrow is another day,” has been quoted throughout the years as a symbolic moving forward from a perceived failure toward anticipated success. Never stop going after that second or third chance. Know that life is a balance of happy and sad times– Everyone experiences times in their lives when they are crushed by failure and when they are triumphantly successful. Life seems sometimes to be like an opera that fills your spirit with happiness and elation and after that– before Act III ends– brings it down to horrifying depths of despair. The challenge of life is to know that we are simply a part of the larger play, and that only WE can decide what role we will accept. We are in control, even though it might not always seem to be so — No matter how difficult it is to accept the failure of something– a relationship, a job or a career path, I know that I and you have absolute control and that only you can choose the path you take. How you react to adversity will determine whether or not you will continue on to success or whether you are doomed to fail yet again. Failure isn’t the end– At least it’s not the end until the fat lady sings (at the end of a classic opera) or unless you quit. You can elect to pick yourself up and begin again and summon the courage you have left to get you through the bad times. Failure only means you tried and the way you tried didn’t work. So Now, we just have to try something different. Enjoy life– Although life may have dealt you a bad hand, you’re way ahead if your basic needs are being met and you still have hope. Enjoy what you have and proceed to life’s next battlefield. It takes courage and it takes grit and Tenacity. In life, sometimes change is necessary to get rid of the old and make way for the new. A perceived failure is only an opportunity for you to head to something better. Because of the learning experience, you’ll find that you’re stronger than you thought you were and that you can accomplish greater than you thought you could. After all Tomorrow is another day! What failure have you overcome simply by trying again? Be Sociable, Share!	i don't know
Varicella is the technical term for which disease ?	Pinkbook \| Varicella \| Epidemiology of Vaccine Preventable Diseases \| CDC Varicella Zoster Immune Globulin Varicella is an acute infectious disease caused by varicella zoster virus (VZV). The recurrent infection (herpes zoster, also known as shingles) has been recognized since ancient times. Primary varicella infection (chickenpox) was not reliably distinguished from smallpox until the end of the 19th century. In 1875, Steiner demonstrated that chickenpox was caused by an infectious agent by inoculating volunteers with the vesicular fluid from a patient with acute varicella. Clinical observations of the relationship between varicella and herpes zoster were made in 1888 by von Bokay, when children without evidence of varicella immunity acquired varicella after contact with herpes zoster. VZV was isolated from vesicular fluid of both chickenpox and zoster lesions in cell culture by Thomas Weller in 1954. Subsequent laboratory studies of the virus led to the development of a live attenuated varicella vaccine in Japan in the 1970s. The vaccine was licensed for use in the United States in March 1995. The first vaccine to reduce the risk of herpes zoster was licensed in May 2006. Varicella Zoster Virus Replication in nasopharynx and regional lymph nodes Primary viremia 4 to 6 days after infection Multiple tissues, including sensory ganglia, infected during viremia VZV is a DNA virus and is a member of the herpesvirus group. Like other herpesviruses, VZV has the capacity to persist in the body after the primary (first) infection as a latent infection. VZV persists in sensory nerve ganglia. Primary infection with VZV results in chickenpox. Herpes zoster (shingles) is the result of reactivation of latent VZV infection. The virus is believed to have a short survival time in the environment. Pathogenesis VZV enters through the respiratory tract and conjunctiva. The virus is believed to replicate at the site of entry in the nasopharynx and in regional lymph nodes. A primary viremia occurs 4 to 6 days after infection and disseminates the virus to other organs, such as the liver, spleen, and sensory ganglia. Further replication occurs in the viscera, followed by a secondary viremia, with viral infection of the skin. Virus can be cultured from mononuclear cells of an infected person from 5 days before to 1 or 2 days after the appearance of the rash. Clinical Features The incubation period is 14 to 16 days after exposure, with a range of 10 to 21 days. The incubation period may be prolonged in immunocompromised patients and those who have received postexposure treatment with a varicella antibody–containing product.The incubation period is 14 to 16 days after exposure, with a range of 10 to 21 days. The incubation period may be prolonged in immunocompromised patients and those who have received postexposure treatment with a varicella antibody–containing product. Primary Infection (Chickenpox) Incubation period 14 to 16 days (range 10 to 21 days) Mild prodrome for 1 to 2 days (adults) Rash generally appears first on head; most concentrated on trunk Successive crops over several days with lesions present in several stages of development A mild prodrome may precede the onset of a rash. Adults may have 1 to 2 days of fever and malaise prior to rash onset, but in children the rash is often the first sign of disease. In individuals who have not been vaccinated with varicella vaccine, the rash is generalized and pruritic and progresses rapidly from macules to papules to vesicular lesions before crusting. The rash usually appears first on the head, then on the trunk, and then the extremities; the highest concentration of lesions is on the trunk. Lesions also can occur on mucous membranes of the oropharynx, respiratory tract, vagina, conjunctiva, and the cornea. Lesions are usually 1 to 4 mm in diameter. The vesicles are superficial and delicate and contain clear fluid on an erythematous base. Vesicles may rupture or become purulent before they dry and crust. Successive crops appear over several days, with lesions present in several stages of development. For example, macular lesions may be observed in the same area of skin as mature vesicles. Healthy children usually have 200 to 500 lesions in 2 to 4 successive crops. Breakthrough varicella is defined as a case of varicella due to infection with wild-type VZV occurring more than 42 days after varicella vaccination. With decreasing incidence of varicella overall and increasing varicella vaccination coverage, more than half of varicella cases reported in the varicella active surveillance sites in 2010 were breakthrough varicella. In clinical trials, breakthrough varicella was substantially less severe with the median number of skin lesions commonly less than 50; vesicular lesions are less common and the lesions are commonly papules that do not progress to vesicles. Varicella in vaccinated persons is typically shorter in duration and has a lower incidence of fever than in unvaccinated persons. Breakthrough varicella has been reported in both one- and two-dose vaccine recipients. The clinical course in healthy children is generally mild, with malaise, pruritus (itching), and temperature up to 102°F for 2 to 3 days. Adults may have more severe disease and have a higher incidence of complications. Respiratory and gastrointestinal symptoms are absent. Children with lymphoma and leukemia may develop a severe progressive form of varicella characterized by high fever, extensive vesicular eruption, and high complication rates. Children infected with human immunodeficiency virus (HIV) also may have severe, prolonged illness. Recovery from primary varicella infection usually results in lifetime immunity. In otherwise healthy persons, a second occurrence of chickenpox is not common, but it can happen, particularly in immunocompromised persons. As with other viral diseases, reexposure to natural (wild) varicella may lead to reinfection that boosts antibody titers without causing clinical illness or detectable viremia. Recurrent Disease (Herpes Zoster) intrauterine exposure varicella at younger than 18 months of age Herpes zoster, or shingles, occurs when latent VZV reactivates and causes recurrent disease. The immunologic mechanism that controls latency of VZV is not well understood. However, factors associated with recurrent disease include aging, immunosuppression, intrauterine exposure to VZV, and having had varicella at a young age (younger than 18 months). In immunocompromised persons, zoster may disseminate, causing generalized skin lesions and central nervous system, pulmonary, and hepatic involvement. The vesicular eruption of zoster generally occurs unilaterally in the distribution of a sensory nerve. Most often, this involves the trunk or the fifth cranial nerve. Two to four days prior to the eruption, there may be pain and paresthesia in the involved area. There are few systemic symptoms. Hospitalization: 2-3 per 1,000 cases (children) Death: 1 per 60,000 cases Acute varicella is generally mild and self-limited, but it may be associated with complications. Secondary bacterial infections of skin lesions with Staphylococcus or Streptococcus are the most common cause of hospitalization and outpatient medical visits. Secondary infection with invasive group A streptococci may cause serious illness and lead to hospitalization or death. Pneumonia following varicella is usually viral but may be bacterial. Secondary bacterial pneumonia is more common in children younger than 1 year of age. Central nervous system manifestations of varicella range from aseptic meningitis to encephalitis. Involvement of the cerebellum, with resulting cerebellar ataxia, is the most common central nervous system manifestation and generally has a good outcome. Encephalitis is an infrequent complication of varicella (estimated 1.8 per 10,000 cases) and may lead to seizures and coma. Diffuse cerebral involvement is more common in adults than in children. Reye syndrome is an unusual complication of varicella and influenza and occurs almost exclusively in children who take aspirin during the acute illness. The etiology of Reye syndrome is unknown. There has been a dramatic decrease in the incidence of Reye syndrome, presumably related to decreased use of aspirin by children. Rare complications of varicella include aseptic meningitis, transverse myelitis, Guillain-Barré syndrome, thrombocytopenia, hemorrhagic varicella, purpura fulminans, glomerulonephritis, myocarditis, arthritis, orchitis, uveitis, iritis, and hepatitis. In the prevaccine era, approximately 11,000 persons with varicella required hospitalization each year. Hospitalization rates were approximately 2 to 3 per 1,000 cases among healthy children and 8 per 1,000 cases among adults. Death occurred in approximately 1 in 60,000 cases. From 1990 through 1996, an average of 103 deaths from varicella were reported each year. Most deaths occur in immunocompetent children and adults. Since 1996, hospitalizations and deaths from varicella have declined more than 70% and 88% respectively. Groups at Increased Risk of Complications of Varicella Persons older than 15 years Infants younger than 1 year Immunocompromised persons Newborns of women with rash onset within 5 days before to 2 days after delivery The risk of complications from varicella varies with age. Complications are infrequent among healthy children. They occur much more frequently in persons older than 15 years of age and infants younger than 1 year of age. Prior to the introduction of varicella vaccination, the fatality rates for varicella were approximately 1 per 100,000 cases among children 1-14 years of age, 2.7 per 100,000 cases among persons 15-19 years of age, and 25.2 per 100,000 cases among adults 30-49 years of age. Adults accounted for only 5% of reported cases of varicella but approximately 35%of mortality. Immunocompromised persons have a high risk of disseminated disease (up to 36% in one report). These persons may have multiple organ system involvement, and the disease may become fulminant and hemorrhagic. The most frequent complications in immunocompromised persons are pneumonia and encephalitis. Children with HIV infection are at increased risk for morbidity from varicella and herpes zoster. The onset of maternal varicella from 5 days before to 2 days after delivery may result in overwhelming infection of the neonate and a fatality rate as high as 30%. This severe disease is believed to result from fetal exposure to varicella virus without the benefit of passive maternal antibody. Infants born to mothers with onset of maternal varicella 5 days or more prior to delivery usually have a benign course, presumably due to passive transfer of maternal antibody across the placenta. Herpes Zoster Postherpetic neuralgia (PHN), or pain in the area of the ocurrence that persists after the lesions have resolved, is a distressing complication of zoster. There is currently no adequate therapy available. PHN may last a year or longer after the episode of zoster. Ocular nerve and other organ involvement with zoster can occur, often with severe sequelae. Congenital Varicella Syndrome Results from maternal infection during pregnancy Period of risk may extend through first 20 weeks of pregnancy Low birth weight, hypoplasia of extremity, skin scarring, eye and neurologic abnormalities Risk appears to be very low (less than 2%) Congenital VZV Infection Primary maternal varicella infection in the first 20 weeks of gestation is occasionally associated with abnormalities in the newborn, including low birth weight, hypoplasia of an extremity, skin scarring, localized muscular atrophy, encephalitis, cortical atrophy, chorioretinitis, and microcephaly. This constellation of abnormalities, collectively known as congenital varicella syndrome, was first recognized in 1947. The risk of congenital abnormalities from primary maternal varicella infection appears to be very low (less than 2%). Rare reports of congenital birth defects following maternal zoster exist, but virologic confirmation of maternal lesions is lacking. Isolation of varicella virus from clinical specimen Rapid varicella virus identification using PCR (preferred, if available) or DFA Significant rise in varicella IgG by any standard serologic assay Laboratory testing, whenever possible, or epidemiological linkage to a typical case or laboratory-confirmed case should be sought to confirm – or rule out – varicella. Varicella zoster virus polymerase chain reaction (PCR) is the method of choice for diagnosis of varicella. VZV may also be isolated in tissue culture, although this is less sensitive and requires several days to obtain a result. The most frequent source of VZV isolation is vesicular fluid. Laboratory techniques allow differentiation of wild-type and vaccine strains of VZV. Rapid varicella virus identification techniques are indicated for a case with severe or unusual disease to initiate specific antiviral therapy. VZV PCR is the method of choice for rapid clinical diagnosis. Real-time PCR methods are widely available and are the most sensitive and specific method of the available tests. Results are available within several hours. If real-time PCR is unavailable, the direct fluorescent antibody (DFA) method can be used, although it is less sensitive than PCR and requires more meticulous specimen collection and handling. Specimens are best collected by unroofing a vesicle, preferably a fresh fluid-filled vesicle, and then rubbing the base of a skin lesion with a polyester swab. Crusts from lesions are also excellent specimens for PCR. Because viral proteins persist after cessation of viral replication, PCR and DFA may be positive when viral cultures are negative. Additional information can be found concerning virus isolation and strain differentiation . A variety of serologic tests for varicella antibody are available commercially including a latex agglutination assay (LA) and a number of enzyme-linked immunosorbent assays (ELISA) that can be used to assess disease-induced immunity. Currently available ELISA methods are not sufficiently sensitive to reliably detect seroconversion to vaccine, but are robust enough to screen persons for VZV susceptibility. ELISA is sensitive and specific, simple to perform, and widely available commercially. A commercially available LA is sensitive, simple, and rapid to perform. LA is somewhat more sensitive than commercial ELISAs, although it can result in false-positive results, leading to failure to identify persons without evidence of varicella immunity. This latter concern can be minimized by performing LA as a dilution series. Either of these tests would be useful for screening for varicella immunity. Antibody resulting from vaccination is generally of lower titer than antibody resulting from varicella disease. Commercial antibody assays, particularly the LA test, may not be sensitive enough to detect vaccine-induced antibody in some recipients. Because of the potential for false-negative serologic tests, routine postvaccination serologic testing is not recommended. For diagnosis of acute varicella infection, serologic confirmation would include a significant rise in varicella IgG by any standard serologic assay. Testing using commercial kits for IgM antibody is not recommended since available methods lack sensitivity and specificity; false-positive IgM results are common in the presence of high IgG levels. The National VZV Laboratory at CDC has developed a reliable IgM capture assay. Contact the laboratory by e-mail for details about collecting and submitting specimens for testing. 