"Army of Me" is a song by Icelandic musician Björk for her second studio album, Post (1995). It was released on 24 April 1995 by One Little Indian as the lead single from the album. The song was written and produced by Björk and Graham Massey, who helped her in producing and writing the majority of her third album. Lyrically, the song was inspired by the damaging behavior of Björk's brother, and in the lyrics she tells him to stand up to regain control of his life. It was well received by music critics, who noted its darkness compared to her other material. "Army of Me" was a commercial success her first single Björk to enter the top 10 of the UK Singles Chart.

Björk premiered the song on some gigs during the Debut Tour before the release of the album. She performed it in a series of TV appearances, and notably, for the first time on Top of the Pops with Skunk Anansie. Additionally, the song was performed on every date of the Post Tour. The song was featured on Björk's compilation album, Greatest Hits (2002).

The song's accompanying music video was directed by frequent collaborator Michel Gondry. It features the singer driving an enormous vehicle through a city, fighting a gorilla dentist to get back a diamond he took from her mouth, and bombing a museum with dynamite to free a boy. In 2005, Björk released a UNICEF charity benefit compilation entitled Army of Me: Remixes and Covers, which featured a series of covers and remixes by artists from all over the world.

Background

"Army of Me" was written in 1992 by Björk and Graham Massey, during one of the first recording sessions for Debut, along with "The Modern Things", but Björk decided to put the songs on hold and to wait for releasing them. Even so, Björk performed the songs during some dates on her Debut Tour. The singer further explained the song: "Imagine you're in a club full of heavy metal types and grunge people; 'Army of Me' is like someone's granny blasting out over the PA and saying, 'Snap out of it! Stop whining! Wash your hair! Smarten yourself up!

The single was released in the United Kingdom on 24 April 1995 as a cassette and two-CD single. The first CD contained the Icelandic version of "You've Been Flirting Again" and the cave version of "Cover Me", both from Post. The cave version of "Cover Me" was recorded in a cave in Bahamas, and sounds of flying bats can be heard in the background. The single also contained "Sweet Intuition", a song composed by Björk and Black Dog, which would form the lyrical basis for the composition of another song written by Björk for Madonna: "Bedtime Story". The second CD contained, among other remixes, a version of "Army of Me" featuring Skunk Anansie. The track was recorded and mixed in less than seven hours, as recalled by the band, and features Björk screaming.

Composition

"Army of Me" is an aggressive industrial rock and trip hop song with elements of techno dominated by a heavy bassline in C Locrian. The song's drum part is sampled from Led Zeppelin's "When the Levee Breaks". Mim Udovitch has described the song as "grinding techno fusion".

The lyrics of the song are about Björk's brother, as revealed by the singer, and show Björk daring him to move up and find a job to keep his life on, and also for him to not fall into bad things and learn to defend himself: "It's actually written to a relative of mine who had been a bit out of order for a while. I'm not sure why I wrote it. Maybe I felt that Debut had been such a polite, shy album – there was a side of me that was so shy and such a beginner, I was very flattered when everyone loved Debut but also a bit confused because it wasn't really me. Maybe 'Army Of Me' was an attempt to balance it out." In the chorus of the song she sings: "And if you complain once more/You'll meet an army of me!"

Critical reception
Eric Handerson of Slant Magazine found that the song "provocatively merges a Weather Report-esque jazz-fusion bass riff with a heavy-timbered rock drumbeat to match her contemptuous vocal delivery ('Self-sufficience, please!')" Natalie Curtis described the song as "inelegant"; Mim Udovitch of Rolling Stone dubbed it "ominous, anthemic", with Lou Stathis of MTV calling it "booming, martial-march techno". According to Brantley Bardin of Details, "Army of Me" is "the album's straightest song, a manifesto about self-sufficiency", while for Liz Hoggard of The Observer, the track is "brutal yet tender". Stuart Maconie of Q magazine praised the song by stating that its lyrics carries "bold and refreshing sentiments for a rock song. Refreshingly Icelandic sentiments", and further stating that "'Army Of Me' not only sounds fabulous—Led Zeppelin and techno welded together into a surging, operatic whole—but possesses a briskly pull-yourself-together tone. 'Stand up, you've got to manage ... /You're all right, there's nothing wrong / ... get to work / and if you complain once more, you'll meet an army of me".

In a positive review, Heather Phares of AllMusic stated that "'Army of Me' casts Björk against type as a warrior goddess fed up with whining, instead of her usual cyber-pixie persona...the song's pounding industrial beat, menacing synth bass, and unusually aggressive lyrics ('And if you complain once more / You'll meet an army of me') stand in sharp contrast to the rest of the album and to most of her previous work."

Music & Media wrote, "Chased by an extremely dangerous synth baseline and drums, the Icelandic siren with the most peculiar vocal technique – even her breathing is special – accelerates whenever its necessary." Music Week gave the song three out of five, saying that "the long-awaited return isn't quite the quirky pop we come to exprect from the singer but a more brooding. darker affair". They added, "Expect healthy chart action." Andy Beevers from the magazine's RM Dance Update noted that it "is built around a downtempo beat and a dirty great throbbing synth line with the unmistakeable and defiant vocals soaring above." According to The New York Times writer Joy Press, Army of Me' is so menacing and inorganic-sounding it verges on industrial rock", and in a review, Pulse! defined the song "a staggering juggernaut of a track". While reviewing Post, Andy Smith of The Providence Journal stated that "Post is an eclectic affair, opening with the assertive industrial clang of Army of Me.

In 1995, "Army of Me" won an Icelandic Music Award for Song of the Year. The song was also ranked number 316 in Blender magazine's "The 500 Greatest Songs Since You Were Born". In 2012, the song was ranked number 71 in Consequence of Sound's "Top 100 Songs Ever".

Music video

Background
For the music video of the song, Björk collaborated again with French film director Michel Gondry, who had previously directed the video for "Human Behaviour" in 1993. In the video, Björk is the driver of a tanker truck. The singer "said that she wanted to capture that 'tanker-truck' feeling, the sense of a big machine grinding unstoppably through town" and further stated: "I thought I should be driving a very, very big truck to try to wake this person who's asleep, so I get the biggest truck in the world, and I'm so mad I've got metallic teeth, because when you're really angry, you grind your teeth. So I have to go to the dentist, who tries to steal away from me a diamond I don't know I have."

The dentist is actually a gorilla, and Björk explained:

Björk and her label declined to use footage from the film Tank Girl (which features the track on its soundtrack) in the music video for "Army of Me".

Synopsis

The first seconds of the music video show a young man in cryonic slumber. It then cuts to Björk, wearing a black karate gi, driving a large vehicle through a city. The passers-by seem to ignore the mass of the vehicle. The vehicle begins to sputter and slow, prompting Björk to check the motor. Before floating off the vehicle, she turns to the camera and shows metallic teeth. The vehicle's engine assembly consists of a mouth in which all of the teeth appear rotten, comically exaggerated by a shaggy-looking man engulfed in a stench-cloud crawling out of the mouth and offending passers-by.