1-2 days before to 4-5 days after onset of rash may be longer in immunocompromised Varicella and herpes zoster occur worldwide. Some data suggest that in tropical areas varicella infection occurs more commonly among adults than children. The reason(s) for this difference in age distribution are not known with certainty. Reservoir Varicella is a human disease. No animal or insect source or vector is known to exist. Transmission Infection with VZV occurs through the respiratory tract. The most common mode of transmission of VZV is believed to be person to person from infected respiratory tract secretions. Transmission may also occur by respiratory contact with airborne droplets or by direct contact or inhalation of aerosols from vesicular fluid of skin lesions of acute varicella or zoster. Temporal Pattern In temperate areas, varicella has a distinct seasonal fluctuation, with the highest incidence occurring in winter and early spring. In the United States, incidence is highest between March and May and lowest between September and November. Less seasonality is reported in tropical areas. Herpes zoster has no seasonal variation and occurs throughout the year. Communicability The period of communicability extends from 1 to 2 days before the onset of rash until lesions have formed crusts. Vaccinated persons with varicella may develop lesions that do not crust (macules and papules only). Isolation guidance for these persons is to exclude until no new lesions appear within a 24-hour period. Immunocompromised patients with varicella are probably contagious during the entire period new lesions are appearing. The virus has not been isolated from crusted lesions. Varicella is highly contagious. It is less contagious than measles, but more so than mumps and rubella. Secondary attack rates among susceptible household contacts of persons with varicella are as high as 90% (that is, 9 of 10 susceptible household contacts of persons with varicella will become infected). Secular Trends in the United States Varicella In the prevaccine era, varicella was endemic in the United States, and virtually all persons acquired varicella by adulthood. As a result, the number of cases occurring annually was estimated to approximate the birth cohort, or approximately 4 million per year. Varicella was removed from the list of nationally notifiable conditions in 1981, but some states continued to report cases to CDC. The majority of cases (approximately 90%) occurred among children younger than 15 years of age. The highest age-specific incidence of varicella was among children 1–4 years of age, who accounted for 39% of all cases. This age distribution was probably a result of earlier exposure to VZV in preschool and child care settings. Children 5–9 years of age accounted for 38% of cases. Adults 20 years of age and older accounted for only 7% of cases (National Health Interview Survey data, 1990–1994). The incidence of varicella, as well as varicella-related hospitalizations, has decreased significantly since licensure of vaccine in 1995. Despite high one-dose vaccination coverage and success of the vaccination program in reducing varicella morbidity and mortality, varicella surveillance indicated that the number of reported varicella cases appeared to have plateaued in the early 2000s. An increasing proportion of cases represent breakthrough infection (chickenpox occurring in a previously vaccinated person). In 2001–2005, outbreaks were reported in schools with high varicella vaccination coverage (96%–100%). These outbreaks had many similarities: all occurred in elementary schools; vaccine effectiveness was within the expected range (72%–85%); the highest attack rates occurred among the younger students; each outbreak lasted about 2 months; and persons with breakthrough infection transmitted the virus although the breakthrough disease was mild. Overall attack rates among vaccinated children were 11%–17%, with attack rates in some classrooms as high as 40%. These data indicate that even in settings where almost everyone was vaccinated and vaccine performed as expected, varicella outbreaks could not be prevented with the one-dose vaccination policy. These observations led to the recommendation in 2006 for a second routine dose of varicella vaccine. In 2010, varicella vaccination coverage among children 19–35 months in two of the active surveillance areas was estimated to be 95%. Varicella cases declined 97% between 1995 and 2010. Cases declined most among children 5–9 years of age, but a decline occurred in all age groups including infants and adults, indicating reduced transmission of the virus in these groups since implementation of the routine two-dose varicella vaccination program. One-dose varicella vaccine coverage among 19–35-month-old children was estimated by the National Immunization Survey to be 90.8% in 2011. Herpes Zoster 500,000 to 1 million episodes occur annually in the United States Lifetime risk of zoster estimated to be 32% 50% of persons living until age 85 years will develop zoster Herpes zoster is not a notifiable condition. An estimated 500,000 to 1 million episodes of zoster occur annually in the United States. The lifetime risk of zoster is estimated to be at least 32%. Increasing age and cellular immunosuppression are the most important risk factors; 50% of persons living until age 85 years will develop zoster. Top of Page Vaccines Containing Varicella Virus Three VZV-containing vaccines are now licensed in the United States: varicella vaccine (Varivax), combination measles-mumps-rubella-varicella (MMRV) vaccine (ProQuad), and herpes zoster vaccine (Zostavax). Characteristics approved for children 12 months through 12 years Herpes zoster vaccine (Zostavax) approved for persons 50 years and older Varicella vaccine (Varivax, Merck) is a live-attenuated viral vaccine, derived from the Oka strain of VZV. The vaccine virus was isolated by Takahashi in the early 1970s from vesicular fluid from an otherwise healthy child with varicella disease. Varicella vaccine was licensed for general use in Japan and Korea in 1988. It was licensed in the United States in 1995 for persons 12 months of age and older. The virus was attenuated by sequential passage in human embryonic lung cell culture, embryonic guinea pig fibroblasts, and in WI-38 human diploid cells. The Oka/Merck vaccine has undergone further passage through MRC-5 human diploid cell cultures for a total of 31 passages. The reconstituted vaccine contains small amounts of sucrose, processed porcine gelatin, sodium chloride, monosodium L-glutamate, sodium diphosphate, potassium phosphate, and potassium chloride, and trace quantities of residual components of MRC-5 cells (DNA and protein), EDTA, neomycin, and fetal bovine serum. The vaccine is reconstituted with sterile water and contains no preservative. Measles-Mumps-Rubella-Varicella Vaccine In September 2005, the Food and Drug Administration (FDA) licensed a combined live-attenuated measles-mumps-rubella and varicella vaccine (ProQuad, Merck) for use in persons 12 months through 12 years of age. The attenuated measles, mumps, and rubella vaccine viruses in MMRV are identical and of equal titer to those in the measles-mumps-rubella (MMR) vaccine. The titer of Oka/Merck varicella zoster virus is higher in MMRV vaccine than in single-antigen varicella vaccine, a minimum of 9,772 (3.99 log10) plaque-forming units (PFU) versus 1,350 PFU (~3.13 log10), respectively. Each 0.5-mL dose contains small quantities of sucrose, hydrolyzed gelatin, sodium chloride, sorbitol, monosodium L-glutamate, sodium phosphate dibasic, human albumin, sodium bicarbonate, potassium phosphate monobasic, potassium chloride; potassium phosphate dibasic; residual components of MRC-5 cells (DNA and protein) neomycin, bovine calf serum, and other buffer and media ingredients. The vaccine is reconstituted with sterile water and contains no preservative. Herpes Zoster Vaccine In May 2006, the FDA approved herpes zoster vaccine (Zostavax, Merck) for use in persons 60 years of age and older. In March 2011, the FDA approved a label change for zoster vaccine to include persons 50 through 59 years of age. The vaccine contains the same Oka/Merck varicella zoster virus used in varicella and MMRV vaccines but at a much higher titer (a minimum of 19,400 PFU versus 1,350 PFU in varicella vaccine). Each 0.65-mL dose contains small quantities of sucrose, hydrolyzed porcine gelatin, sodium chloride, monosodium L-glutamate, sodium phosphate dibasic, potassium phosphate monobasic, potassium chloride; residual components of MRC-5 cells including (DNA and protein); neomycin and bovine calf serum. The vaccine is reconstituted with sterile water and contains no preservative. Varicella Vaccine Immunogenicity and Efficacy Detectable antibody 97% of children 12 months through 12 years following 1 dose 99% of persons 13 years and older after 2 doses 70% to 90% effective against any varicella disease 90%-100% effective against severe varicella disease Immunogenicity and Vaccine Efficacy Varicella Vaccine After one dose of single-antigen varicella vaccine, 97% of children 12 months through 12 years of age develop detectable antibody titers. More than 90% of vaccine responders maintain antibody for at least 6 years. In Japanese studies, 97% of children had antibody 7 to 10 years after vaccination. Vaccine efficacy is estimated to be 70% to 90% against infection, and 90% to 100% against moderate or severe disease. Among healthy adolescents and adults 13 years of age and older, an average of 78% develop antibody after one dose, and 99% develop antibody after a second dose given 4 to 8 weeks later. Antibody persisted for at least 1 year in 97% of vaccinees after the second dose given 4 to 8 weeks after the first dose. Immunity appears to be long-lasting, and is probably permanent in the majority of vaccinees. Breakthrough infection is significantly milder than infection among unvaccinated persons, with fewer lesions (generally fewer than 50), many of which are maculopapular rather than vesicular. Most persons with breakthrough infection do not have fever. Varicella Breakthrough Infection Breakthrough infection is significantly milder, with fewer lesions No consistent evidence that risk of breakthrough infection increases with time since vaccination Retrospective cohort study of 115,000 children vaccinated in 2 HMOs during January 1995 through December 1999 Risk of breakthrough varicella 2.5 times higher if varicella vaccine administered less than 30 days following MMR No increased risk if varicella vaccine given simultaneously or more than 30 days after MMRM Although findings of some studies have suggested otherwise, most investigations have not identified time since vaccination as a risk factor for breakthrough varicella. Some, but not all, recent investigations have identified the presence of asthma, use of steroids, and vaccination at younger than 15 months of age as risk factors for breakthrough varicella. Classification of varicella infection as breakthrough could be a result of several factors, including interference of vaccine virus replication by circulating antibody, impotent vaccine resulting from storage or handling errors, or inaccurate recordkeeping. Interference from live viral vaccine administered before varicella vaccine could also reduce vaccine effectiveness. A study of 115,000 children in two health maintenance organizations during 1995–1999 found that children who received varicella vaccine less than 30 days after MMR vaccination had a 2.5-fold increased risk of breakthrough varicella compared with those who received varicella vaccine before, simultaneously with, or more than 30 days after MMR. Studies have shown that a second dose of varicella vaccine boosts immunity and reduces the risk of breakthrough disease in children. MMRV Vaccine MMRV vaccine was licensed on the basis of equivalence of immunogenicity of the antigenic components rather than the clinical efficacy. Clinical studies involving healthy children age 12 through 23 months indicated that those who received a single dose of MMRV vaccine developed similar levels of antibody to measles, mumps, rubella and varicella as children who received MMR and varicella vaccines concomitantly at separate injection sites. Herpes Zoster Vaccine Efficacy Vaccine recipients 60 to 80 years of age had 51% fewer episodes of zoster efficacy declines with increasing age significantly reduces the risk of postherpetic neuralgia Reduces the risk of zoster 69.8% in persons 50 through 59 years of age Herpes Zoster Vaccine The primary clinical trial for zoster vaccine included more than 38,000 adults 60 to 80 years of age with no prior history of shingles. Participants were followed for a median of 3.1 years after a single dose of vaccine. Compared with the placebo group, the vaccine group had 51% fewer episodes of zoster. Efficacy was highest for persons 60–69 years of age (64%) and declined with increasing age. Efficacy was 18% for participants 80 years or older. Vaccine recipients who developed zoster generally had less severe disease. Vaccine recipients also had about 66% less postherpetic neuralgia, the pain that can persist long after the shingles rash has resolved. In a subsequent clinical trial that included more than 22,000 persons 50 through 59 years of age, zoster vaccine was shown to reduce the risk of zoster by 69.8% in this age group. The duration of reduction of risk of zoster is not known. Routine vaccination at 12-15 months of age Routine second dose at 4-6 years of age Minimum interval between doses of varicella vaccine is 3 months for children younger than 13 years of age Varicella Vaccine Recommendations Adolescents and Adults All persons 13 years of age and older without evidence of varicella immunity 2 doses separated by at least 4 weeks Do not repeat first dose because of extended interval between doses Varicella Vaccine Varicella vaccine is recommended for all children without contraindications at 12 through 15 months of age. The vaccine may be given to all children at this age regardless of prior history of varicella. A second dose of varicella vaccine should be administered at 4 through 6 years of age, at the same visit as the second dose of MMR vaccine. The second dose may be administered earlier than 4 through 6 years of age if at least 3 months have elapsed following the first dose (i.e., the minimum interval between doses of varicella vaccine is 3 months for children younger than 13 years). However, if the second dose is administered at least 28 days following the first dose, it does not need to be repeated. A second dose of varicella vaccine is also recommended for persons older than 6 years of age who have received only one dose. Varicella vaccine doses administered to persons 13 years or older should be separated by 4-8 weeks. All varicella-containing vaccines should be administered by the subcutaneous route. Varicella vaccine has been shown to be safe and effective in healthy children when administered at the same time as MMR vaccine at separate sites and with separate syringes. If varicella and MMR vaccines are not administered at the same visit, they should be separated by at least 28 days. Varicella vaccine may also be administered simultaneously (but at separate sites with separate syringes) with all other childhood vaccines. ACIP strongly recommends that varicella vaccine be administered simultaneously with all other vaccines recommended at 12 through 15 months of age. Children with a clinician-diagnosed or verified history of typical chickenpox can be assumed to be immune to varicella. Serologic testing of such children prior to vaccination is not warranted because the majority of children between 12 months and 12 years of age without a clinical history of chickenpox are not immune. Prior history of chickenpox is not a contraindication to varicella vaccination. Varicella vaccine should be administered to all adolescents and adults 13 years of age and older who do not have evidence of varicella immunity (see Varicella Immunity section). Persons 13 years of age and older should receive two doses of varicella vaccine separated by 4-8 weeks. If there is a lapse of more than 4 weeks after the first dose, the second dose may be administered at any time without repeating the first dose. Assessment of varicella immunity status of all adolescents and adults and vaccination of those who lack evidence of varicella immunity are important to protect these individuals from their higher risk of complications from varicella. Vaccination may be offered at the time of routine healthcare visits. However, specific assessment efforts should be focused on adolescents and adults who are at highest risk of exposure and those most likely to transmit varicella to others. Varicella Vaccination Recommendations Healthcare Personnel ACIP recommends all healthcare personnel be immune to varicella Prevaccination serologic screening likely cost-effective for persons with uncertain history Postvaccination testing not necessary or recommended The ACIP recommends that all healthcare personnel be immune to varicella. In healthcare settings, serologic screening of personnel who are uncertain of their varicella history, or who claim not to have had the disease is likely to be cost-effective. Testing for varicella immunity following two doses of vaccine is not necessary because 99% of persons are seropositive after the second dose. Moreover, available commercial assays are not sensitive enough to detect antibody following vaccination in all instances. Seroconversion does not always result in full protection against disease, although no data regarding correlates of protection are available for adults. Vaccinated healthcare personnel exposed to VZV should be monitored daily from day 10 to day 21 after exposure through the employee health or infection control program to screen for fever, skin lesions, and systemic symptoms. Persons with varicella may be infectious starting 2 days before rash onset. In addition, healthcare personnel should be instructed to immediately report fever, headache, or other constitutional symptoms and any skin lesions (which may be atypical). The person should be placed on sick leave immediately if symptoms occur. The risk of transmission of vaccine virus from a vaccinated person to a susceptible contact appears to be very low (see Transmission of Varicella Vaccine Virus section), and the benefits of vaccinating susceptible healthcare personnel clearly outweigh this potential risk. Transmission of vaccine virus appears to occur primarily if and when the vaccinee develops a vaccine-associated rash. As a safeguard, medical facilities may wish to consider protocols for personnel who develop a rash following vaccination (e.g., avoidance of contact with persons at high risk of serious complications, such as immunosuppressed persons who do not have evidence of varicella immunity). MMRV Vaccine Approved for children 12 months through 12 years of age (to age 13 years) Do not use for persons 13 years and older May be used for both first and second doses of MMR and varicella vaccines Minimum interval between doses is 3 months MMRV vaccine is approved for vaccination against measles, mumps, rubella and varicella in children 12 months through 12 years of age. Persons 13 years of age and older should not receive MMRV. When used, MMRV vaccine should be administered on or after the first birthday, preferably as soon as the child becomes eligible for vaccination. MMRV may be used for both the first and second doses of MMR and varicella in children younger than 13 years. The minimum interval between doses of MMRV is 3 months. However, if the second dose is administered at least 28 days following the first dose, it does not need to be repeated. For the first dose of measles, mumps, rubella, and varicella vaccines at age 12 through 47 months, either MMR vaccine and varicella vaccine or MMRV vaccine may be used. Providers who are considering administering MMRV vaccine should discuss the benefits and risks of both vaccination options with the parents or caregivers. Unless the parent or caregiver expresses a preference for MMRV vaccine, CDC recommends that MMR vaccine and varicella vaccine should be administered for the first dose in this age group. See the Adverse Reactions section of this chapter for more information. For the second dose of measles, mumps, rubella, and varicella vaccines at any age (15 months through 12 years) and for the first dose at 48 months of age or older, use of MMRV vaccine generally is preferred over separate injections of its equivalent component vaccines (i.e., MMR vaccine and varicella vaccine). Herpes Zoster Vaccine Herpes Zoster Vaccine Approved for persons 50 years and older ACIP does not recommend vaccination of persons younger than 60 years because of supply and lower risk of zoster in this age group Zoster vaccine is approved by FDA for persons 50 years and older. However, ACIP does not currently recommend vaccination of persons younger than 60 years because of concerns about vaccine supply and the lower risk of zoster in this age group. ACIP recommends a single dose of zoster vaccine for adults 60 years of age and older whether or not they report a prior episode of herpes zoster. Persons with a chronic medical condition may be vaccinated unless a contraindication or precaution exists for the condition (see Contraindications and Precautions to Vaccination ). In June 2011, the package insert for zoster vaccine was revised to advise that in a randomized clinical study, a reduced immune response to Zostavax as measured by glycoprotein-based ELISA (gpELISA) was observed in individuals who received Pneumovax 23 (PPSV23) and Zostavax concurrently compared with individuals who received these vaccines 4 weeks apart. A subsequent clinical study did not find a significant increase in the incidence of zoster among persons who received zoster vaccine and PPSV23 at the same visit compared with persons who received the vaccines 30 or more days apart. Consequently, to avoid introducing barriers to patients and providers who are interested in these two important vaccines, CDC has not changed its recommendation for either vaccine, and continues to recommend that zoster vaccine and PPSV be administered at the same visit if the person is eligible for both vaccines. Postexposure Prophylaxis Varicella Vaccine Postexposure Prophylaxis Varicella vaccine is recommended for use in persons without evidence of varicella immunity after exposure to varicella 70%-100% effective if given within 3 days of exposure (possibly up to 5 days) not effective if administered more than 5 days after exposure but will produce immunity if recipient is not infected Varicella Vaccine Data from the United States and Japan in a variety of settings indicate that varicella vaccine is 70% to 100% effective in preventing illness or modifying the severity of illness if used within 3 days, and possibly up to 5 days, after exposure. ACIP recommends the vaccine for postexposure prophylaxis in persons who do not have evidence of varicella immunity. If exposure to varicella does not cause infection, postexposure vaccination should induce protection against subsequent exposure. If the exposure results in infection, there is no evidence that administration of varicella vaccine during the incubation period or prodromal stage of illness increases the risk for vaccine-associated adverse reactions. Although postexposure use of varicella vaccine has potential applications in hospital settings, preexposure vaccination of all healthcare personnel without evidence of varicella immunity is the recommended and preferred method for preventing varicella in healthcare settings. Varicella outbreaks in some settings (e.g., child care facilities and schools) can persist up to 6 months. Varicella vaccine has been used successfully to control these outbreaks. The ACIP recommends a second dose of varicella vaccine for outbreak control. During a varicella outbreak, persons who have received one dose of varicella vaccine should receive a second dose, provided the appropriate vaccination interval has elapsed since the first dose (3 months for persons aged 12 months through 12 years and at least 4 weeks for persons aged 13 years of age and older). MMRV Vaccine MMRV vaccine may be used as described for varicella vaccine, and for measles as described in the Measles chapter . Herpes Zoster Vaccine Exposure to a person with either primary varicella (chickenpox) or herpes zoster does not cause zoster in the exposed person. Herpes zoster vaccine has no role in the postexposure management of either chickenpox or zoster and should not be used for this purpose. Written documentation of age-appropriate vaccination Laboratory evidence of immunity or laboratory confirmation of disease Born in the United States before 1980 Healthcare personnel diagnosis or verification of varicella disease History of herpes zoster based on healthcare provider diagnosis In 2007, the ACIP published a revised definition for evidence of immunity to varicella. Evidence of immunity to varicella includes any of the following: Documentation of age-appropriate vaccination: Preschool-aged children 12 months of age or older: one dose School-aged children, adolescents, and adults: two doses Laboratory evidence of immunity or laboratory confirmation of disease. Commercial assays can be used to assess disease-induced immunity, but they lack adequate sensitivity to reliably detect vaccine-induced immunity (i.e., they may yield false-negative results). Born in the United States before 1980: for healthcare providers and pregnant women, birth before 1980 should not be considered evidence of immunity. Persons born outside the United States should meet one of the other criteria for varicella immunity. A healthcare provider diagnosis or verification of varicella disease. Verification of history or diagnosis of typical disease can be done by any healthcare provider (e.g., school or occupational clinic nurse, nurse practitioner, physician assistant, physician). For persons reporting a history of or presenting with atypical and/or mild cases, assessment by a physician or designee is recommended, and one of the following should be sought: a) an epidemiologic link to a typical varicella case, or b) evidence of laboratory confirmation if laboratory testing was performed at the time of acute disease. When such documentation is lacking, a person should not be considered as having a valid history of disease, because other diseases may mimic mild atypical varicella. History of herpes zoster based on healthcare provider diagnosis. Contraindications and Precautions to Vaccination Varicella and MMRV Vaccines Moderate or severe acute illness Recent blood product (varicella, MMRV) Personal or family (i.e., sibling or parent) history of seizures of any etiology (MMRV only) Varicella Vaccine Use in Persons with Immunosuppression MMRV not approved for use in persons with HIV infection Do not administer zoster vaccine to immunosuppressed persons Contraindications and precautions are similar for all varicella-containing vaccines. Persons with a severe allergic reaction (anaphylaxis) to a vaccine component or following a prior dose of vaccine should not receive varicella vaccine. Varicella, MMRV, and zoster vaccines all contain minute amounts of neomycin and hydrolyzed gelatin but do not contain egg protein or preservative. Persons with immunosuppression due to leukemia, lymphoma, generalized malignancy, immune deficiency disease, or immunosuppressive therapy should not be vaccinated with a varicella-containing vaccine. However, treatment with low-dose (less than 2 mg/kg/day), alternate-day, topical, replacement, or aerosolized steroid preparations is not a contraindication to vaccination. Persons whose immunosuppressive therapy with steroids has been discontinued for 1 month (3 months for chemotherapy) may be vaccinated Single-antigen varicella vaccine may be administered to persons with impaired humoral immunity (e.g., hypogammaglobulinemia). However, the blood products used to treat humoral immunodeficiency may interfere with the response to vaccination. Recommended spacing between administration of the blood product and receipt of varicella vaccine should be observed (see Chapter 2, General Recommendations on Immunization , for details). Persons with moderate or severe cellular immunodeficiency resulting from infection with human immunodeficiency virus (HIV), including persons diagnosed with acquired immunodeficiency syndrome (AIDS) should not receive varicella vaccine. HIV-infected children with CD4 T-lymphocyte percentage of 15% or higher, and older children and adults with a CD4 count of 200 per microliter or higher may be considered for vaccination. These persons may receive MMR and single-antigen varicella vaccines, but should not receive MMRV. Women known to be pregnant or attempting to become pregnant should not receive a varicella-containing vaccine. To date, no adverse outcomes of pregnancy or in a fetus have been reported among women who inadvertently received varicella vaccine shortly before or during pregnancy. Although the manufacturer’s package insert states otherwise, ACIP recommends that pregnancy be avoided for 1 month following receipt of varicella vaccine. The ACIP recommends prenatal assessment and postpartum vaccination for varicella. Women should be assessed during a prenatal healthcare visit for evidence of varicella immunity. Upon completion or termination of pregnancy, women who do not have evidence of varicella immunity should receive the first dose of varicella vaccine before discharge from the healthcare facility. The second dose should be administered at least 4 weeks later at the postpartum or other healthcare visit. Standing orders are recommended for healthcare settings where completion or termination of pregnancy occurs to ensure administration of varicella vaccine. The manufacturer, in collaboration with CDC, has established a Varicella Vaccination in Pregnancy registry to monitor the maternal–fetal outcomes of pregnant women inadvertently given varicella vaccine. The telephone number for the Registry is 800.986.8999. Varicella Vaccination in Pregnancy Registry 800-986-8999 Vaccination of persons with moderate or severe acute illnesses should be postponed until the condition has improved. This precaution is intended to prevent complicating the management of an ill patient with a potential vaccine adverse event, such as fever. Minor illness, such as otitis media and upper respiratory infections, concurrent antibiotic therapy, and exposure or recovery from other illnesses are not contraindications to varicella vaccine. Although there is no evidence that either varicella or varicella vaccine exacerbates tuberculosis, vaccination is not recommended for persons known to have untreated active tuberculosis. Tuberculosis skin testing is not a prerequisite for varicella vaccination. The effect of the administration of antibody-containing blood products (e.g., immune globulin, whole blood or packed red blood cells, or intravenous immune globulin) on the response to varicella vaccine virus is unknown. Because of the potential inhibition of the response to varicella vaccination by passively transferred antibodies, varicella or MMRV vaccine should not be administered for 3–11 months after receipt of antibody containing blood products. ACIP recommends applying the same intervals used to separate antibody-containing products and MMR to varicella vaccine (see chapter 2, General Recommendations on Immunization and Appendix A [3.1 MB, 32 pages] for additional details). Immune globulin should not be given for 3 weeks following vaccination unless the benefits exceed those of the vaccine. In such cases, the vaccinees should either be revaccinated or tested for immunity at least 3 months later (depending on the antibody-containing product administered) and revaccinated if seronegative. A personal or family (i.e., sibling or parent) history of seizures of any etiology is a precaution for MMRV vaccination. Studies suggest that children who have a personal or family history of febrile seizures or family history of epilepsy are at increased risk for febrile seizures compared with children without such histories. Children with a personal or family history of seizures of any etiology generally should be vaccinated with MMR vaccine and varicella vaccine because the risks for using MMRV vaccine in this group of children generally outweigh the benefits. No adverse events following varicella vaccination related to the use of salicylates (e.g., aspirin) have been reported to date. However, the manufacturer recommends that vaccine recipients avoid the use of salicylates for 6 weeks after receiving varicella or MMRV vaccine because of the association between aspirin use and Reye syndrome following chickenpox. Top of Page Zoster Vaccine As with all vaccines, a severe allergic reaction to a vaccine component or following a prior dose is a contraindication to zoster vaccination. As with other live virus vaccines, pregnancy or planned pregnancy within 4 weeks and immunosuppression are contraindications to zoster vaccination. Zoster vaccine should not be administered to persons with primary or acquired immunodeficiency. This includes persons with leukemia, lymphomas, or other malignant neoplasms affecting the bone marrow or lymphatic system. The package insert implies that zoster vaccine should not be administered to anyone who has ever had leukemia or lymphoma. However, ACIP recommends that persons whose leukemia or lymphoma is in remission and who have not received chemotherapy or radiation for at least 3 months can be vaccinated. Other immunosuppressive conditions that contraindicate zoster vaccine include AIDS or other clinical manifestation of HIV. This includes CD4 T-lymphocyte values less than 200 per mm or less than 15% of total lymphocytes. Persons receiving high-dose corticosteroid therapy should not be vaccinated. High dose is defined as 20 milligrams or more per day of prednisone or equivalent lasting two or more weeks. Zoster vaccination should be deferred for at least 1 month after discontinuation of therapy. As with other live viral vaccines, persons receiving lower doses of corticosteroids may be vaccinated. Topical, inhaled or intraarticular steroids, or long-term alternate-day treatment with low to moderate doses of short-acting systemic corticosteroids are not considered to be sufficiently immunosuppressive to contraindicate zoster vaccine. Low doses of drugs used for the treatment of rheumatoid arthritis, inflammatory bowel disease, and other conditions, such as methotrexate, azathioprine, or 6-mercaptopurine, are also not considered sufficiently immunosuppressive to create safety concerns for zoster vaccine. Low-dose therapy with these drugs is NOT a contraindication for administration of zoster vaccine. The experience of hematopoietic stem cell transplant recipients with varicella-containing vaccines, including zoster vaccine is limited. Physicians should assess the immune status of the recipient on a case-by-case basis to determine the relevant risks. If a decision is made to vaccinate with zoster vaccine, the vaccine should be administered at least 24 months after transplantation. The safety and efficacy of zoster vaccine administered concurrently with recombinant human immune mediators and immune modulators (such as the anti–tumor necrosis factor agents adalimumab, infliximab, and etanercept) is not known. It is preferable to administer zoster vaccine before treatment with these drugs. If it is not possible to administer zoster vaccine to patients before initiation of treatment, physicians should assess the immune status of the recipient on a case-by-case basis to determine the relevant risks and benefits. Otherwise, vaccination with zoster vaccine should be deferred for at least 1 month after discontinuation of treatment. As with all vaccines, moderate or severe acute illness is a precaution to vaccination. Current treatment with an antiviral drug active against herpesviruses, such as acyclovir, famciclovir, or valacyclovir, is a precaution to vaccination. These drugs can interfere with replication of the vaccine virus. Persons taking these drugs should discontinue them at least 24 hours before administration of zoster vaccine, and the drugs should not be taken for at least 14 days after vaccination. Persons with a history of varicella are immune and generally maintain a high level of antibody to varicella zoster virus, a level comparable to that found in donated blood and antibody-containing blood products. Receiving anantibody-containing blood product will not change the amount of antibody in the person’s blood. As a result, unlike most other live virus vaccines, recent receipt of a blood product is not a precaution for zoster vaccine. Zoster vaccine can be administered at any time before, concurrent with, or after receiving blood or other antibody-containing blood products. Not all cases caused by vaccine virus Risk from vaccine virus less than from wild-type virus Usually a mild illness without complications such as postherpetic neuralgia Varicella Vaccine The most common adverse reactions following varicella vaccine are local reactions, such as pain, soreness, erythema, and swelling. Based on information from the manufacturer’s clinical trials of varicella vaccine, local reactions are reported by 19% of children and by 24% of adolescents and adults (33% following the second dose). These local adverse reactions are generally mild and self-limited. A varicella-like rash at injection site is reported by 3% of children and by 1% of adolescents and adults following the second dose. In both circumstances, a median of two lesions have been present. These lesions generally occur within 2 weeks, and are most commonly maculopapular rather than vesicular. A generalized varicella-like rash is reported by 4%–6% of recipients of varicella vaccine (1% after the second dose in adolescents and adults), with an average of five lesions. Most of these generalized rashes occur within 3 weeks and most are maculopapular. Systemic reactions are not common. Fever within 42 days of vaccination is reported by 15% of children and 10% of adolescents and adults. The majority of these episodes of fever have been attributed to concurrent illness rather than to the vaccine. Varicella vaccine is a live virus vaccine and may result in a latent infection, similar to that caused by wild varicella virus. Consequently, zoster caused by the vaccine virus has been reported, mostly among vaccinated children. Not all these cases have been confirmed as having been caused by vaccine virus. The risk of zoster following vaccination appears to be less than that following infection with wildtype virus. The majority of cases of zoster following vaccine have been mild and have not been associated with complications such as postherpetic neuralgia. MMRV Vaccine In MMRV vaccine prelicensure studies conducted among children 12–23 months of age, fever (reported as abnormal or elevated greater than or equal to 102°F oral equivalent) was observed 5-12 days after vaccination in 21.5% of MMRV vaccine recipients compared with 14.9% of MMR vaccine and varicella vaccine recipients. Measles-like rash was observed in 3.0% of MMRV vaccine recipients compared with 2.1% of those receiving MMR vaccine and varicella vaccine. Two postlicensure studies indicated that among children 12 through 23 months of age, one additional febrile seizure occurred 5–12 days after vaccination per 2,300–2,600 children who had received the first dose of MMRV vaccine, compared with children who had received the first dose of MMR vaccine and varicella vaccine administered as separate injections at the same visit. Data from postlicensure studies do not suggest that children 4–6 years of age who received the second dose of MMRV vaccine had an increased risk for febrile seizures after vaccination compared with children the same age who received MMR vaccine and varicella vaccine administered as separate injections at the same visit. Herpes Zoster Vaccine Adverse Reactions Local reactions - 34% (pain, erythema) No increased risk of fever No serious adverse reactions identified Herpes Zoster Vaccine In the largest clinical trial of zoster vaccine, local reactions (erythema, pain or tenderness, and swelling) were the most common adverse reaction reported by vaccine recipients (34%), and were reported more commonly than by placebo recipients (6%). A temperature of 101°F or higher within 42 days of vaccination occurred at a similar frequency among both vaccine (0.8%) and placebo (0.9%) recipients. No serious adverse reactions were identified during the trial. Top of Page Transmission of Varicella Vaccine Virus Available data suggest that transmission of varicella vaccine virus is a rare event. Instances of suspected secondary transmission of vaccine virus have been reported, but in few instances has the secondary clinical illness been shown to be caused by vaccine virus. Several cases of suspected secondary transmission have been determined to have been caused by wild varicella virus. In studies of household contacts, several instances of asymptomatic seroconversion have been observed. It appears that transmission occurs mainly when the vaccinee develops a rash. If a vaccinated person develops a rash, it is recommended that close contact with persons who do not have evidence of varicella immunity and who are at high risk of complications of varicella, such as immunocompromised persons, be avoided until the rash has resolved. Transmission of varicella due to vaccine virus from recipients of zoster vaccine has not been reported. Top of Page Vaccine Storage and Handling Varicella-containing vaccine should be stored frozen between -58°F and +5°F (-50°C and -15°C). Manufacturer package inserts contain additional information . For complete information on best practices and recommendations please refer to CDC’s Vaccine Storage and Handling Toolkit [4.33 MB, 109 pages] . Top of Page Varicella Zoster Immune Globulin In March 2013, a VZIG product, VariZIG (Cangene Corporation, Winnipeg, Canada) was licensed by the FDA. It had previously been available as an investigational product. The licensed product can be requested from the sole authorized U.S. distributor, FFF Enterprises (Temecula, California), for patients who have been exposed to varicella and who are at increased risk for severe disease and complications. VariZIG can be obtained by calling FFF Enterprises at 800-843-7477 at any time or by contacting the distributor . VariZIG is a purified human immune globulin preparation made from plasma containing high levels of anti-varicella antibodies (immunoglobulin class G [IgG]) that is lyophilized. When properly reconstituted, VariZIG is approximately a 5% solution of IgG that can be administered intramuscularly. The patient groups recommended by ACIP to receive VariZIG include the following: Immunocompromised patients Neonates whose mothers have signs and symptoms of varicella around the time of delivery (i.e., 5 days before to 2 days after); Preterm infants born at 28 weeks gestation or later who are exposed during the neonatal period and whose mothers do not have evidence of immunity; Preterm infants born earlier than 28 weeks’ gestation or who weigh 1,000g or less at birth and were exposed during the neonatal period, regardless of maternal history of varicella disease or vaccination; and Pregnant women. Addition information concerning the acquisition and use of this product is available in the March 30, 2012, edition of Morbidity and Mortality Weekly Report . Acknowledgement The editors thank Dr. Cindy Weinbaum, CDC for her assistance in updating this chapter. Selected References CDC. Prevention of varicella: recommendations of the Advisory Committee on Immunization Practices (ACIP). MMWR 2007;56(No. RR-4):1–40. CDC. Prevention of herpes zoster. Recommendations of the Advisory Committee on Immunization Practices. MMWR 2008;57(No.RR-5). CDC. Simultaneous administration of varicella vaccine and other recommended childhood vaccines – United States, 1995-1999. MMWR 2001;50(No. 47):1058-61. CDC. Use of combination measles, mumps, rubella, and varicella vaccine: recommendations of the Advisory Committee on Immunization Practices (ACIP). MMWR 2010;59(No. RR-3):1–12. CDC. Immunization of health-care personnel. Recommendations of the Advisory Committee on Immunization Practices (ACIP). MMWR 2011;60(RR-7):1-45. Davis MM, Patel MS, Gebremariam A. Decline in varicella-related hospitalizations and expenditures for children and adults after introduction of varicella vaccine in the United States. Pediatrics 2004;114:786–92. Kuter B, Matthews H, Shinefield H, et al. Ten year follow-up of healthy children who received one or two injections of varicella vaccine. Pediatr Infect Dis J 2004;23:132–7. Leung J, Harpaz R, Molinari NA, et al. Herpes zoster incidence among insured persons in the United States, 1993-2006; evaluation of impact of varicella vaccination. Clin Infect Dis 2011;52:332-40. Oxman MN, Levin MJ, Johnson GR, et. al. A Vaccine to prevent herpes zoster and postherpetic neuralgia in older adults. NEJM 2005; 352(12): 2271-84. Oxman MN. Zoster vaccine: current status and future prospects. Clin Infect Dis 2010;51:197-213. Tseng HF, Smith N, Sy LS, Jacobsen SJ. Evaluation of the incidence of herpes zoster after concomitant administration of zoster vaccine and polysaccharide pneumococcal vaccine. Vaccine 2011;29:3628-32. Seward JF, Watson BM, Peterson CL, et al. Varicella disease after introduction of varicella vaccine in the United States, 1995–2000. JAMA 2002;287:606–11. Seward JF, Zhang JX, Maupin TJ, Mascola L, Jumaan AO. Contagiousness of varicella in vaccinated cases: a household contact study. JAMA 2004;292:704–8. Shields KE, Galil K, Seward J, et al. Varicella vaccine exposure during pregnancy: data from the first 5 years of the pregnancy registry. Obstet Gynecol 2001; 98:14–19. Vazquez M, LaRuissa PS, Gershon AA, et al. Effectiveness over time of varicella vaccine. JAMA 2004;291:851–92.	Chickenpox