Björk touches her cheek, appearing to have a toothache, and proceeds to a nearby dentist's office. While she is going to the room of the dentist, her image appears reflected in a series of mirrors that make it impossible to distinguish her real self. She is examined by the dentist, an anthropomorphic gorilla, who discovers a diamond in her mouth. The dentist attempts to steal the diamond for himself, but Björk leaps onto his back and pummels him, and, retrieving the diamond, escapes the office. She takes the diamond back to her vehicle, all the while it multiplies in size until she is barely able to carry it. Björk tosses the diamond into the vehicle's mouth, apparently correcting its earlier affliction.

She then drives to a museum and proceeds inside, carrying a satchel containing a bomb. Sneaking past the museum's guards, she places the bomb on one of the exhibits – the young man seen in the beginning of the video lying on an altar in a deep sleep. She then bolts toward the museum's exit, concerning the guards and other patrons. She makes it out of the building just moments before the bomb explodes. After the explosion, she re-enters the building to find the man from the altar, who appears to have been just wakened by the blast. Björk hugs him, crying teardrops of jewels.

Reception
The video was well received by critics. Tim Walker of The Independent thought that "catchy, commercial song that was utterly original, and she's easily beautiful enough to have taken advantage of her sexuality in the video, but instead she got Michel Gondry to make a brilliant promo about her going to a gorilla dentist to get a huge diamond pulled out of her mouth". Gondry's visual imagery was heavily praised: "Gondry is a treat with visual details in defining his realities, and he provides in 'Army of Me'. The museum sequence furnishes an example: Before Björk bombs it, there are many artworks on the walls, each piece reflecting the apparent banality of the museum. One area shows a person observing a work which is a painting of a person in an art museum observing a work. After the explosion, everything is torn apart, bathed in smoke. Björk comes and retrieves her loved one, crying small diamonds onto his shoulder."

The ending of "Army of Me" music video depicted Björk bombing an art museum, and due to a recent terrorist bombing in Oklahoma City, MTV removed it from its playlist before it even aired. However, within weeks it was broadcast, but cut off before the bomb goes off. There exists some version of the music video which censored the explosion of the bomb, and some showing "To Be Continued" at the end.

In 1995, The video was nominated for two MTV Video Music Awards, one for Best Special Effects in a Video and one for International Viewer's Choice Awards – MTV Europe, losing the former to "Love Is Strong" by The Rolling Stones and the latter to "Hold Me, Thrill Me, Kiss Me, Kill Me" by U2.

Live performances
The song was performed in a few live shows. Björk premiered the song four days before the release of the single, on 20 April 1995, on Top of the Pops, with the Skunk Anansie. This particular performance featured additional vocals by Skin. Björk performed the song live on Italian musical show Festivalbar and on The White Room, along with "I Miss You".

The song was performed on the Debut Tour before the official release. The performance on the Post Tour was called "explosive" by Adrien Begrand of PopMatters and was released on Live Box, in the Post Live CD, with the same performance being released on Björk's video Live at Shepherds Bush Empire. The song was performed on the Vespertine World Tour, where it was accompanied by Zeena Parkins. The performance was called "extra-gritty" and the accompaniment of Parkins was described as giving the song "fresh urgency".

The song was performed on the Greatest Hits Tour and on the Volta Tour, with the latter performance being included on Voltaïc, both in the live version recorded at the Olympic Studios in London, and in the DVD Live in Paris.

The song was performed again in summer 2012 in Lollapalooza Chile as part of the Biophilia Tour replacing most of the instrumental part with a Tesla coil.

Covers
The song received a wide coverage from other artists. German metalcore band Caliban covered this song on their 2006 album The Undying Darkness. The female vocals on the chorus were recorded by Tanja Keilen. Belgian metal band Silent covered this song on their 2005 self-titled demo. The alternative metal/post-hardcore band Helmet recorded a cover of "Army of Me" which was released on a Music for Our Mother Ocean benefit compilation. The Australian metal band Many Machines on Nine covered "Army of Me" on their self-titled 2000 EP. A jazz cover was released by the Yaron Herman Trio on their album A Time for Everything in 2007. Abandoned Pools, an alternative rock band have also covered the song, which is available on The Reverb EP. Powerman 5000 released a cover of this song on their The Good, the Bad and the Ugly Vol. 1 compilation. Sin, a French industrial band, covered the song, available on Errare Digital Est, Recall 2003. Oliver Weers, a Danish rock vocalist made semi-famous by his participation in the Danish X Factor in 2008, released a heavy metal-style cover version of "Army of Me" in 2008 on an album entitled Get Ready. Australian alternative metal band Beanbag covered the song on their 2001 second album Welladjusted. English rock band Drama recorded a cover of the song to perform at the 2010 UK Live & Unsigned regional final in Manchester, 7 March. Polish progressive metal/post-metal band Proghma-C recorded a cover version on their debut album Bar-do Travel, 2009. French progressive metal band Klone also recorded a cover of the song as a bonus track on their 2010 album Black Days. Italian nu metal band Exilia recorded a cover of this song on their album Can't Break Me Down in 2005.  Rapper Ryu sampled this song in the music video for his song "The One". American rock band In This Moment released a cover of the song as the fourth single from their eighth studio album, Godmode, on 20 September 2023.

In 2005, Björk opened a contest to choose from various remixes for the song, to release a compilation to help raise funds for charity. Over 600 remixes were submitted and Björk was helped in the choosing of the tracks by fellow writer and composer Graham Massey. The compilation, called Army of Me: Remixes and Covers was released in May 2005 and as of January 2006, the album had raised around £250,000 to help UNICEF's work in the south east Asian region.

Usage in media
In addition to appearing in Tank Girl in 1995, the song was included in the soundtrack of Sucker Punch with further instrumentation by Skunk Anansie and remixing by Marius de Vries. The song has also been used in an episode of The Handmaid's Tale, and more recently in the second episode of the first season of A Discovery Of Witches.

Track listings

 Australian and UK cassette single
 "Army of Me"  – 3:58
 "Army of Me" (ABA All-Stars Mix)  – 3:51

 UK CD single 1 and digital download 1
 "Army of Me"  – 3:57
 "Cover Me"  – 3:07
 "You've Been Flirting Again"  – 2:25
 "Sweet Intuition"  – 4:43

 UK CD single 2 and digital download 2
 "Army of Me" (ABA All-Stars Mix)  – 3:53
 "Army of Me" (Masseymix)  – 5:17
 "Army of Me" (feat. Skunk Anansie)  – 4:39
 "Army of Me" (Instrumental ABA All-Stars Mix)  – 3:49

 European CD single 1
 "Army of Me"  – 3:57
 "Cover Me"  – 3:06

 European CD single 2 and Japanese CD single
 "Army of Me"  – 3:58
 "Army of Me" (ABA All-Stars Mix)  – 3:46
 "Army of Me" (Masseymix)  – 5:12
 "Army of Me" (feat. Skunk Anansie)  – 4:33
 "Army of Me" (Instrumental ABA All-Stars Mix)  – 3:46Notes'This is a different version than the one which appears on the album. It was recorded in a cave and is also known as "Cover Me" (Cave Version)
This is the Icelandic version of "You've Been Flirting Again".