Who wrote the music of the German national anthem ?	Immunise - 4.22 Varicella The Australian Immunisation Handbook 10th Edition 4.22 Varicella Page last updated: 30 August 2016 References 4.22.1 Virology Varicella-zoster virus (VZV) is a DNA virus within the herpes virus family. 1 Primary infection with VZV causes varicella (chickenpox). Following primary infection, VZV establishes latency in the dorsal root ganglia. Reactivation of the latent virus manifests as herpes zoster (shingles) 2 (refer to 4.24 Zoster ). 4.22.2 Clinical features Varicella is a highly contagious infection spread by respiratory secretions, including aerosol transmission, or from the vesicle fluid of the skin lesions of varicella or zoster infection. 1 Varicella is usually a mild disease of childhood. However, complications occur in approximately 1% of cases. 3 It is more severe in adults and in persons of any age who are immunocompromised, in whom complications, disseminated disease and fatal illness can occur. 1 The average incubation period is 14 to 16 days (range 10 to 21 days), but may be longer in persons who are immunocompromised, especially after receipt of zoster immunoglobulin (ZIG). 2 The period of infectivity is from 48 hours before the onset of rash until crusting of all lesions has occurred. 4 A short prodromal period of 1 to 2 days may precede the onset of the rash, especially in adults. 1 , 2 In otherwise healthy children, skin lesions usually number between 200 and 500. 1 , 2 Acute varicella may be complicated by secondary bacterial skin infection, pneumonia, acute cerebellar ataxia (1 in 4000 cases), aseptic meningitis, transverse myelitis, encephalitis (1 in 100 000 cases) and thrombocytopenia. In rare cases, it involves the viscera and joints. 1 Congenital varicella syndrome has been reported after varicella infection in pregnancy and may result in skin scarring, limb defects, ocular anomalies and neurologic malformations. 1 , 5 There is a higher risk to the fetus if maternal infection occurs in the second trimester compared with infection in the first trimester (1.4% versus 0.55%). 6 Infants with intrauterine exposure also risk developing herpes zoster in infancy (0.8–1.7%), with the greatest risk following exposure in the third trimester. 5 Severe neonatal varicella infection can result from perinatal maternal varicella. 7 The onset of varicella in pregnant women from 5 days before delivery to 2 days after delivery is estimated to result in severe varicella in 17 to 30% of their newborn infants. 1 , 7 Reactivation of latent VZV as a result of waning cellular immunity results in herpes zoster (HZ), a localised vesicular rash. HZ can occur at any age, but is more common in older adults and persons who are immunocompromised. Complications may include post-herpetic neuralgia and disseminated zoster with visceral, central nervous system and pulmonary involvement 1 (refer to 4.24 Zoster ). There is no specific therapy for uncomplicated varicella infection. Antiviral therapy is used in the treatment of complicated or severe varicella, herpes zoster disease, and disease in persons who are immunocompromised. 4.22.3 Epidemiology In an unimmunised population in temperate climates, the annual number of cases of varicella approximates the birth cohort. 8 Tropical regions have a higher proportion of cases in adults. Approximately 5% of cases are subclinical. A serosurvey conducted in 1997–1999 found that 83% of the Australian population were seropositive by 10–14 years of age. 9 Prior to the introduction of a varicella vaccination program in Australia, there were about 240 000 cases, 1500 hospitalisations and an average of 7 to 8 deaths each year from varicella in Australia. 10-12 The highest rates of hospitalisation occur in children <5 years of age. 13 In Australia, there was a 69% decline in varicella hospitalisations in children aged 1.5–4 years in the first 2.5 years following the inclusion of varicella vaccine on the NIP in late 2005. 14 Declines have also been observed in hospitalisation rates in other age groups and in general practice consultations. 14-16 In the United States, where universal varicella vaccination has been in place since 1995, there has been an even greater decline in varicella disease (85%) and hospitalisations (70–88%). 17-19 The greatest decline in hospitalisation rates has been in 0–4-year olds. However, reductions in hospitalisation rates have also occurred in infants, 20 older children and adults, due to herd immunity. 17 There has been no evidence of a change in the rates of herpes zoster incidence, healthcare utilisation or hospitalisations in the United States 21 , 22 or hospitalisations in Australia 14 , 15 attributable to the introduction of the varicella vaccine, although herpes zoster rates in children have declined in the United States. 23 , 24 4.22.4 Vaccines Live attenuated varicella vaccine (VV) is currently available as a monovalent vaccine. Two quadrivalent combination vaccines containing live attenuated measles, mumps, rubella and varicella viruses (MMRV) are also registered in Australia. All available varicella-containing vaccines are derived from the Oka VZV strain, but have some genetic differences. 25 Monovalent VVs have been available in Australia since 2000, and, since November 2005, a single dose of VV has been funded under the NIP for all children at 18 months of age, with a catch-up dose funded for children 10 to <14 years of age who have not received varicella vaccine and who have not had the disease. 26 At the time of implementation of a universal varicella vaccination program in Australia, a single dose was considered adequate for protection of infants and children <14 years of age. However, recent data from the United States suggest that a 2nd dose of varicella-containing vaccine in children is optimal to provide an immune response more like that acquired after natural infection, reducing the risk of vaccine failure and increasing population immunity. 27 Vaccine failure, also known as breakthrough varicella, is defined as a case of wild-type varicella occurring more than 42 days after vaccination. The majority of cases of breakthrough varicella are mild with fewer lesions than natural infection. However, breakthrough varicella infections can be contagious, particularly if many lesions are present. 28 Post-marketing studies in the United States have estimated the effectiveness of 1 dose of VV in children to be 80 to 85% against any disease and 95 to 98% against severe varicella. 28-32 Although earlier data suggested persistence of immunity in most healthy vaccine recipients, 1 some, but not all, long-term follow-up studies have shown that rates of vaccine failure increased over time in 1-dose vaccine recipients. For example, in one study, vaccine failure was increased 2.6 times in children who received 1 dose of vaccine more than 5 years previously, compared with those who had received 1 dose of vaccine within 5 years. 33 Follow-up from a randomised controlled trial in children 12 months to 12 years of age, comparing 1 dose with 2 doses of VV over a 10-year period, showed significantly higher protection with 2 doses (98.3% versus 94.4%). 34 Based on current evidence, 2 doses of a varicella-containing vaccine in children from 12 months of age will minimise the risk of breakthrough varicella (refer to 4.22.7 Recommendations below ). Healthy adolescents (≥14 years of age ) and adults require 2 doses of varicella vaccine, at least 4 weeks apart, as the response to a single dose of VV decreases progressively as age increases and is insufficient to provide adequate protection. 35 Combination MMRV vaccines have been shown in clinical trials, conducted predominantly in children 12 months to 6 years of age, to produce similar rates of seroconversion to all four vaccine components compared with MMR and monovalent varicella vaccines administered concomitantly at separate injection sites. 36-39 In one comparative study assessing seroresponses to a single MMRV vaccine dose in 12–14-month-old children, the seroresponse rates to measles, mumps and rubella were similar, but varicella seroresponses were lower in Priorix-tetra recipients than in ProQuad recipients. 40 However, the clinical significance of this is not clear, particularly for MMRV given after MMR vaccine. Monovalent varicella vaccines (VV) Varilrix – GlaxoSmithKline (live attenuated Oka strain of varicella-zoster virus). Lyophilised powder in a monodose vial with separate diluent. Each 0.5 mL reconstituted dose contains ≥103.3 plaque-forming units (PFU) of attenuated varicella-zoster virus; human albumin; lactose; neomycin; polyalcohols. Varivax Refrigerated – CSL Limited/Merck & Co Inc (live attenuated Oka/Merck strain of varicella-zoster virus). Lyophilised powder in a monodose vial with a pre-filled diluent syringe. Each 0.5 mL reconstituted dose contains ≥1350 PFU of attenuated varicella-zoster virus; sucrose; hydrolysed gelatin; urea; monosodium glutamate; residual components of MRC-5 cells; traces of neomycin and bovine serum. Quadrivalent measles-mumps-rubella-varicella (MMRV) vaccines Priorix-tetra – GlaxoSmithKline (live attenuated measles virus [Schwarz strain], mumps virus [RIT 4385 strain, derived from the Jeryl Lynn strain], rubella virus [Wistar RA 27/3 strain] and varicella-zoster virus [Oka strain]). Lyophilised pellet in a monodose vial with a pre-filled diluent syringe. Each 0.5 mL reconstituted dose contains ≥103.0 cell culture infectious dose 50% (CCID50) of the Schwarz measles virus, ≥104.4 CCID50 of the RIT 4385 mumps virus, ≥103.0 CCID50 of the Wistar RA 27/3 rubella virus, and ≥103.3 PFU of Oka varicella-zoster virus; lactose; neomycin; sorbitol; mannitol. ProQuad – CSL Limited/Merck & Co Inc (live attenuated measles virus [Enders’ attenuated Edmonston strain], mumps virus [Jeryl Lynn B level strain], rubella virus [Wistar RA 27/3 strain] and varicella-zoster virus [Oka/Merck strain]). Lyophilised powder in a monodose vial with a pre-filled diluent syringe. Each 0.5 mL reconstituted dose contains ≥103.0 tissue culture infectious dose 50% (TCID50) of Enders’ attenuated Edmonston measles virus, ≥104.3 TCID50 of the Jeryl Lynn B level mumps virus, ≥103.0 TCID50 of the Wistar RA 27/3 rubella virus, and ≥103.99 PFU of Oka/Merck varicella virus; sucrose; hydrolysed gelatin; urea; sorbitol; monosodium L-glutamate; human albumin; neomycin; residual components of MRC-5 cells; bovine serum albumin. 4.22.5 Transport, storage and handling Transport according to National vaccine storage guidelines: Strive for 5. 41 Store at +2�C to +8�C. Do not freeze. Protect from light. Varicella-containing vaccines are less stable than other commonly used live viral vaccines, and adherence to storage and reconstitution requirements is very important. All vaccines must be reconstituted by adding the entire contents of the diluent to the vial containing the pellet, and shaking until the pellet is completely dissolved. Available monovalent VVs and MMRV vaccines have different requirements following reconstitution. Reconstituted Varilrix vaccine should be used as soon as practicable. If storage is necessary, hold at ambient temperature for not more than 90 minutes, or at +2�C to +8�C for not more than 8 hours. Reconstituted Varivax Refrigerated vaccine must be used within 2� hours. Reconstituted Priorix-tetra (MMRV) vaccine should be used as soon as practicable. If storage is necessary, hold at +2�C to +8�C for not more than 8 hours. Reconstituted ProQuad (MMRV) vaccine must be used within 30 minutes. 4.22.6 Dosage and administration The dose of VV and MMRV vaccines is 0.5 mL, to be given by SC injection. Priorix-tetra may also be given by IM injection. 42 MMRV vaccines are not recommended for use in persons aged ≥14 years. The minimum interval between doses of varicella-containing vaccine is 4 weeks. Co-administration with other vaccines VV and MMRV vaccines can be given at the same time as other live attenuated parenteral vaccines (e.g. BCG, yellow fever) or other inactivated vaccines (including DTPa, hepatitis B, Hib, IPV, MenCCV, hepatitis A and pneumococcal conjugate vaccine), 40 using separate syringes and injection sites. If VV or MMRV vaccine is not given simultaneously with other live attenuated parenteral vaccines, they should be given at least 4 weeks apart. If VV is given at the same time as MMR vaccine, they should be given using separate syringes and injection sites. MMR vaccine and monovalent VV should not be mixed together prior to injection. Interchangeability of varicella-containing vaccines In general, the two brands of varicella vaccine can be considered interchangeable; that is, the 2nd varicella dose does not have to be of the same brand as the 1st. The same principle applies to the two available MMRV vaccines, 40 although they are not routinely recommended in a 2-dose schedule. 4.22.7 Recommendations Children (aged <14 years) It is recommended that at least 1 dose of a varicella-containing vaccine be given to all children <14 years of age. One dose of varicella-containing vaccine is recommended to be given routinely at 18 months of age as either VV or as MMRV vaccine; refer to Table 4.22.1 . (Refer also to 4.9 Measles .) Prior varicella infection is not a contraindication and such children can still receive either VV or MMRV, as appropriate. (Refer also to ‘Serological testing for varicella immunity from infection and/or vaccination’ below.) There is no known increase in adverse events from vaccinating those with pre-existing immunity to one or more of the vaccine components (refer to 4.22.11 Adverse events below). Administration of varicella vaccine from as early as 12 months of age will provide earlier protection from varicella and can be considered on a case-by-case basis when appropriate, for example, in the context of travel or a varicella outbreak. However, note that MMRV vaccine is not recommended for use as the 1st dose of MMR-containing vaccine in children aged <4 years, due to a small but increased risk of fever and febrile seizures when given as the 1st MMR-containing vaccine dose in this age group (refer to 4.9 Measles and 4.22.11 Adverse events below). If MMRV is inadvertently administered as dose 1 of MMR-containing vaccine, the dose does not need to be repeated (providing it was given at ≥12 months of age); however, parents/carers should be advised regarding the small but increased risk of fever and febrile seizures (compared with that expected following MMR vaccine). Receipt of 2 doses of varicella-containing vaccine provides increased protection and minimises the chance of breakthrough varicella in children <14 years of age. 34 However, routine administration of a 2nd dose of varicella-containing vaccine for children is not included on the NIP schedule. If parents/carers wish to minimise the risk of breakthrough varicella, administration of 2 doses of varicella-containing vaccine is recommended (refer to 4.22.4 Vaccines above). MMRV vaccine is also suitable for use as the 2nd dose of varicella-containing vaccine in children <14 years of age. (For further information, refer to also 4.9 Measles .) The minimum interval between doses of varicella-containing vaccine in children (and adults) is 4 weeks. Table 4.22.1: Recommendations for varicella vaccination with (a) monovalent varicella vaccine (VV) (currently available), and (b) once measles-mumps-rubella-varicella (MMRV) vaccines are available from July 2013 Vaccines (a) Only monovalent varicella vaccine available MMR (b) When MMRV vaccine available (from July 2013) MMR MMRV – * The 2nd dose of MMR-containing vaccine is recommended to be provided at 18 months of age to improve 2-dose coverage and protection against measles in young children. However, until June 2013 the 2nd dose of MMR vaccine is included under the NIP schedule for administration at 4 years of age. From July 2013, the 2nd dose of MMR vaccine will move to the 18-month NIP schedule point and be provided as MMRV vaccine. Adolescents (aged ≥14 years) and adults Vaccination is recommended for all non-immune adolescents (≥14 years of age) and adults. Every effort should be made to identify and immunise non-pregnant seronegative women of child-bearing age (refer to 4.22.2 Clinical features above). Adolescents (≥14 years of age) and adults must receive 2 doses of VV to achieve adequate protection from varicella. 35 , 43 The 2 doses should be administered at least 4 weeks apart. However, a longer interval between vaccine doses is acceptable. Lack of immunity to varicella should be based on a negative history of previous varicella infection and can be supplemented by serological testing for evidence of past infection (refer to ‘Serological testing for varicella immunity from infection and/or vaccination’ below). MMRV vaccines are not recommended for use in persons ≥14 years of age, due to a lack of data on safety and immunogenicity/efficacy in this age group. If a dose of MMRV vaccine is inadvertently given to an older person, this dose does not need to be repeated. Serological testing for varicella immunity from infection and/or vaccination Children who have an uncertain clinical history or no documentation of age-appropriate varicella vaccination should be considered susceptible and offered vaccination. Although a reliable history of varicella infection correlates highly with serological evidence of immunity in young children, 44 , 45 due to the decreasing incidence of varicella in Australia and reduced familiarity with the disease, vaccination should be offered, unless confident clinical diagnosis of prior natural infection is made. Testing of children to assess serologic status prior to vaccination is generally not recommended. Provided there are no contraindications, children can safely receive either VV or MMRV vaccine, even if prior infection with VZV has occurred (refer to ‘Children (aged <14 years)’ above). In older adolescents and adults with a negative history of varicella infection and no documented history of age-appropriate vaccination, serological testing before vaccination is more likely to be helpful, as a majority of those with a negative history are immune, and thus may not require vaccination. 