Credits and personnel
Credits are adapted from the Post album liner notes.
 Björk – vocals, songwriter, producer, keyboards
 Graham Massey – songwriter, producer, keyboards, programming
 Marius de Vries – keyboards, programming
 Nellee Hooper – producer
 Al Fisch – recording
 Mark Stent – mixer

Charts

Weekly charts

Year-end charts

Versions
 ABA All-Stars Mix (Mike D)
 ABA All-Stars Mix Instrumental (Mike D)
 Featuring Skunk Anansie
 Featuring Skunk Anansie with Skin
 Masseymix (Graham Massey)
 Sucker Punch Remix featuring Skunk Anansie (Marius De Vries)
Several other remixes (and covers) appear on Army of Me: Remixes and Covers''.

References

External links
 Army of Me webpage

 Army of Me releases at 77ísland

Björk songs
1995 singles
Industrial rock songs
Music video controversies
Music videos directed by Michel Gondry
Number-one singles in Iceland
Songs written by Björk
Song recordings produced by Björk
Song recordings produced by Nellee Hooper
One Little Independent Records singles

Army of Me


Józef Ankwicz (; 1750 – 9 May 1794), of Awdaniec coat of arms, also known as Józef z Posławic and Józef Awdaniec, was a politician and noble (szlachcic) in the Polish–Lithuanian Commonwealth. He held the office of castellan of Nowy Sącz from 1782. Deputy to the Great Sejm, and most infamously, the Grodno Sejm: for his actions during the latter he is remembered as one of the most prominent collaborators with the foreign partitioners of Poland.

Biography
Son of Stanisław Walenty Ankwicz and Salomea Schwarcemberg-Czerny. Married to Anna Biberstein-Starowieyska, father of Andrzej Alojzy Jan Stanisław Ankwicz (archbishop of Lviv) and daughters Kordula and Krystyna.

He was also awarded with Order of Saint Stanislaus in 1781. In 1782 he received the office of castellan of Nowy Sącz. Elected deputy to the Sejms in the period 1782 - 1790, he was a member of the royal faction. In 1784 he received the Order of the White Eagle from king of Poland, Stanisław August Poniatowski, as well as the title of count (hrabia) from Empress of Maria Theresa of Austria-Hungary; later, he also received the office of Chamberlain at the Austrian court. He was a chief member of the diplomatic mission sent to Denmark in 1791, acting as the Polish ambassador. While in Denmark, he supported the Polish position and is said to have vocally opposed the Russian diplomats there.

In 1792 a number of Polish diplomatic missions were cancelled, and Ankwicz was recalled to Warsaw. This meant that he lost his main source of income. He was able to briefly return to Denmark, but the end of the Polish–Russian War of 1792 (after the passage of the Constitution of 3 May) saw him in Warsaw once again. Known for his lavish lifestyle, poor investments and as a gambler, he quickly fell in debts and was recruited by Russian ambassador and Jacob Sievers. He became associated with the Targowica Confederation. Subsequently, he was known for his support of foreign powers (Austro-Hungary, Prussia, Russian Empire), most infamously during the last Sejm of the Commonwealth - the Grodno Sejm of 1793, he was the leader of the "Russian Party" and the deputy who concluded that the unwillingness of other deputies to speak (threatened by Russian soldiers present in the room) means that they accept the demands of the Prussian and Russian Empires (the Second Partition of Poland). For that he was rewarded by his Russian masters with a pension and a position in the Permanent Council.

During the Kościuszko Uprising he was captured by the Polish revolutionaries. On the request of Polish Jacobins, he was sentenced by the summary revolutionary court to hanging, together with some of the leaders of the Targowica Confederation: Józef Kossakowski, hetman Piotr Ożarowski and hetman Józef Zabiełło. He was executed on 9 May 1794 in Warsaw, in the aftermath of the Warsaw Uprising, a part of the Kościuszko Uprising. His last actions earned him further recognition, as he gave the executioner a golden box, to commemorate the moment of the execution, and put the rope on his neck himself.

References

External links

  Another genealogical entry

1750 births
1794 deaths
Clan Abdank
Secular senators of the Polish–Lithuanian Commonwealth
Ambassadors of Poland to Denmark
Targowica confederates
Executed Polish people
People executed for treason against Poland
18th-century Polish–Lithuanian politicians
People executed by the Polish–Lithuanian Commonwealth
People executed by Poland by hanging
Recipients of the Order of the White Eagle (Poland)

Józef Ankwicz


A Word Child is the 17th novel by Iris Murdoch.

First published in 1975 by Chatto and Windus, A Word Child charts the trials and tribulations of the title character, the "word child", Hilary Burde as he attempts to recover his soul from the misery of his troubled past. Filled in the usual Murdoch style with an array of colourful, fully rounded characters who people Hilary's world, the novel is a complex and thoughtful exploration of the possibility and meaning of redemption, the nature of human memory, and the possibility of love for the tarnished soul. By turns stirring, witty, painful and joyous, the novel was received to great critical acclaim on its release.

References

1975 British novels
Novels by Iris Murdoch
Chatto & Windus books
Novels set in London

A Word Child


The Teatro Comunale Ponchielli, as it has been known since 1986, is an opera house located in Cremona, Italy. For more than 250 years it has been that city's primary venue for opera and other theatrical presentations.

The original theatre, built in 1747, was named the Teatro Nazari, but it was renamed as    the Teatro della Società in 1785. It was sometimes referred to as the Nobile Associazione. After the original theatre burned down in 1806, construction began on the present theatre soon after. The current theatre was designed by Luigi Canonica and it opened in 1808 under the name the Teatro della Concordia. Its name was changed again to the Teatro Ponchielli in 1907 after the famous native of Cremona, Amilcare Ponchielli.

In 1986 the theatre was purchased by the city of Cremona which renamed it once again as it is known today. The opening performance took place on 4 October and featured performances on the city-owned Stradivarius "Il Cremonese" and Guarneri "del Gesu" violins of 1715 and 1734 respectively.

With its original horseshoe-shaped auditorium, the theatre was remodeled in 1989 to create three box tiers and two galleries with a total of 1,249 seats.

References
Notes

Sources
Lynn, Karyl Charna, Italian Opera Houses & Festivals, Lanham, MD: Scarecrow Press, 2005

External links

Official Website of the Teatro Ponchielli

Comunale Ponchielli
Theatres in Lombardy
Buildings and structures in Cremona
Theatres completed in 1747
Music venues completed in 1747
Theatres completed in 1808
Music venues completed in 1808
18th-century architecture in Italy
19th-century architecture in Italy

Teatro Comunale Ponchielli


Timon of Athens (The Life of Tymon of Athens) is a play written by William Shakespeare and probably also Thomas Middleton in about 1606. It was published in the First Folio in 1623. Timon lavishes his wealth on parasitic companions until he is poor and rejected by them. He then denounces all of mankind, and isolates himself in a cave in the wilderness.

The earliest-known production of the play was in 1674, when Thomas Shadwell wrote an adaptation under the title The History of Timon of Athens, The Man-hater. Multiple other adaptations followed over the next century, by writers such as Thomas Hull, James Love and Richard Cumberland.
The straight Shakespearean text was performed at Smock Alley in Dublin in 1761, but adaptations continued to dominate the stage until well into the 20th century.

Timon of Athens was originally grouped with the tragedies, but recently some scholars name it as one of the problem plays.

Characters

 Timon – a lord, and later a misanthrope, of Athens
 Alcibiades – captain of a military brigade and good friend of Timon
 Apemantus – sometimes spelled Apermantus, a philosopher and churl. His name means "feeling no pain"
 Flavius – Timon's chief Steward
 Flaminius – Timon's servant
 Servilius – Timon's servant
 Lucilius – a romantic youth and Timon's servant
 Ventidius – also spelled "Ventidgius", one of Timon's "friends" initially in debtors' prison
 Lucullus – Timon's "friend"
 Lucius – Timon's "friend"
 Sempronius – Timon's "friend"
 Poet and Painter – two friends and artists who seek Timon's patronage
 Jeweller
 Merchant
 Senators of Athens
 Fool – briefly a companion to Apemantus
 Three Strangers, one named Hostilius – friends of Lucius
 The Old Athenian – the father of the woman Lucilius loves
 Four Lords – false friends of Timon
 Servants to Timon, Isidore, Lucullus, Lucius and Varro
 Titus, Hortensius and Philotus – Timon's creditors (Isidore and Varro are also creditors, but only their servants appear)
 Phrynia – a prostitute
 Timandra – a prostitute
 Banditti
 Soldier
 Page
 Cupid
 Ladies at the Masque

Synopsis

Timon is a wealthy and generous Athenian gentleman. He hosts a large banquet, attended by nearly all of Athens. Timon gives away money wastefully, and everyone around him pleases him to receive more, except for Apemantus, a churlish philosopher (whose name means "feeling no pain") whose cynicism Timon cannot yet appreciate. He accepts art from a poet and a painter, and a jewel from a jeweler, only to later give his jewel away to another friend. Timon's servant, Lucilius, has been wooing the daughter of an old Athenian. The Athenian is furious with Lucilius' flirting, as a result, but Timon pays him three talents to fund for the couple's marriage, because the happiness of his servant is worth the price. Timon is told that his friend, Ventidius, is in debtors' prison. He sends money to pay for Ventidius's debt, and Ventidius is released and attends Timon's banquet. Timon gives a speech on the value of friendship, and later, the guests are entertained by a masque, followed by dancing. As the party winds down, Timon continues to wastefully give away to his friends: his horses, as well as other possessions. The act is divided rather arbitrarily into two scenes, but the experimental and/or unfinished nature of the play is reflected in that it does not naturally break into a five-act structure.

Unbeknownst to him, Timon has given away all his wealth, and is deep in debt. Flavius, Timon's steward, is upset by the way Timon is spending his wealth; overextending his munificence by showering patronage over parasitic writers and artists, and saving his dubious friends from their financial straits; Flavius confronts Timon when he returns from a hunt. Timon is upset that Flavius did not warn him of his debt before, and begins to direct his anger onto Flavius, who says that he has tried repeatedly in the past without success, and now he is at the end: all of Timon's land has been sold. Shadowing Timon is another guest at the banquet: Apemantus, who terrorises Timon's shallow companions with his caustic raillery. Along with a Fool, he attacks Timon's creditors when they show up to make their demands for immediate payment. Timon has no money to repay his debt, thus he sends out his servants to request for money from those friends he considers closest.

Timon's servants are turned down, one by one, by Timon's false friends. Elsewhere, one of Alcibiades's junior officers, in a rage, kills a man in "hot blood".  Alcibiades pleads with the Senate for his mercy, arguing that a crime of passion should not carry as severe a sentence as premeditated murder. The senators disagree, and, when Alcibiades persists, banish him forever. Alcibiades vows to seek revenge, with the support of his troops. The act finishes with Timon discussing with his servants the revenge he will carry out at his next banquet.

Timon hosts a smaller party, intended only for those he feels have betrayed him. The serving trays are brought in, only to reveal that the trays contain rocks and lukewarm water. Timon ambushes his false friends and flees Athens. The loyal Flavius vows to find him.

Cursing the city walls, Timon goes into the wilderness and makes his crude home in a cave, sustaining himself on roots. Here he discovers an underground trove of gold. The knowledge of his discovery spreads. Alcibiades, Apemantus, and three bandits are able to find Timon before Flavius does. Accompanying Alcibiades are two prostitutes, Phrynia and Timandra, who trade barbs with the bitter Timon on the subject of venereal disease. Timon offers most of the gold to the rebel Alcibiades to subsidise his assault on the city, which Timon now wants to see destroyed, as his experiences have reduced him to misanthropy. He gives the rest to his whores, to spread disease, and much of the remainder to the poet and the painter, who arrive soon after, leaving little for the senators who visit him. Apemantus appears and accuses Timon of copying his pessimistic ways, and there is a mutually misanthropic exchange of invective.

Flavius arrives. Flavius asks Timon for money as well, but also asks for Timon to return to society. Timon acknowledges that he has had one true friend in Flavius, a shining example of an otherwise diseased and impure race, but laments that Flavius is a mere servant. He invites the last set of envoys from Athens, who hoped Timon might placate Alcibiades, to go hang themselves, and then dies in the wilderness. Alcibiades, marching on Athens, throws down his glove, and ends the play reading the bitter epitaph Timon wrote for himself, part of which was composed by Callimachus:
Here lies a wretched corpse of wretched soul bereft:
Seek not my name: a plague consume you wicked caitiffs left!
Here lie I, Timon, who alive, all living men did hate,
Pass by, and curse thy fill, but pass and stay not here thy gait.

Date and text

The play's date is uncertain, though its bitter tone links it with Coriolanus and King Lear. John Day's play Humour Out of Breath, published in 1608, contains a reference to "the lord that gave all to his followers, and begged more for himself"a possible allusion to Timon that would, if valid, support a date of composition before 1608. It has been proposed that Shakespeare himself took the role of the Poet, who has the fifth-largest line count in the play.

The play was entered into the Stationers' Register in 1623. There are no contemporary allusions to the play by which its date of composition may be determined, nor is there an agreed means of explaining the play's "loose ends and inconsistencies". Editors since the twentieth century have sought to remedy these defects through conjectures about Shakespeare's emotional development (Chambers); hypotheses concerning the play's "unfinished state" (Ellis-Fermor) and "scribal interference" (Oliver); and through statistical analyses of vocabulary, stage directions, and so forth.