46 , 47 Screening for varicella immunity (from natural infection) or a past history of vaccination should be undertaken as part of pre-pregnancy planning and varicella vaccine given to non-immune women prior to conception. Testing to check for seroconversion after varicella vaccination is not recommended. Commercially available laboratory tests are not usually sufficiently sensitive to detect antibody levels following vaccination, which may be up to 10-fold lower than levels induced by natural infection. 48-50 Protection (commensurate with the number of vaccine doses received, refer to 4.22.4 Vaccines above) should be assumed if a child or adult has documented evidence of receipt of age-appropriate dose(s) of a varicella-containing vaccine. If serological tests to investigate existing immunity to varicella are performed, interpretation of the results may be enhanced by discussion with the laboratory that performed the test, ensuring the relevant clinical information described above is provided. Post-exposure vaccination If varicella-containing vaccines are not contraindicated, vaccination can be offered to non-immune age-eligible children and adults who have a significant exposure to varicella or HZ, and wish to be protected against primary infection with VZV. (Refer also to 4.22.12 Public health management of varicella below.) Post-exposure vaccination is generally successful when given within 3 days, and up to 5 days, after exposure, with earlier administration being preferable. 51-55 MMRV vaccine can be given to children in this setting, particularly if MMR vaccination is also indicated (refer to 4.22.7 Recommendations above). Household contacts of persons who are immunocompromised Vaccination of household contacts of persons who are immunocompromised is strongly recommended. This is based on evidence that transmission of varicella vaccine virus strain is extremely rare and it is likely to cause only mild disease (refer to 4.22.11 Adverse events below). This compares with the relatively high risk of severe varicella disease from exposure to wild-type varicella-zoster virus in persons who are immunocompromised. 49 , 56 If vaccinated persons develop a rash, they should cover the rash and avoid contact with persons who are immunocompromised for the duration of the rash. Zoster immunoglobulin (ZIG) need not be given to an immunocompromised contact of a vaccinated person with a rash, because the disease associated with this type of transmission (should it occur) is expected to be mild (refer to 4.22.12 Public health management of varicella below). Healthcare workers, staff working in early childhood education and care, and in long-term care facilities Refer to 3.3 Groups with special vaccination requirements, Table 3.3.7 Recommended vaccinations for persons at increased risk of certain occupationally acquired vaccine-preventable diseases for more information. Vaccination against varicella is recommended for all non-immune adults, but especially for all healthcare workers (HCW), staff working in early childhood education and care, and staff working in long-term care facilities. Persons in such occupations who have a negative or uncertain history of varicella infection, and who do not have documentation of 2 doses of varicella vaccine, should be vaccinated with 2 doses of varicella vaccine or have serological evidence of immunity to varicella 57 (refer to ‘Adolescents (aged ≥14 years) and adults’ above). Testing to check for seroconversion after VV is not recommended (refer to ‘Serological testing for varicella immunity from infection and/or vaccination’ above). However, since varicella vaccination is not 100% effective, HCWs and other carers should still be advised of the signs and symptoms of infection and how to manage them appropriately according to local protocols if they develop varicella. 4.22.8 Pregnancy and breastfeeding Varicella-containing vaccines are contraindicated in pregnant women (refer to 4.22.9 Contraindications below). Pregnancy should be avoided for 28 days after vaccination. Varicella-containing vaccines can be given to breastfeeding women. Most live vaccines have not been demonstrated to be secreted in breast milk. Women who received varicella vaccine while breastfeeding showed no evidence of VZV DNA in breast milk samples, and no effects on breastfed infants have been reported. 58 Post-partum vaccination of women without evidence of varicella immunity need not be delayed because of breastfeeding. MMRV vaccines are not recommended for use in persons aged ≥14 years. Varicella-containing vaccines are contraindicated in persons who have had: anaphylaxis following a previous dose of any varicella-containing vaccine anaphylaxis following any vaccine component. Persons who are immunocompromised Measles-, mumps-, rubella- and varicella-containing vaccines contain live attenuated vaccine viruses and are contraindicated in persons who are immunocompromised. Thus, both VV and MMRV vaccines are contraindicated in the following groups: Persons immunocompromised due to HIV/AIDS. Vaccination with live attenuated vaccines can result in a more extensive vaccine-associated rash or disseminated infection in persons with AIDS. 59-62 However, varicella vaccination (with a 2-dose schedule of VV) of asymptomatic HIV-infected persons >12 months of age with an age-specific CD4+ count of ≥15% may be considered 63-65 (refer to ‘HIV-infected persons’ in 3.3.3 Vaccination of immunocompromised persons). Since studies have not been performed using combination MMRV vaccines in asymptomatic HIV-infected persons or persons with an age-specific CD4+ count of ≥15%, it is recommended that only MMR vaccine and monovalent VV be considered for use in this setting. 60 , 64 , 65 Persons with other medical conditions associated with significant immunocompromise (refer to 3.3.3 Vaccination of immunocompromised persons ). Persons receiving high-dose systemic immunosuppressive therapy, such as chemotherapy, radiation therapy or oral corticosteroids. Varicella-containing vaccines are contraindicated in persons taking high-dose oral corticosteroids for more than 1 week (in children equivalent to >2 mg/kg per day prednisolone, and in adults >60 mg per day) (refer to 3.3.3 Vaccination of immunocompromised persons). Those who have been receiving high-dose systemic steroids for more than 1 week may be vaccinated with live attenuated vaccines after corticosteroid therapy has been discontinued for at least 1 month 66 (refer to 3.3.3 Vaccination of immunocompromised persons ). Refer also to 3.3 Groups with special vaccination requirements and 4.9 Measles for more information. Pregnant women Refer also to 4.22.8 Pregnancy and breastfeeding above. Varicella-containing vaccines are contraindicated in pregnant women. This is due to the theoretical risk of transmission of the varicella component of the vaccine to a susceptible fetus. However, no evidence of vaccine-induced congenital varicella syndrome has been reported. A registry in place from 1995 to 2013 in the United States recorded the maternal–fetal outcomes of pregnant women who were inadvertently administered VZV-containing vaccine within 3 months before or at any time during pregnancy. Data from the registry showed that, among the 860 prospectively enrolled women (including 95 live births to women known to be VZV-seronegative who were exposed during the first or second trimester when the risk for congenital varicella syndrome is greatest), there was no evidence of congenital varicella syndrome. 67 The overall occurrence of major congenital anomalies among live born infants was 2.2%, similar to reported rates in the general United States population. A non-immune pregnant household contact is not a contraindication to vaccination with varicella-containing vaccines of a healthy child or adult in the same household. The benefit of reducing the exposure to varicella by vaccinating healthy contacts of non-immune pregnant women outweighs any theoretical risks of transmission of vaccine virus to these women. 4.22.10 Precautions For additional precautions related to MMRV vaccines, refer to 4.9 Measles. Vaccination with other live attenuated parenteral vaccines If a varicella-containing vaccine is not given simultaneously with other live attenuated parenteral vaccines (e.g. MMR, BCG, yellow fever), the vaccines should be given at least 4 weeks apart. Vaccination after immunoglobulin or blood product administration Administration of MMR or MMRV vaccine should be delayed after administration of immunoglobulin-containing products. After receipt of immunoglobulin-containing blood products, the expected immune response to measles, mumps, rubella and varicella vaccination may be impaired. 68-70 VV or MMRV vaccine should not be given for between 3 and 11 months following the administration of immunoglobulin-containing products. The interval between receipt of the blood product and vaccination depends on the amount of immunoglobulin in each product, and is indicated in 3.3 Groups with special vaccination requirements, Table 3.3.6 Recommended intervals between either immunoglobulins or blood products and MMR, MMRV or varicella vaccination . 69 For further information, refer to 3.3.4 Vaccination of recent recipients of normal human immunoglobulin and other blood products and 4.22.13 Variations from product information below. Recent blood transfusion with washed red blood cells is not a contraindication to VV or MMRV vaccines. Varicella vaccine may be administered concomitantly with, or at any time in relation to, anti-D immunoglobulin, but at a separate injection site. Anti-D immunoglobulin does not interfere with the antibody response to vaccine. Immunoglobulin or blood product administration after vaccination Immunoglobulin-containing products should not be administered for 3 weeks following vaccination with varicella-containing vaccines, unless the benefits exceed those of vaccination. If immunoglobulin-containing products are administered within this interval, the vaccinated person should be revaccinated later at the appropriate time following the product (as indicated in Table 3.3.6 Recommended intervals between either immunoglobulins or blood products and MMR, MMRV or varicella vaccination ). Rh (D) immunoglobulin (anti-D) may be given at the same time, in different sites with separate syringes, or at any time in relation to varicella vaccine, as it does not interfere with the antibody response to the vaccine. Persons receiving long-term aspirin or salicylate therapy Persons receiving long-term salicylate therapy (aspirin) should be vaccinated if indicated, as the benefit is likely to outweigh any possible risk of Reye syndrome occurring after vaccination. Natural varicella infection and salicylate use has been associated with an increased risk of developing Reye syndrome. However, there have been no reports of an association between Reye syndrome and varicella vaccination (refer to 4.22.13 Variations from product information below). 4.22.11 Adverse events If using MMRV vaccine, additional adverse events relating to the measles, mumps and rubella vaccine components are discussed in 4.9 Measles , 4.11 Mumps and 4.18 Rubella. Adverse events following administration of varicella-containing vaccines are generally mild and well tolerated. 71 Injection site reactions (pain, redness or swelling) are the most common adverse events reported after varicella vaccination, occurring in 7 to 30% of vaccine recipients, but are generally well tolerated. 2 , 71 A maculopapular or papulovesicular rash may develop after varicella vaccination (usually within 5 to 26 days). A VV-associated rash is likely to occur in less than 5% of vaccine recipients, and to last for less than 1 week. 72 , 73 Rashes typically consist of 2 to 5 lesions and may be generalised (3–5%), or also commonly occur at the injection site (3–5%). 66 VV-associated rash may be atypical and may not be vesicular. Most varicelliform rashes that occur within the first 2 weeks after vaccination are due to wild-type VZV, with median onset 8 days after vaccination (range 1 to 24 days), while vaccine-strain VZV rashes occur at a median of 21 days after vaccination (range 5 to 42 days). 74 , 75 Transmission of vaccine virus to contacts of vaccinated persons is rare. In the United States, where more than 56 million doses of VV were distributed between 1995 and 2005, there have been only six well-documented cases of transmission of the vaccine-type virus from five healthy vaccine recipients who had a vaccine-associated rash. 66 , 76 Contact cases have been mild. 66 , 76-78 Fever >39�C has been observed in 15% of healthy children after varicella vaccination, but this was comparable to that seen in children receiving placebo. 66 In adults and adolescents, fever has been reported in 10% of VV recipients. It is recommended that parents/carers/vaccine recipients be advised about possible symptoms in the period 5 to 12 days after vaccination, and given advice on their management, including the use of paracetamol for fever (refer to 2.3.2 Adverse events following immunisation ). Higher rates of fever were observed in clinical trials of both MMRV vaccines, particularly following dose 1,when compared with giving MMR vaccine and monovalent VV at the same time but at separate sites. 36-39 Two post-marketing studies in the United States identified an approximately 2-fold increased risk of fever and febrile convulsions in 1st dose recipients of MMRV vaccine, who were predominantly 12–23 months of age, in the period 7 to 10 days 79 (or 5 to 12 days) 80 after vaccination, compared with recipients of separate MMR and VV vaccines. MMRV vaccination resulted in 1 additional febrile seizure for every 2300 doses compared to separate MMR and VV vaccination. 79 An increase in fever or febrile convulsions has not been identified after the 2nd dose of MMRV vaccine in the United States, although most 2nd dose recipients were aged 4–6 years, an age at which the incidence of febrile convulsions is low. 81 These post-marketing studies were in children who received ProQuad; however, it is anticipated that this side effect profile would be similar in Priorix-tetra recipients. A post-marketing study in the United States reported serious adverse events temporally, but not necessarily causally, linked to varicella vaccination, such as encephalitis, ataxia, thrombocytopenia and anaphylaxis, were very rare and occurred in <0.01% of doses distributed. 49 , 75 There were no neurological adverse events following VV in which the Oka vaccine virus strain was detected in cerebrospinal fluid (CSF). Herpes zoster (HZ) has been reported rarely in vaccine recipients and has been attributed to both the vaccine strain and to wild-type varicella virus reactivation. 74 Reactivation of the vaccine virus resulting in HZ is rare and most cases of HZ in vaccine recipients can be attributed to reactivation of wild-type virus following unrecognised prior infection. The risk of developing HZ is currently thought to be lower after vaccination than after natural varicella virus infection, and reported cases have been mild. 2 Rates of herpes zoster in children 0–9 years of age after natural VZV infection were estimated to be between 30 and 74 per 100 000 per year, 82 , 83 while a rate of 22 per 100 000 person-years was reported in a 9-year follow-up of 7000 varicella vaccinated children. 27 (Refer also to 4.24 Zoster .) 4.22.12 Public health management of varicella Varicella is a notifiable disease in most states and territories in Australia. Further instructions about the public health management of varicella, including management of cases of varicella and their contacts, should be obtained from state/territory public health authorities (refer to Appendix 1 Contact details for Australian, state and territory government health authorities and communicable disease control ). Zoster Immunoglobulin-VF (human) – CSL Limited. 160 mg/mL immunoglobulin (mainly IgG) prepared from human plasma containing high levels of antibody to the varicella-zoster virus. Single vials contain 200 IU of varicella-zoster antibody, with the actual volume stated on the label on the vial. Also contains glycine. High-titre zoster immunoglobulin (ZIG) is available from the Australian Red Cross Blood Service on a restricted basis for the prevention of varicella in high-risk subjects who report a significant exposure to varicella or HZ. ZIG has no proven use in the treatment of established varicella or zoster infection. ZIG is highly efficacious, but is often in short supply. Normal human immunoglobulin (NHIG) can be used for the prevention of varicella if ZIG is unavailable. Post-exposure prophylaxis using varicella vaccine may also be indicated, if vaccination is not contraindicated (refer to below). Zoster immunoglobulin should only be given by IM injection. ‘Significant exposure’ to VZV is defined as living in the same household as a person with active varicella or HZ, or direct face-to-face contact with a person with varicella or HZ for at least 5 minutes, or being in the same room for at least 1 hour. In the case of varicella infection, the period of infectivity is from 48 hours before the onset of rash until crusting of all lesions has occurred. Transmission from a person with localised zoster is less likely than from a person with varicella. 4 Immunocompetent varicella contacts should be tested for varicella-zoster antibodies. ZIG must be given early in the incubation period (within 96 hours of exposure), but may have some efficacy if administered out to as late as 10 days post exposure. ZIG is able to prevent or ameliorate varicella in infants <1 month of age, in children who are being treated with immunosuppressive therapy, and in pregnant women. Persons with primary or acquired diseases associated with cellular immune deficiency and those receiving immunosuppressive therapy should be tested for varicella-zoster antibodies following contact with a person with confirmed varicella. However, testing should not delay ZIG administration after initial exposure to a case. 84-86 ZIG administration (preferably within 96 hours and up to 10 days after exposure) is required for the following groups and should not be delayed by testing (if indicated below): Pregnant women who are presumed to be susceptible to varicella infection. If practicable, they should be tested for varicella-zoster antibodies before ZIG is given. 5 Neonates whose mothers develop varicella from 7 or fewer days before delivery to 2 days after delivery. ZIG must be given, as the neonatal mortality without ZIG is up to 30% in this setting. 1 , 7 ZIG must be given as early as possible in the incubation period. Neonates exposed to varicella in the 1st month of life, if the mother has no personal history of infection with VZV and is seronegative. 27 ZIG should be given, due to the increased risk of severe varicella in newborns of seronegative women. Premature infants (born at <28 weeks gestation or whose birth weight is <1000 g) exposed to VZV while still hospitalised should be given ZIG regardless of maternal history of varicella. Patients suffering from primary or acquired diseases associated with cellular immune deficiency, and those receiving immunosuppressive therapy. 85 , 86 Note: If an immunocompromised VZV contact is shown to have recent evidence of detectable antibodies, it is not necessary to give ZIG, as its administration will not significantly increase varicella-zoster antibody titres in those who are already antibody positive. Note that varicella-zoster antibodies detected in patients who have been transfused or who have received intravenous immunoglobulin or ZIG in the previous 3 months may be passively acquired and transient. The dose schedule recommended for ZIG administration is shown in Table 4.22.2. Table 4.22.2: Zoster immunoglobulin-VF (ZIG) dose based on weight Weight of patient (kg) >30 600 A dose of ZIG may be repeated if a 2nd exposure occurs more than 3 weeks after the 1st dose of ZIG. However, testing for varicella antibodies is also recommended (refer above). NHIG can be used for the prevention of varicella if ZIG is unavailable (refer to Part 5 Passive immunisation ). Persons receiving monthly high-dose intravenous NHIG are likely to be protected and probably do not require ZIG if the last dose of NHIG was given 3 weeks or less before exposure. Vaccination for post-exposure prophylaxis If VV is not contraindicated, it can be offered to non-immune age-eligible children and adults who have a significant exposure to varicella or HZ and wish to be protected against primary infection with VZV (refer to ‘Post-exposure vaccination’ in 4.22.7 Recommendations above). 