Assuming the play is a collaboration between Shakespeare and Middleton, its date has been placed in the period 1605–1608, most likely 1606.
In his 2004 edition for the Oxford Shakespeare, John Jowett argues the lack of act divisions in the Folio text is an important factor in determining a date. The King's Men only began to use act divisions in their scripts when they occupied the indoor Blackfriars Theatre in August 1608 as their winter playhouse. Timon is notoriously difficult to divide into acts, suggesting to Jowett that it was written at a time when act divisions were of no concern to the writer, hence it must have been written prior to August 1608. A terminus post quem may come from a possible topical allusion to the Gunpowder Plot of November 1605; "those that under hot ardent zeal would set whole realms on fire" (scene 7, 32–33). In the context of the play, the line is referring to religious zeal, but some scholars feel it is a subtle reference to the events of November.
The play may also have been influenced by a pamphlet published in June 1605, Two Unnatural and Bloody Murders, which served as the primary source for Thomas Middleton's A Yorkshire Tragedy. This would narrow the possible range of dates to sometime between November 1605 and August 1608. Furthermore, MacDonald P. Jackson's rare-word test found the conjectured Shakespearean parts of the text date to 1605–1606. Going further, Jackson found that if one examines the non-Shakespearean sections in the context of Middleton's career, a date of 1605–1606 also results.

Sources
Shakespeare, in writing the play, probably drew upon the twenty-eighth novella of William Painter's Palace of Pleasure, the thirty-eighth novella of which was the main source for his All's Well That Ends Well. He also drew upon Plutarch's Lives, and perhaps Lucian's Dialogues and a lost comedy on the subject of Timon, allusions to which survive from 1584.

Authorship
Since the nineteenth century, suggestions have been made that Timon is the work of two writers, and it has been argued that the play's unusual features are the result of the play being co-authored by playwrights with very different mentalities; the most popular candidate, Thomas Middleton, was first suggested in 1920.

The play contains several narrative inconsistencies uncharacteristic of Shakespeare, an unusually unsatisfying dénouement, drastically different styles in different places and an unusually large number of long lines that do not scan. One theory is that the play as it appears in the First Folio is unfinished. E. K. Chambers believes Shakespeare began the play, but abandoned it due to a mental breakdown, never returning to finish it. F. W. Brownlow believes the play to have been Shakespeare's last, and remained uncompleted at his death.
The now-predominant theory of collaborative authorship
was proposed by Charles Knight in 1838.
Today, many scholars believe that other dramatist was Thomas Middleton. However, the exact nature of the collaboration is disputed. Did Middleton revise a piece begun by Shakespeare, did Shakespeare revise Middleton's work, or did they work together? John Jowett, editor of the play for both the Oxford Shakespeare: Complete Works and the individual Oxford Shakespeare edition, believes Middleton worked with Shakespeare in an understudy capacity and wrote scenes 2 (1.2 in editions which divide the play into acts), 5 (3.1), 6 (3.2), 7 (3.3), 8 (3.4), 9 (3.5), 10 (3.6) and the last eighty lines of 14 (4.3).

A 1917 study by J. M. Robertson posited that George Chapman wrote "A Lover's Complaint" and was the originator of Timon of Athens. These claims were rejected by other commentators, including Bertolt Brecht, Frank Harris,<ref>Harris, Frank.  On "Timon of Athens" as Solely the Work of Shakespeare</ref> and Rolf Soellner (1979), who thought the play was a theatrical experiment. They argued that if one playwright revised another's play it would have been "fixed" to the standards of Jacobean theatre, which is clearly not the case. Soellner believed the play is unusual because it was written to be performed at the Inns of Court, where it would have found a niche audience with young lawyers.

Linguistic analyses of the text have all discovered apparent confirmation of the theory that Middleton wrote much of the play. It contains numerous words, phrases, and punctuation choices that are characteristic of his work but rare in Shakespeare. These linguistic markers cluster in certain scenes, apparently indicating that the play is a collaboration between Middleton and Shakespeare, not a revision of one's work by the other.
The evidence suggests that Middleton wrote around one third of the play, mostly the central scenes. The editor of the Oxford edition, John Jowett, states that Middleton,

wrote the banquet scene (Sc. 2), the central scenes with Timon's creditors and Alcibiades' confrontation with the senate, and most of the episodes figuring the Steward. The play's abrasively harsh humour and its depiction of social relationships that involve a denial of personal relationships are Middletonian traits[.]

Jowett stresses that Middleton's presence does not mean the play should be disregarded, stating "Timon of Athens is all the more interesting because the text articulates a dialogue between two dramatists of a very different temper."

Analysis and criticism

Many scholars find much unfinished about this play including unexplained plot developments, characters who appear unexplained and say little, prose sections that a polished version would have in verse (although close analysis would show this to be almost exclusively in the lines of Apemantus, and probably an intentional character trait), and the two epitaphs, one of which doubtless would have been cancelled in the final version. However, similar duplications appear in Julius Caesar and Love's Labour's Lost and are generally thought to be examples of two versions being printed when only one was ultimately used in production, which could easily be the case here.

 Frank Kermode refers to the play as "a poor relation of the major tragedies." This is the majority view, but the play has many scholarly defenders as well. Nevertheless, and perhaps unsurprisingly due to its subject matter, it has not proven to be among Shakespeare's popular works.

An anonymous play, Timon, also survives. In this adaptation, Timon is explicitly hedonistic and spends his money much more on himself than in Shakespeare's version. He also has a mistress. It mentions a London inn called The Seven Stars that did not exist before 1602, yet it contains elements that are in Shakespeare's play but not in Plutarch or in Lucian's dialogue, Timon the Misanthrope, the other major accepted source for Shakespeare's play. Both Jacobean plays deal extensively with Timon's life before his flight into the wilderness, which in both Greek versions is given little more than one sentence each.

Soellner (1979) argues that the play is equal parts tragedy and satire, but that neither term can adequately be used as an adjective, for it is first and foremost a tragedy, and it does not satirise tragedy; rather, it satirises its subjects in the manner of Juvenalian satire while simultaneously being a tragedy.

Herman Melville considered Timon to be among the most profound of Shakespeare's plays, and in his 1850 review "Hawthorne and His Mosses" writes that Shakespeare is not "a mere man of Richard-the-Third humps, and Macbeth daggers," but rather "it is those deep far-away things in him; those occasional flashings-forth of the intuitive Truth in him; those short, quick probings at the very axis of reality: these are the things that make Shakespeare, Shakespeare. Through the mouths of the dark characters of Hamlet, Timon, Lear, and Iago, he craftily says, or sometimes insinuates the things, which we feel to be so terrifically true, that it were all but madness for any good man, in his own proper character, to utter, or even hint of them." In his 1590 Greene's Mourning Garment, Robert Greene used the term "Timonist" to refer to a lonely misanthrope. In his 1852 novel Pierre, Melville used the term "Timonism" about an artist's contemptuous rejection of both his audience and mankind in general.

Appreciation of the play often pivots on the reader's perception of Timon's asceticism. Admirers like Soellner point out that Shakespeare's text has Timon neither drink wine nor eat meat: only water and roots are specifically mentioned as being in his diet, which is also true of Apemantus. If one sees Timon's parties not as mere excuses to have fun, but as vain attempts to genuinely win friends among his peers, he gains sympathy. This is true of Pryce's Timon in the television version mentioned below, whose plate is explicitly shown as being perpetually unsoiled by food, and he tends to be meek and modest. This suggests a Timon who lives in the world but not of it. Other versions, often by creators who regard the play as a lesser work, involve jazz-era swinging (sometimes, such as in the Michael Langham/Brian Bedford production (in which Timon eats flamingo) set to a score that Duke Ellington composed for it in the 1960s), and conclude the first act with a debauchery. The Arkangel Shakespeare audio recording featuring Alan Howard (with Rodway reprising his television role) also takes this route: Howard's line readings suggest that Timon is getting drunker and drunker during the first act; he does not represent the moral or idealistic figure betrayed by the petty perceived by Soellner and Brecht the way Pryce does.

Themes and motifs

Major motifs in Timon include dogs, breath, gold (from act IV on), and "use" (in the sense of usury). One of the most common emendations of the play is the Poet's line "Our Poesie Is as a Gowne, which uses From whence 'tis nourisht", to "our poesy is as a gum, which oozes from whence 'tis nourished" (originated by Pope and Johnson). Soellner says that such emendations erode the importance of this motif, and suggests a better emendation would be "from" to "form," creating a mixed metaphor "revelatory of the poet's inanity."

One odd emendation that often appears near the end of the play is Alcibiades commanding his troops to "cull th' infected fourth" from the Senate, as if he intends to destroy a fourth of the Senate. The word in the folio is, in fact, "forth", suggesting that "th' infected" are simply the ones who argued strongly against the cases of Timon and Alicibiades's officer, and that the troops are to leave alone those who just went along with it.

Banquets and feasting in Shakespeare are dramatically significant; besides sometimes being of central and structural importance, they often present dramatic spectacles in themselves. The first banquet of Timon of Athens reflects contemporary understandings of lavish Athenian entertainment at which Timon celebrates friendship and society. All the citizens are welcome to the banquet, as in accordance with the democratic principles of Athens. The second banquet functions as a parody of the first, as Timon uses it to exact revenge on his false friends, before abandoning feasting and the city completely by exiling himself. The senses are absent from this feast: Timon mocks the insatiable appetite of his guests as he uncovers dishes of smoke and water. Timon is misled by facades of friendship, and so inflicts apropos revenge: misleading those that had misled him by having them suffer the disillusionment of mortal senses with the mere spectacle of a banquet.

Shakespeare includes the character of Alcibiades in the play, the ultimate redeemer of iniquitous Athens. He would have been known among the educated of the audience for his presence at the Greek banquet in Plato's Symposium at which he gets the last word on the nature of love, proposing that it cannot be found in superficial appearance.

Performance history

Performance history in Shakespeare's lifetime is unknown, though the same is also true of his more highly regarded plays such as Antony and Cleopatra and Coriolanus, which most scholars believe were written in the same period.

The earliest known performance of the straight Shakespearean text was at Smock Alley Theatre in Dublin in 1761.
The earliest-known production of a predominantly Shakespearean version of the play in the United Kingdom was at Sadler's Wells in 1851.

It has played once on Broadway, at the Lyceum Theatre in 1993, with Brian Bedford in the title role. This was a production of The Public Theater, which revived the play in February 2011 with Richard Thomas in the lead role, citing it as a play for the Great Recession.

The Chicago Shakespeare Theater first staged the play in 1997. It was the company's first modern-dress production. In April 2012, C.S.T. again staged the play with the Scottish actor Ian McDiarmid playing Timon. The play was given a new ending by director Barbara Gaines.

In August 2011, the Hudson Shakespeare Company of New Jersey staged Timon of Athens as part of their summer Shakespeare in the Parks series. As a departure from several other modern dress productions, director Jon Ciccarelli set the action in the "Roaring 20s" with corrupt politicians, mobsters and making the characters of Alcibiades, Timon of Athens and Flavius veterans of World War I. Timon (Imran Sheikh) was portrayed as a 'Great Gatsby' type figure who loses his great fortune to corrupt "friends".

In July 2012 the British National Theatre produced a version of the play set in modern dress and in the present time of scandal and fraud in the City of London and the British media. The play was directed by Nicholas Hytner. The National Theatre production was broadcast live to cinemas worldwide on 1 November 2012 as part of the National Theatre Live programme.

From 7 December 2018 to 22 February 2019 the play was revived by the Royal Shakespeare Company in a version directed by Simon Godwin, also in modern dress and featuring contemporary visual allusions, starring Kathryn Hunter as Lady Timon, one of several gender changes. Hunter and Godwin's version also had a run in New York City at Theatre for a New Audience in Brooklyn. The show opened on 19 January 2020, and ran through 9 February 2020. The following month the production played at the Shakespeare Theater Company's Kline Theatre in Washington DC.

Adaptations

TV adaptations
Rarely performed, Timon of Athens was produced for TV as part of the BBC Television Shakespeare series in 1981 with Jonathan Pryce as Timon, Norman Rodway as Apemantus, John Welsh as Flavius, and John Shrapnel as Alcibiades, with Diana Dors as Timandra, Tony Jay as the Merchant, Sebastian Shaw as the Old Athenian, and John Fortune and John Bird as Poet and Painter. This Elizabethan/Jacobean historical period drama production was directed by Jonathan Miller.

Film adaptationsI, Timon was released in 2016 premiered at the 2017 Hoboken International Film Festival (where it was nominated for "Best Director" and "Best Cinematography"). Bramwell Noah appears in the title role (and is also responsible for the original adaptation of the play for the big screen). The film also features a soundtrack based on the musical score Hexachordum Apollinis by Johann Pachelbel.

Play adaptations
In 1678 Thomas Shadwell produced a popular adaptation, The History of Timon of Athens, the Man-Hater, to which Henry Purcell later composed the music. Shadwell added two women to the plot: Melissa, Timon's faithless fiancee, and Evandre, his loyal and discarded mistress. James Dance made another adaptation in 1768, soon followed by Richard Cumberland's version at Drury Lane in 1771, in which the dying Timon gives his daughter, Evadne, not present in Shakespeare's original, to Alcibiades.

Further adaptations followed in 1786 (Thomas Hull's at Covent Garden) and 1816 (George Lamb's at Drury Lane), ending with an 1851 production reinstating Shakespeare's original text by Samuel Phelps at Sadler's Wells.

Peter Brook directed a French-language production in the sixties in which Timon was portrayed as an innocent idealist in a white tuxedo, ripped and dishevelled in the second part. His cast was primarily young, and Apemantus was Algerian. Commentators who admire the play typically see Timon as intended to have been a young man behaving in a naïve way. The play's detractors usually cite an oblique reference to armour in act IV as evidence that Timon is a long-retired soldier.

British playwright Glyn Cannon wrote a short adaptation of the play called Timon's Daughter. It premiered in May, 2008 at the Old Fitzroy Theatre in Sydney. Cannon's play revisits the major themes of charity and giving in the original work, with a story that follows the adventures of Timon's daughter (named "Alice" in Cannon's play) when she is taken in by Flavius (renamed "Alan").