51-55 Vaccination has the added benefit of reducing the likelihood of varicella infection, particularly moderate to severe disease, following exposure, and also provides long-term protection. Vaccination of exposed persons during outbreaks has also been shown to prevent further cases and to control outbreaks. 55 If MMR vaccination is also indicated, MMRV vaccine can be used in children <14 years of age, although MMRV vaccine is not routinely recommended as the 1st dose of MMR-containing vaccine in children aged <4 years (refer to 4.22.7 Recommendations above). Post-exposure vaccination should be administered within 5 days, and preferably within 3 days, after exposure. 51-55 4.22.13 Variations from product information Varilrix and Varivax Refrigerated are registered for use as 2 doses of 0.5 mL (1–2 months apart) in adolescents ≥13 years of age and adults. The ATAGI instead recommends a single dose of varicella vaccine for children <14 years of age and 2 doses of varicella vaccine in those aged ≥14 years. In adults and adolescents where 2 doses of varicella vaccine are required, the product information for Varilrix states that the 2nd dose should be given at least 6 weeks after the 1st dose. The ATAGI recommends instead that the 2nd dose may be given at least 4 weeks after the 1st dose. The product information for both monovalent varicella vaccines and both MMRV vaccines recommends that women of child-bearing age should be advised not to become pregnant for 3 months after vaccination. The ATAGI instead recommends avoiding pregnancy for 28 days after vaccination. 87 The product information for Priorix-tetra and ProQuad states that persons with a history of anaphylactic or anaphylactoid reactions to egg should not be vaccinated. The ATAGI recommends instead that either Priorix-tetra or ProQuad can be given in this situation. 68 The product information for Priorix-tetra states that it should be given by SC injection. The ATAGI recommends that it may also be given by IM injection. The product information for ProQuad states that this vaccine is indicated for vaccination in individuals 12 months through 12 years of age. The product information for Priorix-tetra states that this vaccine can be used in persons from 9 months of age. The ATAGI recommends instead that both MMRV vaccines can be given to persons up to 14 years of age. The ATAGI also recommends that MMRV vaccine should not be used routinely as the 1st dose of MMR-containing vaccine in children aged <4 years. The product information for all varicella-containing vaccines states that salicylates should be avoided for 6 weeks after vaccination, as Reye syndrome has been reported following the use of salicylates during natural varicella infection. The ATAGI recommends instead that non-immune persons receiving long-term salicylate therapy can receive varicella-containing vaccine, as the benefit is likely to outweigh any possible risk of Reye syndrome occurring after vaccination. The product information for Varivax Refrigerated recommends delaying vaccination for 5 months after receipt of NHIG by IM injection or blood transfusion. The ATAGI recommends instead that varicella-containing vaccines should not be given for at least 3 months after receipt of immunoglobulin-containing blood products according to the intervals contained in Table 3.3.6 Recommended intervals between either immunoglobulins or blood products and MMR, MMRV or varicella vaccination . The dosage of ZIG recommended in the product information differs from that in Table 4.22.2 , which has been revised in order to minimise wastage of ZIG. References A full reference list is available on the electronic Handbook or Immunise Australia website . Gershon AA, Takahashi M, Seward JF. Varicella vaccine. In: Plotkin SA, Orenstein WA, Offit PA, eds. Vaccines. 5th ed. Philadelphia, PA: Saunders Elsevier, 2008. Centers for Disease Control and Prevention (CDC). Varicella. In: Atkinson W, Wolfe C, Hamborsky J, eds. Epidemiology and prevention of vaccine-preventable diseases. 12th ed. Washington, D.C.: Public Health Foundation, 2011. Choo PW, Donahue JG, Manson JE, Platt R. The epidemiology of varicella and its complications. Journal of Infectious Diseases 1995;172:706-12. Arvin AM, Gershon AA. Live attenuated varicella vaccine. Annual Review of Microbiology 1996;50:59-100. Enders G, Miller E, Cradock-Watson J, Bolley I, Ridehalgh M. Consequences of varicella and herpes zoster in pregnancy: prospective study of 1739 cases. The Lancet 1994;343:1548-51. Tan MP, Koren G. Chickenpox in pregnancy: revisited. Reproductive Toxicology 2006;21:410-20. Forrest JM, Mego S, Burgess MA. Congenital and neonatal varicella in Australia. Journal of Paediatrics and Child Health 2000;36:108-13. Wharton M. The epidemiology of varicella-zoster virus infections. Infectious Disease Clinics of North America 1996;10:571-81. Gidding HF, MacIntyre CR, Burgess MA, Gilbert GL. The seroepidemiology and transmission dynamics of varicella in Australia. Epidemiology and Infection 2003;131:1085-9. McIntyre P, Gidding H, Gilmour R, et al. Vaccine preventable diseases and vaccination coverage in Australia, 1999 to 2000. Communicable Diseases Intelligence 2002;26 Suppl:1-111. Brotherton J, McIntyre P, Puech M, et al. Vaccine preventable diseases and vaccination coverage in Australia, 2001 to 2002. Communicable Diseases Intelligence 2004;28 Suppl 2:vii-S116. Chant KG, Sullivan EA, Burgess MA, et al. Varicella-zoster virus infection in Australia. [erratum appears in Aust N Z J Public Health 1998 Aug;22(5):630]. Australian and New Zealand Journal of Public Health 1998;22:413-8. Brotherton J, Wang H, Schaffer A, et al. Vaccine preventable diseases and vaccination coverage in Australia, 2003 to 2005. Communicable Diseases Intelligence 2007;31 Suppl:viii-S152. Heywood AE, Macartney KK. How can we better understand trends in varicella zoster virus-related disease epidemiology? [letter]. Medical Journal of Australia 2011;194:268-9. Carville KS, Riddell MA, Kelly HA. A decline in varicella but an uncertain impact on zoster following varicella vaccination in Victoria, Australia. Vaccine 2010;28:2532-8. Nelson MR, Britt HC, Harrison CM. Evidence of increasing frequency of herpes zoster management in Australian general practice since the introduction of a varicella vaccine. Medical Journal of Australia 2010;193:110-3. Davis MM, Patel MS, Gebremariam A. Decline in varicella-related hospitalizations and expenditures for children and adults after introduction of varicella vaccine in the United States. Pediatrics 2004;114:786-92. Seward JF, Watson BM, Peterson CL, et al. Varicella disease after introduction of varicella vaccine in the United States, 1995–2000. JAMA 2002;287:606-11. Zhou F, Harpaz R, Jumaan AO, Winston CA, Shefer A. Impact of varicella vaccination on health care utilization. JAMA 2005;294:797-802. Chaves SS, Lopez AS, Watson TL, et al. Varicella in infants after implementation of the US varicella vaccination program. Pediatrics 2011;128:1071-7. Jumaan AO, Yu O, Jackson LA, et al. Incidence of herpes zoster, before and after varicella-vaccination–associated decreases in the incidence of varicella, 1992–2002. Journal of Infectious Diseases 2005;191:2002-7. Leung J, Harpaz R, Molinari NA, Jumaan A, Zhou F. Herpes zoster incidence among insured persons in the United States, 1993–2006: evaluation of impact of varicella vaccination. Clinical Infectious Diseases 2011;52:332-40. Tseng HF, Smith N, Marcy SM, Sy LS, Jacobsen SJ. Incidence of herpes zoster among children vaccinated with varicella vaccine in a prepaid health care plan in the United States, 2002–2008. Pediatric Infectious Disease Journal 2009;28:1069-72. Civen R, Chaves SS, Jumaan A, et al. The incidence and clinical characteristics of herpes zoster among children and adolescents after implementation of varicella vaccination. Pediatric Infectious Disease Journal 2009;28:954-9. Lau YL, Vessey SJ, Chan IS, et al. A comparison of safety, tolerability and immunogenicity of Oka/Merck varicella vaccine and VARILRIX™ in healthy children. Vaccine 2002;20:2942-9. Macartney KK, Beutels P, McIntyre P, Burgess MA. Varicella vaccination in Australia. Journal of Paediatrics and Child Health 2005;41:544-52. Centers for Disease Control and Prevention (CDC), Marin M, Guris D, et al. Prevention of varicella: recommendations of the Advisory Committee on Immunization Practices (ACIP). MMWR Recommendations and Reports 2007;56(RR-4):1-40. Seward JF, Zhang JX, Maupin TJ, Mascola L, Jumaan AO. Contagiousness of varicella in vaccinated cases: a household contact study. JAMA 2004;292:704-8. Centers for Disease Control and Prevention (CDC). Outbreak of varicella among vaccinated children – Michigan, 2003. MMWR Morbidity and Mortality Weekly Report 2004;53:389-92. Dworkin MS, Jennings CE, Roth-Thomas J, et al. An outbreak of varicella among children attending preschool and elementary school in Illinois. Clinical Infectious Diseases 2002;35:102-4. Galil K, Lee B, Strine T, et al. Outbreak of varicella at a day-care center despite vaccination. New England Journal of Medicine 2002;347:1909-15. V�zquez M, LaRussa PS, Gershon AA, et al. Effectiveness over time of varicella vaccine. JAMA 2004;291:851-5. Chaves SS, Gargiullo P, Zhang JX, et al. Loss of vaccine-induced immunity to varicella over time. New England Journal of Medicine 2007;356:1121-9. Kuter B, Matthews H, Shinefield H, et al. Ten year follow-up of healthy children who received one or two injections of varicella vaccine. Pediatric Infectious Disease Journal 2004;23:132-7. Kuter BJ, Ngai A, Patterson CM, et al. Safety, tolerability, and immunogenicity of two regimens of Oka/Merck varicella vaccine (Varivax�) in healthy adolescents and adults. Vaccine 1995;13:967-72. Kuter BJ, Hoffman Brown ML, Hartzel J, et al. Safety and immunogenicity of a combination measles, mumps, rubella and varicella vaccine (ProQuad�). Human Vaccines 2006;2:205-14. Knuf M, Habermehl P, Zepp F, et al. Immunogenicity and safety of two doses of tetravalent measles-mumps-rubella-varicella vaccine in healthy children. Pediatric Infectious Disease Journal 2006;25:12-8. Lieberman JM, Williams WR, Miller JM, et al. The safety and immunogenicity of a quadrivalent measles, mumps, rubella and varicella vaccine in healthy children: a study of manufacturing consistency and persistence of antibody. Pediatric Infectious Disease Journal 2006;25:615-22. Schuster V, Otto W, Maurer L, et al. Immunogenicity and safety assessments after one and two doses of a refrigerator-stable tetravalent measles-mumps-rubella-varicella vaccine in healthy children during the second year of life. Pediatric Infectious Disease Journal 2008;27:724-30. Blatter MM, Klein NP, Shepard JS, et al. Immunogenicity and safety of two tetravalent (measles, mumps, rubella, varicella) vaccines coadministered with hepatitis A and pneumococcal conjugate vaccines to children twelve to fourteen months of age. Pediatric Infectious Disease Journal 2012;31:e133-40. National vaccine storage guidelines: Strive for 5. Canberra: Australian Government Department of Health and Ageing, 2005. Available at: http://www.immunise.health.gov.au/internet/immunise/publishing.nsf/Content/provider-store (accessed July 2011). Knuf M, Zepp F, Meyer CU, et al. Safety, immunogenicity and immediate pain of intramuscular versus subcutaneous administration of a measles–mumps–rubella–varicella vaccine to children aged 11–21 months. European Journal of Pediatrics 2010;169:925-33. Arvin AM. The varicella vaccine. Current Clinical Topics in Infectious Diseases 1997;17:110-46. Ferson MJ, Bell SM, Robertson PW. Determination and importance of varicella immune status of nursing staff in a children’s hospital. Journal of Hospital Infection 1990;15:347-51. Lieu TA, Black SB, Takahashi H, et al. Varicella serology among school age children with a negative or uncertain history of chickenpox. Pediatric Infectious Disease Journal 1998;17:120-5. Burgess MA, Cossart YE, Wilkins TD, et al. Varicella vaccination of health-care workers. Vaccine 1999;17:765-9. Centers for Disease Control and Prevention (CDC), Holmes SJ, Reef S, et al. Prevention of varicella: recommendations of the Advisory Committee on Immunization Practices (ACIP). MMWR Recommendations and Reports 1996;45(RR-11):1-36. American Academy of Pediatrics, Committee on Infectious Diseases. Varicella vaccine update. Pediatrics 2000;105:136-41. Wise RP, Salive ME, Braun MM, et al. Postlicensure safety surveillance for varicella vaccine. [erratum appears in JAMA 2000 Dec 27;284(24):3129]. JAMA 2000;284:1271-9. Bogger-Goren S, Baba K, Hurley P, et al. Antibody response to varicella-zoster virus after natural or vaccine-induced infection. Journal of Infectious Diseases 1982;146:260-5. Arbeter AM, Starr SE, Plotkin SA. Varicella vaccine studies in healthy children and adults. Pediatrics 1986;78:748-56. Asano Y, Nakayama H, Yazaki T, et al. Protection against varicella in family contacts by immediate inoculation with live varicella vaccine. Pediatrics 1977;59:3-7. Macartney K, McIntyre P. Vaccines for post-exposure prophylaxis against varicella (chickenpox) in children and adults. Cochrane Database of Systematic Reviews 2008;(3):CD001833. doi:10.1002/14651858.CD001833.pub2. Salzman MB, Garcia C. Postexposure varicella vaccination in siblings of children with active varicella. Pediatric Infectious Disease Journal 1998;17:256-7. Watson B, Seward J, Yang A, et al. Postexposure effectiveness of varicella vaccine. Pediatrics 2000;105:84-8. Diaz PS, Au D, Smith S, et al. Lack of transmission of the live attenuated varicella vaccine virus to immunocompromised children after immunization of their siblings. Pediatrics 1991;87:166-70. National Health and Medical Research Council (NHMRC). Australian guidelines for the prevention and control of infection in healthcare. Canberra: Australian Government Department of Health and Ageing, 2010. Available at: http://www.nhmrc.gov.au/node/30290 (accessed Feb 2012). Bohlke K, Galil K, Jackson LA, et al. Postpartum varicella vaccination: is the vaccine virus excreted in breast milk? Obstetrics and Gynecology 2003;102:970-7. Kramer JM, LaRussa P, Tsai WC, et al. Disseminated vaccine strain varicella as the acquired immunodeficiency syndrome-defining illness in a previously undiagnosed child. Pediatrics 2001;108:e39. Levin MJ, Gershon AA, Weinberg A, et al. Administration of live varicella vaccine to HIV-infected children with current or past significant depression of CD4+ T cells. Journal of Infectious Diseases 2006;194:247-55. Son M, Shapiro ED, LaRussa P, et al. Effectiveness of varicella vaccine in children infected with HIV. Journal of Infectious Diseases 2010;201:1806-10. Weinberg A, Levin MJ, MacGregor RR. Safety and immunogenicity of a live attenuated varicella vaccine in VZV-seropositive HIV-infected adults. Human Vaccines 2010;6:318-21. Menson EN, Mellado MJ, Bamford A, et al. Guidance on vaccination of HIV-infected children in Europe. HIV Medicine 2012;13:333-6. Centers for Disease Control and Prevention (CDC), Kaplan JE, Benson C, et al. Guidelines for prevention and treatment of opportunistic infections in HIV-infected adults and adolescents: recommendations from CDC, the National Institutes of Health, and the HIV Medicine Association of the Infectious Diseases Society of America. MMWR Recommendations and Reports 2009;58(RR-4):1-207. Centers for Disease Control and Prevention (CDC), Mofenson LM, Brady MT, et al. Guidelines for the prevention and treatment of opportunistic infections among HIV-exposed and HIV-infected children: recommendations from CDC, the National Institutes of Health, the HIV Medicine Association of the Infectious Diseases Society of America, the Pediatric Infectious Diseases Society, and the American Academy of Pediatrics. MMWR Recommendations and Reports 2009;58(RR-11):1-166. American Academy of Pediatrics. Varicella-zoster infections. In: Pickering LK, Baker CJ, Kimberlin DW, Long SS, eds. Red Book: 2009 report of the Committee on Infectious Diseases. 28th ed. Elk Grove Village, IL: American Academy of Pediatrics, 2009. Marin M, Willis ED, Marko A, et al. Closure of varicella-zoster virus-containing vaccines pregnancy registry – United States, 2013. MMWR Morbidity and Mortality Weekly Report 2014;63:732-3. Centers for Disease Control and Prevention (CDC), Watson JC, Hadler SC, et al. Measles, mumps, and rubella – vaccine use and strategies for elimination of measles, rubella, and congenital rubella syndrome and control of mumps: recommendations of the Advisory Committee on Immunization Practices (ACIP). MMWR Recommendations and Reports 1998;47(RR-8):1-57. Centers for Disease Control and Prevention (CDC), Kroger AT, Sumaya CV, Pickering LK, Atkinson WL. General recommendations on immunization – recommendations of the Advisory Committee on Immunization Practices (ACIP). [erratum appears in MMWR Recomm Rep. 2011 Jul 29;60:993]. MMWR Recommendations and Reports 2011;60(RR-2):1-61.	i don't know
In which US state is Bill and Hillary Clinton National Airport ?	About Us \| Bill and Hillary Clinton National Airport Little Rock About Us About Bill and Hillary Clinton National Airport Bill and Hillary Clinton National Airport is Arkansas’s largest commercial service airport, with nearly two million passengers annually. Also known as Adams Field, Little Rock’s airport hosts six airlines with dozen of daily departures and nonstop service to 14 destinations. At Bill and Hillary Clinton National Airport, our main goal is to provide you, the passenger, with the best travel experience possible. Our Mission Statement reads: “To pursue all “Opportunities in Flight” to safely and efficiently connect our customers with the world and to promote economic development for all aeronautical activities.” We also strive to be a positive part of our community. To that end, our goals include: To build a state-of-the-art terminal facility to meet future demand To develop and implement a plan that attracts all levels of corporate aviation to the airport To locate additional sources of funding To become the employer of choice in the community To complete current land acquisition programs within the next three years To promote industrial development To continue to improve air service To continue to promote and enhance disadvantaged business enterprises (DBE) participation. We hope you enjoy your experience at Bill and Hillary Clinton National Airport. Please contact us with any questions you may have.	Arkansas River
What sort of animal is sometimes called a 'coney' ?	Clinton National / Adams Field Airport Hotels Near the Airport Clinton National Airport (IATA: LIT, ICAO: KLIT, FAA LID: LIT), officially Bill and Hillary Clinton National Airport/Adams Field, is located 2 miles (3 km) east of the central business district of Little Rock, a city in Pulaski County, Arkansas, United States. It is Arkansas's largest commercial service airport, serving more than 2.1 million passengers in the year measured from March 2009 through February 2010. The airport attracts passengers from a large part of Arkansas as well as a number of surrounding states. Although the airport does not have United States Customs Service or direct international flights, there are more than 50 flight arrivals and departures at Little Rock each day, with non-stop jet service to 18 national/international gateway cities. On March 20, 2012, the Little Rock Municipal Airport Commission voted unanimously to rename the Little Rock National Airport the Bill and Hillary Clinton National Airport, after former Governor of Arkansas and President of the United States Bill Clinton and his wife, United States Secretary of State Hillary Rodham Clinton. The name Adams Field will continue to be used when referring to the airport's runways and air traffic, as well as serving as the airport's official designator. Local Time: 04-Jan-2017 01:55 AM © Copyright 2017, Airport-Little-Rock.com (this is an information website and is not affiliated with Clinton National Airport)	i don't know