Musical versions
Shadwell's adaptation of the play was first performed with music by Louis Grabu in 1678. More famously, the 1695 revival had new music by Henry Purcell, most of it appearing in the masque that ended act 2. Duke Ellington was commissioned to compose original music for the Stratford Shakespeare Festival's first production of Timon of Athens in 1963. Stephen Oliver, who wrote the incidental music for the BBC television version, composed a two-act opera, Timon of Athens, which was first performed at the London Coliseum on 17 May 1991.

Cultural references
Ralph Waldo Emerson alludes to Timon in Essays: Second Series (1844) in an essay entitled "Gifts." Emerson says, "This giving is flat usurpation, and therefore when the beneficiary is ungrateful, as all beneficiaries hate all Timons … I rather sympathize with the beneficiary, than with the anger of my lord Timon."

Karl Marx discusses and quotes Timon in his Economic and Philosophical Manuscripts of 1844 and Das Kapital, Volume I. Marx's analysis focuses on how passages from Timon of Athens (act IV, scene III) shed light on the nature and amoral power of money:
 "It is the visible divinity – the transformation of all human and natural properties into their contraries, the universal confounding and distorting of things: impossibilities are soldered together by it."
 "It is the common whore, the common procurer of people and nations."

Charlotte Brontë includes an allusion to Timon in Villette (1853). Ginevra Fanshawe affectionately nicknames Lucy "Timon," which highlights Ginevra's role as a foil for Lucy. Herman Melville references Timon repeatedly in his novel The Confidence-Man (1857), when referring to confidence as a preferable trait in all circumstances to misanthropy. Charles Dickens alludes to Timon in Great Expectations (1861) when Wopsle moves to London to pursue a life in the theatre. Thomas Hardy alludes to Timon in his short story, "The Three Strangers" (1883).

The English artist and writer Wyndham Lewis produced one work of art, a portfolio of drawings titled "Timon of Athens" (1913), a preliminary example of the style of art that would come to be called Vorticist.

Danish author Karen Blixen (Isak Dinesen) has a story within the tale titled "The Deluge of Norderney" in her Seven Gothic Tales (1934). It tells about a Hamlet-like figure, called Timon of Assens , who comes from the Danish town of Assens.

Vladimir Nabokov borrowed the title for his novel Pale Fire (1962) from this quotation of Timon's in act IV, scene III:
The sun's a thief, and with his great attraction
Robs the vast sea: the moon's an arrant thief,
And her pale fire she snatches from the sun...
A copy of Timon of Athens features variously in the plot of Pale Fire and, at one point, the quotation above is amusingly mistranslated from the fictional language of Zemblan, a trademark prank of the polyglot Nabokov. The theme of thievery to which Timon is alluding is also a principal theme of Pale Fire, referring to Charles Kinbote's misappropriation of the poem by the deceased John Shade that forms part of the novel's structure.

Notes

References

 Butler, Francelia. The Strange Critical Fortunes of Shakespeare's Timon of Athens. Ames, Iowa: Iowa State University Press, 1966.
 Oliver, H. J., ed. Timon of Athens. The Arden Shakespeare. Surrey: Methuen and Company, 1959.

External links

 , modern edited text by the Folger Shakespeare Library
 Timon of Athens''Original spelling and Facsimiles from the Internet Shakespeare Editions

1607 plays
1608 plays
British plays adapted into films
Shakespearean tragedies
Plays by Thomas Middleton
English Renaissance plays
Plays set in ancient Greece
Tragedy plays
Plays set in Athens
Plays set in the 5th century BC

Timon of Athens


The Wizard's Dilemma is the fifth book in the Young Wizards series by Diane Duane. It is the sequel to A Wizard Abroad.

Plot summary
Nita and Kit start to fight about the solution to the pollution in Jones Inlet, leading Nita to start to work on her own for a while. In the meantime, Nita's mother falls ill and is taken to the hospital with a brain tumor.

Meanwhile, Kit finds out that his dog, Ponch, is able to create universes out of nothing, bringing in a lot of research possibilities where they can explore. Nita begins to practice with kernels - magical "software" that describes and reflects the surrounding area- in order to try to save her mother's life.

While practicing, Nita meets a wizard named Pralaya who might be able to join her in saving her mother's life.  She then discovers that the wizard may be overshadowed by the Lone Power, making it a dangerous prospect for them to work together. She discusses it with Kit, who decides to help her as well.

While her mother is in surgery, Nita enters her body with Pralaya and begins to search for the kernel in order to kill the cancer, leaving Kit behind. Kit, using the universes Ponch creates, is able to also enter Mrs. Callahan's body to aid Nita and her mother. He helps her undo the deal she was in the process of making with the Lone Power for her mother's life, but she is still unable to eliminate all of the cancer. As the Lone Power is gloating in his anticipated victory, Nita's mother is able to take control of the kernel and defeat the Lone Power. She realizes that if she were to cure herself, she would be starting down a path at the end of which nothing would matter to her except extending her life, so she chooses to live out what life is left to her in love.

External links
 Young Wizards Website

2001 American novels
Young adult fantasy novels
American young adult novels
2001 children's books

The Wizard's Dilemma


In computer programming, standard streams are interconnected input and output communication channels between a computer program and its environment when it begins execution. The three input/output (I/O) connections are called standard input (stdin), standard output (stdout) and standard error (stderr). Originally I/O happened via a physically connected system console (input via keyboard, output via monitor), but standard streams abstract this. When a command is executed via an interactive shell, the streams are typically connected to the text terminal on which the shell is running, but can be changed with redirection or a pipeline. More generally, a child process inherits the standard streams of its parent process.

Application

Users generally know standard streams as input and output channels that handle data coming from an input device, or that write data from the application. The data may be text with any encoding, or binary data.
In many modern systems, the standard error stream of a program is redirected into a log file, typically for error analysis purposes.

Streams may be used to chain applications, meaning that the output stream of one program can be redirected to be the input stream to another application. In many operating systems this is expressed by listing the application names, separated by the vertical bar character, for this reason often called the pipeline character. A well-known example is the use of a pagination application, such as more, providing the user control over the display of the output stream on the display.

Background
In most operating systems predating Unix, programs had to explicitly connect to the appropriate input and output devices. OS-specific intricacies caused this to be a tedious programming task. On many systems it was necessary to obtain control of environment settings, access a local file table, determine the intended data set, and handle hardware correctly in the case of a punch card reader, magnetic tape drive, disk drive, line printer, card punch, or interactive terminal.

One of Unix's several groundbreaking advances was abstract devices, which removed the need for a program to know or care what kind of devices it was communicating with. Older operating systems forced upon the programmer a record structure and frequently non-orthogonal data semantics and device control.  Unix eliminated this complexity with the concept of a data stream:  an ordered sequence of data bytes which can be read until the end of file.  A program may also write bytes as desired and need not, and cannot easily declare their count or grouping.

Another Unix breakthrough was to automatically associate input and output to terminal keyboard and terminal display, respectively, by default — the program (and programmer) did absolutely nothing to establish input and output for a typical input-process-output program (unless it chose a different paradigm).  In contrast, previous operating systems usually required some—often complex—job control language to establish connections, or the equivalent burden had to be orchestrated by the program.