What did a chandler originally make ?	Monica and Chandler \| Friends Central \| Fandom powered by Wikia Monica and Chandler is the romantic paring between Monica Geller and Chandler Bing . It started in the season finale episode of Season 4 . Contents [ show ] Pre-Series Chandler and Monica have known each other since they were in their late teens. They met at Thanksgiving 1987, when Monica was a Senior in high school and Chandler was Ross's freshman College roommate. However their relationship got off to a rocky start when Monica developed a crush on Chandler and overheard him calling her Ross's 'fat sister'. This insult motivated her to lose weight, and the following year she attempted to get him naked and humiliate him but accidentally cut off his toe instead. (The One With All The Thanksgivings ). They did become friends, and when Chandler graduated from NYU, Monica cared enough to tip him off about Apartment 19 becoming available and they became neighbors. Flashback placing a year before the show starts, imply they were closer before Joey and Rachel became their respective roommates, as they hung out at the bar alone, played pool and it was Chandler who comforted Monica about Phoebe moving out. There are hints of attraction at this point, as he told her she was "the most beautiful women he'd ever known [in real life], "one of his favorite people". ( The One With The Flashback ) Seasons 1-4 Their relationship in the first four seasons portrays them as close friends. In Season 2 , it is revealed they've confided secrets unknown to the rest of the gang, like Chandler having a 'third nipple'. It is Monica who takes the lead in promising Chandler he won't die alone ( The One Where Heckles Dies ), coaching him through his commitment issues with Janice ( The One With The Metaphorical Tunnel ), comforting him over his break up with Kathy ( The One With Joey's Dirty Day ) and even giving him detailed sex advice to better please women. ( The One With Phoebe's Uterus ). It's also hinted Chandler has deeper feelings for Monica. He suggests they be each other's 'back ups' if they're both still single at 40 ( The One With The Birth ) and repeatedly tries to convince her to date him, seemingly offended that he's not 'boyfriend material'. Monica takes it as a joke, though she does admit he's 'sweet and smart' and that she loves him. ( The One At The Beach - The One With The Jellyfish ). They are also occasionally seen sitting very close or cuddling in a chair together, despite just being platonic friends. Their actual relationship starts when Monica becomes depressed at the rehearsal dinner for Ross Emily's wedding: her brother is getting married for the second time while she doesn't even have a boyfriend, her mother keeps making cracks suggesting she'll never get married and some drunk guy thought she was Ross' mother (" The One With Ross's Wedding, Part 2 "). She decides that maybe a night of meaningless sex will make her feel better and goes looking for Joey . He isn't there, but Chandler is, and when Chandler attempts to console her, telling her he thought she was the most beautiful woman in the room that night, that she was the most beautiful woman in most rooms, Monica throws herself at him and they end up spending the night together. The next day, initially things are quite awkward between them. When they meet up at the wedding they agree that sleeping together was a stupid thing to do, but that's not enough to keep them from agreeing to meet up again that night. They say that they will stop once they leave London, but that fails and they begin a relationship. Although they go on to fall in love and have the longest romantic relationship between two of the friends throughout the series, it's not clear at this point how much of their relationship is based on genuine feelings and how much is just about sex. However, in The One With The Truth About London , Chandler refers to the first night he and Monica spent together as the most romantic night of his life, so it seems likely that Chandler, at least, already had romantic feelings for Monica by the time their first night together was over Season 5 They try to keep their relationship secret from their other friends to avoid attracting jokes or questions early on, but they all eventually found out. Joey finds out when he realizes that the two took a trip together (" The One With The Kips ") . They make him promise to not tell anyone, and he agrees even when keeping the secret puts him in embarrassing positions, with Joey only continuing to keep quiet after making up a story that embarrasses Monica in return. Rachel later overhears a telephone conversation between the two containing sexual innuendo (" The One With Chandler's Work Laugh " . Rachel decides to let the two believe that she does not know until Phoebe finds out about Monica and Chandler when she and Rachel go with Ross to check out Ugly Naked Guy's apartment and sees Monica and Chandler having sex when she looks out of the window. Pheobe and Rachel begin to mess with Monica and Chandler which leads to Chandler saying that he loves Monica for the second time (Having previously let it slip at Thanksgiving and then covering up). Ross finds out the same way in the last scene of the same episode. (" The One Where Everybody Finds Out ") The couple face new challenges with their relationship out in the open. The other's teasing about them getting married sparks Chandler's fear of commitment, leading to a fight between them. Chandler eventually proposes to prove he's not afraid to get married, but she quickly reassures him that she doesn't want marriage or kids right away and is happy to help him through his relationship issues. ( The One With The Girl Who Hits Joey ) Later Monica get's worried that they aren't as all over each other as Phoebe and her new boyfriend Gary, but Chandler reassures her that getting past the early stages of the relationship is more exciting for him and what they have is especially special. ( The One With Rachel's Inadvertent Kiss ) In the Season 5 finale, Monica books them a romantic trip to Vegas. However Chandler is devastated when Phoebe accidentally reveals that Monica had lunch with her ex-boyfriend Richard Burke. He eventually admits to Monica that he's jealous because he knows Richard is the love of her life and he can't compare to that. Surprised, Monica promises that he's now the love of her life and comforted they affirm they've never loved anyone else as much as they've loved each other. ( The One In Vegas, Part 1 ) Season 6 When they all go to Vegas, they're on a winning streak at the craps table when Chandler tells Monica that, if she rolls another hard eight, they should take it as a sign and get married that night. One of the dice comes up with the four and the other rolls off the table. When they go looking for it, they see it could be either a four or a five, but they agree that it's a four and decide to get married. They go to a nearby wedding chapel and are waiting to get married when a very drunk and married Rachel and Ross emerge from the wedding chapel (" The One In Vegas, Part 2 ") . Seeing Rachel and Ross disturbs both Monica and Chandler, and they start to think they're moving too fast. They each want to back out on the Vegas wedding, but neither of them wants to disappoint the other, so they decide they're going to leave it up to fate. However, even though they keep getting signs telling them they should get married, they feel they aren't ready yet. Chandler suggests moving in together instead and Monica enthusiastically agrees. (" The One After Vegas "). They face some problems about moving in together, as they argue over how much of Chandler's stuff should be moved and what to do with Rachel's spare room. Monica relents and makes a lot more room for Chandler's things, including his barcalounger and dog and they agree to use the room for something they both enjoy. ( The One Where Ross Hugs Rachel ) The rest of the series imply they adjust well to living together and no further arguments are shown. When the gang contemplate what their lives would have been like if key events turned out differently, Monica and Chandler still end up dating despite Monica still being fat, Chandler 'offering' to sleep with Monica when her then-boyfriend cancelled a planned date and Chandler then admitting to deeper feelings. After living together for a year, Chandler decides he's ready to propose to Monica and he takes her out to her favorite restaurant for a romantic evening. However, the evening doesn't go as planned; Richard shows up and is seated at the next table. When they get home, still not engaged, but first Phoebe and then Rachel asks to see Monica's hand, Chandler is upset believing his surprise has been ruined. Phoebe and Joey convince him it's not, that all he needs to do is take a couple of days convincing her that he's nowhere near ready to get married, then it will still be a surprise when he actually does propose. His plan goes off a little too well, and things get even more out of hand when Richard shows up and tells Monica he still loves her and wants to marry her. Monica is very upset about how unfair it is, saying that "fair" would have been if Richard had wanted to marry her back when she was still in love with him, or if Chandler wanted to marry her now. Meanwhile, Chandler frantically searches for her, worried that he'd gone too far in pretending he didn't want to get married and that he might have ruined everything. When he returns to their apartment that evening Joey had already explained everything to Monica, and she was there waiting for Chandler with hundreds of candles burning all over the room. Monica gets down on one knee and tries to propose, but she starts crying so much she can't finish it, so Chandler gets down on one knee as well and asks her to marry him. (" The One With The Proposal, Part 2 ") Season 7 In Season 7 , the two planned how their wedding was supposed to be but unfortunately, her parents already spent her money for buying the beach house. (" The One With Rachel's Book ") Chandler has saved exactly the amount they need for Monica's dream wedding but Chandler won't spend all of his savings on one day. But Monica wants the perfect wedding Chandler will spend all the money they have but Monica decides that she wants a future and not spend their security on the wedding. Chandler tried to bond with his future Father-In-Law during a close sauna encounter backfires (" The One With The Engagement Picture ") . Joey decided that he would officiate their wedding and gets his minister certificate in the internet. Monica tells the story how they got together. Chandler finds out that Monica wanted to sleep with Joey when she knocked on the door but Chandler was the only one there. Chandler is really upset and doesn't want Joey to do the wedding anymore. Joey talks to him about how Chandler and Monica are meant for each other and nothing could take that away and Chandler is happy to let Joey do the wedding. (" The One With The Truth About London ") . With four weeks left before the wedding, Chandler and Monica faced with the issue of their wedding vows. With each person dealing with their own problems in writing the vows, they turn to memories of past events to help them. In the end, the only real problem is who will be saying the vows first. (" The One With The Vows ") . Ross makes everybody burst into laughter by threatening Chandler physically if he ever hurts his little sister. Chandler and Monica have their rehearsal dinner and after seeing his sexy celebrity mother and drag-queen dad, Chandler suddenly freaks out thinking about becoming "Mr. and Mrs Bing." He freaks out more when he hears the new answering machine message Monica recorded, so he writes a vague apology note and runs. Ross finds it and goes looking for Chandler while Phoebe and Rachel attempt to divert Monica, who is too wedding-high to notice soon anyway. Rachel and Phoebe find a positive pregnancy test in Monica's bathroom waste basket. (" The One With Monica And Chandler's Wedding, Part 1 ") . Ross, Phoebe and Rachel finds out that Chandler is missing, Rachel distracts Monica while the two find Chandler... in his office, the reason he was hiding because he is panicking to become the "Bings" and he'll make Monica unhappy. Ross gets him to face things one at a time and he feels better. Later smoking in the hall, Chandler overhears the girls about Monica's pregnancy test, and instead of freaking out he gets her a present and decides a baby isn't too scary. After the ceremony, Monica denies having taken a pregnancy test, Rachel seems to know more. (" The One With Monica And Chandler's Wedding, Part 2 ") Season 8 In Season 8 they settle in as a married couple. Although earlier episodes imply Monica planned to try for children immediately after marriage, in their first year of marriage they focus on adjusting as newly weds, supporting Ross and Rachel with their pregnancy and comforting Joey about his new-found feelings for Rachel. In the Season 8 finale, Monica jokingly suggests they start trying for children only for Chandler to take her seriously, admitting he's crazy about them and thinks they're ready. Thrilled, they decide to start trying for immediately. (" The One Where Rachel Has A Baby, Part 2 "). Season 9 At the beginning of Season 9 Chandler is forced to relocate to Tulsa for work. Initially Monica plans to go with him, but is offered her dream job in New York, and they organize it so Chandler only has to be in Tulsa for half the week, although they admit it will be hard living away from each other. After several months of a long-distance relationship Chandler learned that he would have to spend Christmas without Monica and the Friends in Tulsa, or else be fired from his job. He comes to feel empathy for the employees underneath him who are clearly depressed because they want to be spending Christmas with their families and tells them all to go home. After a female colleague named Wendy decides to stay behind to help him, Monica calls him to wish him a merry Christmas, and when he makes the mistake of mentioning that Wendy has stayed behind to help him, Monica gets suspicious and grills him, and he ends up inadvertently making it clear that he is attracted to Wendy, but assures Monica nothing will happen between them. When Wendy then hits on him, Chandler politely rejects her, saying he's a happily married man and nothing can happen between them because what he has with his wife is great. Wendy responds by asking him why he's spending Christmas with her instead of with his wife if what he has with his wife is so great. Realizing Wendy is right, Chandler decides he's had enough and quits his job before returning home to spend Christmas with Monica and the rest of the Friends, much to their delight. (" The One With Christmas In Tulsa ") Monica supports Chandler while he's unemployed and encourages him not to go back to his old job but find something he's really passionate about. She eventually helps him find an internship and subsequent job in Advertising. ( The One With The Lottery ). After a year of trying to conceive, Monica and Chandler are still unsuccessful. They go get fertility tests and find out that due to Chandler's sperm having low motility and Monica's inhospitable environment, that they will most likely not conceive children on their own but not impossible. Saddened by this, Monica and Chandler resolve to find another way to have kids. ( "The One With The Fertility Test" ). With surrogacy rejected as Monica had always dreamed of carrying her own child, and Monica rejecting the idea of a sperm donor as she doesn't want to conceive any baby if it's not Chandler's, the couple decide to adopt instead. ( The One With The Donor ) Season 10 In The One With The Late Thanksgiving Monica and Chandler receive a call from the adoption agency saying that they were chosen by a pregnant woman in Ohio, Erica . Although there was initially some confusion during the adoption process - Erica had confused Chandler and Monica's file with a couple who were a doctor and a reverend respectively -, Chandler eventually convinced Monica to admit the truth, subsequently winning Erica over despite the lie by convincing her that they had only lied because Monica so desperately wanted a child. In the series finale , Erica gives birth, but she didn't know that she is actually pregnant with twins, she had misinterpreted the reference to two heartbeats as referring to her heart and the baby's. Chandler and Monica subsequently name the boy Jack Bing (after Monica's father) and the girl Erica Bing (after her birth mother). Trivia Their sexual relationship occurred accidentally. The relationship started out as a secret because the producers were unsure of how the other characters would react to this unusual couple, and were initially thinking of making the 'relationship' just a few episodes of Monica and Chandler having sex in secret before the two developed genuine chemistry. Monica said the first line of the series and Chandler said the last line. ("There's nothing to tell" - "Where?") They have the longest romantic relationship on the show, spanning six years from the beginning of Season 5 to the end of Season 10. Their closest competitors were Ross/Rachel and Phoebe/Mike who were both together for a year (halfway through Season 2 - halfway through Season 3, and all of Season 10).	Candle
In American football, who won the most Super Bowls in the 1980's ?	Chandler \| Define Chandler at Dictionary.com chandler [chand-ler, chahnd-] /ˈtʃænd lər, ˈtʃɑnd-/ Spell noun 1. a person who makes or sells candles and sometimes other items of tallow or wax, as soap. 2. a dealer or trader in supplies, provisions, etc., of a specialized type: a ship chandler. a retailer of provisions, groceries, etc. Origin of chandler Old French 1275-1325 1275-1325; Middle English chandeler candlestick, maker or seller of candles < Anglo-French, Old French chandelier, literally, someone or something connected with candles, equivalent to chandelle candle + -ier -ier 2 Chandler [chand-ler, chahnd-] /ˈtʃænd lər, ˈtʃɑnd-/ Spell Charles Frederick, 1836–1925, U.S. scientist, educator, and public-health expert. 2. Raymond (Thornton) 1888–1959, U.S. writer of detective novels. 3. a town in central Arizona. Dictionary.com Unabridged Examples from the Web for chandler Expand Contemporary Examples This innocuous seeming statement masks a colossal misunderstanding of chandler and Marlowe, neither of whom had “a good friend.” Our Pop Culture Wish List for 2014 Kevin Fallon December 29, 2013 Historical Examples It may well have been chandler who negotiated a bargain with Fremont, if the story is to be trusted, which concerned Blair. Lincoln Nathaniel Wright Stephenson The Four Million O. Henry He set up as a ship's chandler with stores which I have every reason to believe he stole from me. Heartbreak House George Bernard Shaw chandler looked at the girl and found her swiftly drawing his interest. The Four Million O. Henry I remembered having seen the chandler at work, and I tried to recall all my remembrances of the process. British Dictionary definitions for chandler Expand a dealer in a specified trade or merchandise: corn chandler, ship's chandler 2. a person who makes or sells candles 3. (Brit, obsolete) a retailer of grocery provisions; shopkeeper Word Origin C14: from Old French chandelier one who makes or deals in candles, from chandellecandle Chandler noun 1. Raymond (Thornton). 1888–1959, US thriller writer: created Philip Marlowe, one of the first detective heroes in fiction 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 chandler Expand n. "maker or seller of candles," late 14c., attested as a surname from late 13c. (also, from early 14c. "candle-holder;" see chandelier ), from Old French chandelier (n.2) "candle-maker, candle-seller; person in charge of lighting a household, monastery, etc.," from Latin candelarius, from candela "candle" (see candle ). Native candleman is attested from mid-13c. Online Etymology Dictionary, © 2010 Douglas Harper	i don't know
In Greek mythology, which nine-headed monster grew two for every one that was chopped off ?	Monsters in Greek Mythology Monsters in Greek Mythology Argus Argus may have had as many as one hundred eyes, which were located all over his body. Hera employed him as a guard. He was killed by Hermes . Afterward, Hera put Argus's eyes in the tail of the peacock, her favorite bird. Cerberus Cerberus was a huge and powerful three-headed dog. He was owned by Hades , god of the dead, who used the fearsome hound to guard the entrance to the underworld. In his final labor, Hercules went to the underworld and kidnapped Cerberus . Cyclopes Each of the Cyclopes was gigantic and had a single eye in the middle of its forehead. The Cyclopes made lightning and thunderbolts for Zeus to use. The brutal Polyphemus , a Cyclops and a son of Poseidon , lived on an island, where he was blinded by Odysseus . Gorgons The Gorgons were horrifyingly ugly monsters who lived at the edge of the world. Their hair was made of serpents, and one look from a Gorgon's eyes would turn a man to stone. Perseus killed the Gorgon Medusa by beheading her while looking only at her reflection. The Hydra Hydra The Hydra was a massive and poisonous serpent with nine heads. Every time one head was injured, another two grew in its place. Hercules sought out the monster in its dark marsh and succeeded in destroying it. Minotaur The Minotaur was a man-eating monster with the head of a bull. King Minos kept it hidden in a labyrinth (a maze) in Knossos, on the island of Crete, where he used it to frighten his enemies. Theseus killed the Minotaur. The Minotaur Scylla and Charybdis The powerful monsters Scylla and Charybdis lived together in a sea cave. Scylla had many fierce dog heads and ate sailors alive; Charybdis created whirlpools by sucking in and spitting out seawater. Both Jason and Odysseus safely traveled by these monsters. Sirens The Sirens were giant, winged creatures with the heads of women. They lived on rocks on the sea, where their beautiful singing lured sailors to shipwreck. Odysseus filled his sailors' ears with wax so that they might sail safely past the Sirens.	Hydra
Which American statesman appears on the US $100 bill ?	Hydra Problem - TV Tropes Hydra Problem You need to login to do this. Get Known if you don't have an account Share YMMV Suddenly, Daxos discovered that he had twice as many problems as before. Kudos (Greek!) to Hercules for thinking outside the ampitheatre on this one [...] but it seems to me there was another way out. If he had just kept chopping, eventually the creature would have had a hundred thousand heads, making it look something like venomous reptilian broccoli. Then it would have tipped over and been no threat to anyone. People could come up and laugh at it, it would have been a great tourist attraction. — Lore Sjï¿½berg , The Book of Ratings This is where when you defeat an enemy, one or two more show up in its place, and so on until you perform some kind of specific attack to kill it for good. Named for the Hydra from Greek mythology, which had nine heads that grew two more heads whenever one was chopped off; the only way to destroy it was to cut off the heads and cauterize the stumps with fire before the head was able to grow back and multiply. Compare to Asteroids Monsters , in which a destroyed monster divides into several smaller versions of itself and you have to keep killing them until they are dead for good. Expect a lot of decapitation, even though this is probably the worst possible strategy to use. Examples: open/close all folders Comic Books The Monster Society of Evil has a literal Hydra created by Mister Mind, which when it loses a head grows it back with the head of another animal. Captain Marvel causes its heads to fight over meat, killing it. Madrox the Multiple Man of X-Factor has the power of Self-Duplication , but it usually works like the Hydra Problem from his enemies' point of view because he involuntarily creates a copy of himself when struck. Punch him, and suddenly he has backup. The answer to beating him is a One-Hit Kill ( Pretty Little Headshots don't create copies), restraining him so that he can't receive a sufficient blow (punching a wall would suffice, so you'd better tie him up tight), or employing a method that doesn't involve direct force (poison, for example). This concept is the origin behind the name of the terrorist organization HYDRA in Marvel Comics , though in practice it's essentially a boast about their never ending Redshirt Army . Their motto is "Cut off one head, two more take its place". In Captain America: The First Avenger , this sets up one of Colonel Phillips' (played by Tommy Lee Jones ) CMOA when, after shooting a HYDRA mook who just shouted the line, quips "Let's go find two more." It also sets up the many times that an Anti-Hero decided to see whether the creed was literal at an individual level: with all the superheroes and supervillains running around, it would after all be easy to make an army of mooks with a twisted healing factor . The surviving mooks are often quite dismayed to realize that it's not. The Superman villain Riot has a similar power to Multiple Man. Defeating him requires indirect methods like cutting off his air supply or catching him in a net. Films — Animated In Sorcerer's Apprentice segment from Fantasia , Mickey enchants a broom to do his chores for him. When it begins to flood the castle, he tries chopping the broom into pieces. This backfires horribly, as each splinter becomes a new broom. Only the Wizard's magic can undo all the flooding. The Disney adaptation of Hercules had Herc face this problem when fighting the iconic multi-headed serpent. It starts with one head, but when Herc chops it off, three grow in its place. In desperation, he starts wildly chopping at the beast, leaving him with a bigger problem than what he started with. However, he soon triumphs by causing the chasm they're in to cave in, resulting in the Hydra being crushed under a rock slide. Phil: "Will you forget the head-slicing thing?!" Films — Live-Action In the first Hellboy film Sammael is a creature that, when destroyed, gives life to two of its previously laid eggs. The only way to stop Sammael is to wipe out all of its bodies and eggs at once. In Percy Jackson and the Olympians , they fight a literal Hydra (who has this problem). They beat it by using Medusa's head to turn it to stone. While appearing in the movie of Percy Jackson and The Lightning Thief, in the books the Hydra appears instead in Percy Jackson and the Sea of Monsters. Here, Clarisse kills it by blowing it up using a gunboat. In Prometheus , Fifield attempts to cut off the alien snakes head when it breaks Millburn's arm but not only does it spray acid blood over Fifield's face for his efforts, the head instantly grows back. Marvel Cinematic Universe As noted above under Comic Books, HYDRA in Captain America: The First Avenger , though the organisation is pretty much solidly defeated by the end. The catchphrase takes a much darker turn in Captain America: The Winter Soldier where it's revealed after their defeat in WWII, HYDRA went underground and have shaped the history of the world. They even infiltrated S.H.I.E.L.D. at its creation. When Captain America protests that HYDRA died with the Red Skull, Zola nonchalantly comments "Cut off one head..." Averted trope as seen in Avengers: Age of Ultron . The Avengers take down one HYDRA base after another based on intel from Maria Hill until they arrive at the last remaining powerful HYDRA base. Strucker and List, the two last remaining higher-ups surrender and the former is even killed by Ultron. See also the Agents of S.H.I.E.L.D. example below, though beware spoilers for that series. In Avengers: Age of Ultron , no matter how many Ultron drones the Avengers destroy, the AI itself can still escape to anywhere. Eventually, Vision interfaces with Ultron and prevents him from escaping through the Internet. In Dragonball Evolution , Piccolo summons minions that could regenerate from any piece of them cut off. Goku slices them up with a sword to make a lot and then throws them into lava, forming stepping stones so he can cross. Literature In The Andalite Chronicles , Visser Three unleashes mortrons, creatures that can regenerate into separate beings when sliced apart. Elfangor resorts to knocking them out. Loren strangles one to death, and uses a softball bat to cave one's skull in. Not a literal example, but Snape describes The Dark Arts as this in Harry Potter and the Half-Blood Prince . The Chaodyn in The Death Gate Cycle are monsters which, if wounded, their spilt blood will turn into another Chaodyn. The only way to stop this is to deliver a wound that kills them before any of their blood hits the ground. Live-Action TV The Angel episode "Waiting in the Wings" had mooks who would respawn into two whenever they were killed. Angel had to fight past them and defeat the mage controlling them to make them disappear. Fortunately each time a new lackey is created, the mage's power weakens as he has to keep control of an increasing number of mooks. On Charmed Swarm Demons are replaced by two more swarm demons when they're killed. The sisters have to destroy the lead Swarm Demon, the demon from which all others come from, in order to kill them all. And in another episode an evil witch unleashes her snake familiar onto the sisters and when the snake is chopped into two pieces, the pieces both grow into a new snake. The witch is killed and then so are the snakes. The show Agents of S.H.I.E.L.D. shares a continuity with the Captain America film examples above. Coulson takes down HYDRA by basically cutting off as many heads as possible and, when he gathers enough intel, he calls in the Avengers to deal the final blow. Hydra is now scattered and Kelbo says that "heads ain't growin' back". Then Ward decides to revive HYDRA in his own image and recruits Baron Von Strucker's son as his apprentice; two more heads have grown. All known heads are again cut by the end of the third season, including Hive, the original head. Of course, it's still possible that more will turn up in season four... Music Deconstructed here , as it turns out not only can a demigod like Hercules not fail to beat a Hydra no matter how many heads it can grow back, but the heads can grow in a sufficiently complex structure to contain all of arithmetic . (Note however that this is only true for a non-standard version of the hydra where heads can be either directly connected to the body or branched off another neck and it won't regrow any heads if the head cut-off is directly attached to the body.) There's also a classic math problem involving hydra herds in which every blow which fails to kill a hydra spawns a number of duplicates of the damaged hydra equal to the number of blows which the entire herd has received. (Added to that, Heracles is cursed to only be able to smash heads in the worst possible order.) Still beatable by an immortal demigod, but it's surprising how quickly the required number of blows grows. Parody hero Samurai Cat fought Cerberus, who it turned out had the same power. Samurai Cat just kept chopping off heads until Cerberus had so many, 1) they were all too small to bite effectively and 2) they weighed so much Cerberus couldn't walk around anymore. In the Hindu Mythology Durga once found herself facing an enemy whose power was a regeneration-based Self-Duplication - from each drop of blood spilled, a clone would pop up into existence. After a moment of futile fighting, she transformed into her Kali aspect, which quickly solved the problem by catching her enemy and, depending on the version you read, either eating him whole or holding him still so she could drink all his blood as it spurted from his wounds. More Hindu mythology: The legend behind the Thuggee cult was about regenerating demons too, therefore demanding strangulation (a bloodless killing method). The Bible [Jesus; Matthew 12:43-45] once said that if you defeat a demon/unclean spirit with your own power that isn't God's, it would return with seven more of its kind (or worse, just by it coming back and finding its house empty as in without, you know, the Holy Spirit coming in to occupy it after the person was freed). Pinball The final boss in Gottlieb 's Gladiators is The Beast, a three-headed flying dragon that can only be defeated by beheading itnote shooting the pinball into various sinkholes in a specific order. Role-Playing Games In Dino Attack RPG , if one of the Mutant Vinscale Octomus's tentacles were severed, two more would grow back in its place. Tabletop Games Dungeons & Dragons : Judges Guild module Dark Tower. It had an area with a mirror hanging on the wall that was guarded by a skeleton. If an attack against the skeleton didn't do exactly 8 Hit Points of damage, it would split into two skeletons with the same property. The only way to defeat the skeletons (other than by doing damage) was to destroy the mirror. D&D's Monster Manual also lists the Hydra among the monsters that the players can fight. However, only the Laernian variety of the hydra exhibits the Hydra Problem ; the (normal) hydra and the firebreathing pyrohydra both get weaker as you lop their heads off, not stronger. In 5e the only hydra in the monster manual has this ability, sort of. If it looses 25 health in a single turn it losses a head and regrows to more for every head lost in its turn. It only gains a total of 20 points of health back so, without healing, the hydra will eventually die if it heads keep getting cut off. Magic: The Gathering has a number of creature cards that implement this trope as mechanics. Usually, if the creature survives taking damage, it gets stronger afterwards. In the Theros block, planeswalker Elspeth Tirel has to fight Polukranos , a hydra that is dubbed the "World Eater" with very little apparent hyperbole. She is armed with a Blade on a Stick . She solves the problem, not by lopping off heads, but by splitting each head in two. The bisected crania can't regrow, nor, obviously, can they live. Video Games Hydra Slayer is a quirky little Roguelikegame wholly concerned with how to resolve the Hydra Problem on a case-by-case basis. Your success is determined by being able to tell which weapons/powers will remove heads, which will add heads, and how to combine these two factors to kill each individual hydra in the shortest possible time. The boss Mariska from Lollipop Chainsaw respawns into two when Juliet slices her in half. The copies then tear themselves in half several times to create an army of Mariskas. Juliet shoots the copies down, and when she gets to the last one, she lops her head off. Mariska seems to run out of energy and perishes. Undead enemies in Wandering Hamster respawn every time they are killed, unless you use the glimmer item which kills them for good. Megaera is a three headed hydra in World of Warcraft 's Throne of Thunder, when one of her heads is killed, two more grow in it's place. Megaera still takes damage with each head killed, so it's just a matter of killing seven heads and holding out against the assault from all the extra heads. Perhaps a Shout-Out to the original mythos, at the last stage of the fight, Megaera has nine heads; two that can be attacked and must be tanked, and sevennote One at the start of the battle and six for each of the heads cut off, minus the seventh one that defeats her attacking the party from a distance. Warcraft III features hydras as a neutral monster, but use Asteroids Monster due to the limitations: every three-headed hydra splits into two smaller three-headed hydras. Trauma Center : New Blood has the Brachion Stigma, which is a core with several arms. Whenever you cut off the heads of the grappler arms, it pulls them back and emits more. Killing it involves continually cutting the arms loose, which ultimately overtaxes the core and causes it to disintegrate. The Plasma Hydra boss in Hero Core initially has three heads. In Normal difficulty, it only regrows one head for each one destroyed and only has two heads per neck. In Hard, however, it grows two for each destroyed head, and when those two are destroyed, it sends out a third, extremely powerful head. Once the third wave of heads is dealt with, however, the Plasma Hydra self-destructs. In Heart of Darkness , a particularly tough enemy introduced late in the game will turn into two blobs upon being killed; if they're not destroyed in time, they'll instantly grow into two more enemies. Since they frequently can appear in pairs, and you constantly have to dodge their attacks, they can quickly overwhelm you if you don't stop them from multiplying. In Yu Gi Oh BAM , after you defeat their leaders, the Ghouls taunt you that their numbers are endless. Game: You jump, startled and ready to fight. From the utter silence slithers in a cryptic whisper: It does not matter. We are the Ghouls. Even if you bury us, we will get out. We are the Ghouls. We will meet again. In Gems of War , there's a Hydra troop, and its famous feature is represented in its special attack; the base damage is boosted by however much damage to its health the troop has taken, reflecting the extra heads which the Hydra now has. (The Hydra doesn't actually gain any extra health to represent the increased difficulty in killing it, however.) You Don't Know Jack (the UK edition anyway) has a question asking "Suppose you cut off all of the Hydra's heads, all its replacement heads, then half of the new heads, how many heads would there be?" note A: 54. The host will then say, "at this point it might be wise to consider a different approach" Web Comics The Order of the Stick : The heroes solved the problem of an actual hydra by repeatedly decapitating it until it fainted — its heart couldn't maintain the proper blood pressure in all the extra necks. Then an enterprising goblin starts using it as an infinite supply of meat for a barbecue restaurant . Western Animation He-Man and the Masters of the Universe (2002) : He-Man once faced a Man-Eating Plant that was similar to the Hydra. He finally kills it by uprooting it. Another episode had Triclops unleash an army of skeletal warriors that respawn into two every time they get smashed. They are defeated when the heroes smash the device Triclops was controlling them with, making them all crumble to dust. The Powerpuff Girls episode "Beat Your Greens" had Plant Aliens that regenerate. They are defeated when everyone eats them. Real Life There's a small aquatic predator literally known as Hydra , and true to their name, they immediately grow into even more hydras when cut into pieces. Scientists actually divided it into its individual cells with hundreds of more hydras sprouting up from the ensuing goop. They're a threat in freshwater aquaria to fish fry and small shrimp in freshwater aquaria, and if you try and stop them by crushing them, well... If a planarian's head is split without severing it from the body (not that they can't survive that) both halves can regenerate, ending up with a two-headed planarian. Some weeds ensure their survival by sending out long horizontal roots that can sprout new stalks if the original stalk is destroyed. Pull up the first stalk, and you'll find a cluster of new weeds sprouting all around the hole a few days later. Falling afoul of the Streisand Effect can land you in a PR nightmare because of this trope, especially on the internet. Did you force a takedown of a song posted to YouTube, even though the way it was posted constitutes fair use? Expect much hate mail and at least fifteen reposts. Scoured the internet just to delete all references to you that you feel are overly critical, or connect you to something stupid/embarrassing you did? Congratulations, what you've censored has just been reposted to five blogs, and a sixth one commented on your dickery. Forced the takedown of an entire site? Well, now there's two mirrors registered under foreign domain names and five with slight variations of a common name. A similar event happened when manga publishers asserted their copyrights to get Scanlation sites taken down-many more sprung up to take the places of the ones targeted. Edward Snowden: "You're not going to bully me into silence like you've done to everybody else. And if nobody else is gonna do it, I will. And hopefully, when I'm gone, whatever you do to me, there will be somebody else who'll do the same thing. It'll be the sort of internet principle, of the hydra; you can stomp one person, but there's gonna be seven more of us." Nintendo 's attempt to ban cartridge dumpers and copiers in the 90s: They started by targeting the most prolific manufacturer of cartridge copiers, Bung Enterprises. They went as far as to get an injunction on Bung Enterprises merchandises in the US. They managed to kill Bung Enterprises shortly after, but then numerous manufacturers sprung up in Bung's place. Additionally, the amount of publicity generated resulted in the Streisand Effect (the US Customs also received a number of eggs on their face after they confiscated a package from Bung Enterprises meant for a US customer, and it turned out that the package only contained a Game Boy Advance link cable). They later did the same things with flashcarts, and then tried it with YouTube videos containing their characters. :: Indexes ::	i don't know

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