Since Unix provided standard streams, the Unix C runtime environment was obliged to support it as well.  As a result, most C runtime environments (and C's descendants), regardless of the operating system, provide equivalent functionality.

Standard input (stdin)
Standard input is a stream from which a program reads its input data. The program requests data transfers by use of the read operation. Not all programs require stream input. For example, the dir and ls programs (which display file names contained in a directory) may take command-line arguments, but perform their operations without any stream data input.

Unless redirected, standard input is inherited from the parent process.  In the case of an interactive shell, that is usually associated with the keyboard.

The file descriptor for standard input is 0 (zero); the POSIX <unistd.h> definition is STDIN_FILENO; the corresponding C <stdio.h> variable is FILE* stdin; similarly, the C++ <iostream> variable is std::cin.

Standard output (stdout)
Standard output is a stream to which a program writes its output data.  The program requests data transfer with the write operation.  Not all programs generate output.  For example, the file rename command (variously called mv, move, or ren) is silent on success.

Unless redirected, standard output is inherited from the parent process.  In the case of an interactive shell, that is usually the text terminal which initiated the program.

The file descriptor for standard output is 1 (one); the POSIX <unistd.h> definition is STDOUT_FILENO; the corresponding C <stdio.h> variable is FILE* stdout; similarly, the C++ <iostream> variable is std::cout.

Standard error (stderr)
Standard error is another output stream typically used by programs to output error messages or diagnostics.  It is a stream independent of standard output and can be redirected separately.

This solves the semi-predicate problem, allowing output and errors to be distinguished, and is analogous to a function returning a pair of values – see Semi-predicate problem: Multi valued return. The usual destination is the text terminal which started the program to provide the best chance of being seen even if standard output is redirected (so not readily observed). For example, output of a program in a pipeline is redirected to input of the next program or a text file, but errors from each program still go directly to the text terminal so they can be reviewed by the user in real time.

It is acceptable and normal to direct standard output and standard error to the same destination, such as the text terminal.  Messages appear in the same order as the program writes them, unless buffering is involved. For example, in common situations the standard error stream is unbuffered but the standard output stream is line-buffered; in this case, text written to standard error later may appear on the terminal earlier, if the standard output stream buffer is not yet full.

The file descriptor for standard error is defined by POSIX as 2 (two); the <unistd.h> header file provides the symbol STDERR_FILENO; the corresponding C <stdio.h> variable is FILE* stderr. The C++ <iostream> standard header provides two variables associated with this stream: std::cerr and std::clog, the former being unbuffered and the latter using the same buffering mechanism as all other C++ streams.

Bourne-style shells allow standard error to be redirected to the same destination that standard output is directed to using
  2>&1

csh-style shells allow standard error to be redirected to the same destination that standard output is directed to using
  >&

Standard error was added to Unix in the 1970s after several wasted phototypesetting runs ended with error messages being typeset instead of displayed on the user's terminal.

Timeline

1950s: Fortran
Fortran has the equivalent of Unix file descriptors: By convention, many Fortran implementations use unit numbers UNIT=5 for stdin, UNIT=6 for stdout and UNIT=0 for stderr.  In Fortran-2003, the intrinsic ISO_FORTRAN_ENV module was standardized to include the named constants INPUT_UNIT, OUTPUT_UNIT, and ERROR_UNIT to portably specify the unit numbers.
! FORTRAN 77 example
      PROGRAM MAIN
        INTEGER NUMBER
        READ(UNIT=5,*) NUMBER
        WRITE(UNIT=6,'(A,I3)') ' NUMBER IS: ',NUMBER
      END
! Fortran 2003 example
program main
  use iso_fortran_env
  implicit none
  integer :: number
  read (unit=INPUT_UNIT,*) number
  write (unit=OUTPUT_UNIT,'(a,i3)') 'Number is: ', number
end program

1960: ALGOL 60
ALGOL 60 was criticized for having no standard file access.

1968: ALGOL 68
ALGOL 68's input and output facilities were collectively referred to as the transput. Koster  coordinated the definition of the transput standard.  The model included three standard channels: stand in, stand out, and stand back.

1970s: C and Unix
In the C programming language, the standard input, output, and error streams are attached to the existing Unix file descriptors 0, 1 and 2 respectively. In a POSIX environment the <unistd.h> definitions STDIN_FILENO, STDOUT_FILENO or STDERR_FILENO should be used instead rather than magic numbers.   File pointers stdin, stdout, and stderr are also provided.

Ken Thompson (designer and implementer of the original Unix operating system) modified sort in Version 5 Unix to accept "-" as representing standard input, which spread to other utilities and became a part of the operating system as a special file in Version 8. Diagnostics were part of standard output through Version 6, after which Dennis M. Ritchie created the concept of standard error.

1995: Java
In Java, the standard streams are referred to by  (for stdin),  (for stdout), and   (for stderr).
public static void main(String args[]) {
    try {
        BufferedReader br =
          new BufferedReader(new InputStreamReader(System.in));
        String s = br.readLine();
        double number = Double.parseDouble(s);
        System.out.println("Number is:" + number);
    } catch (Exception e) {
        System.err.println("Error:" + e.getMessage());
    }
}

2000s: .NET
In C# and other .NET languages, the standard streams are referred to by System.Console.In (for stdin), System.Console.Out (for stdout) and System.Console.Error (for stderr). Basic read and write capabilities for the stdin and stdout streams are also accessible directly through the class System.Console (e.g. System.Console.WriteLine() can be used instead of System.Console.Out.WriteLine()).

System.Console.In, System.Console.Out and System.Console.Error are System.IO.TextReader (stdin) and System.IO.TextWriter (stdout, stderr) objects, which only allow access to the underlying standard streams on a text basis. Full binary access to the standard streams must be performed through the System.IO.Stream objects returned by System.Console.OpenStandardInput(), System.Console.OpenStandardOutput() and System.Console.OpenStandardError() respectively.
// C# example
public static int Main(string[] args)
{
    try {
        string s = System.Console.In.ReadLine();
        double number = double.Parse(s);
        System.Console.Out.WriteLine("Number is: {0:F3}", number);
        return 0;

    // If Parse() threw an exception
    } catch (ArgumentNullException) {
        System.Console.Error.WriteLine("No number was entered!");
    } catch (FormatException) {
        System.Console.Error.WriteLine("The specified value is not a valid number!");
    } catch (OverflowException) {
        System.Console.Error.WriteLine("The specified number is too big!");
    }

    return -1;
}

' Visual Basic .NET example

Public Function Main() As Integer
    Try
        Dim s As String = System.Console.[In].ReadLine()
        Dim number As Double = Double.Parse(s)
        System.Console.Out.WriteLine("Number is: {0:F3}", number)
        Return 0

    ' If Parse() threw an exception
    Catch ex As System.ArgumentNullException
        System.Console.[Error].WriteLine("No number was entered!")
    Catch ex2 As System.FormatException
        System.Console.[Error].WriteLine("The specified value is not a valid number!")
    Catch ex3 As System.OverflowException
        System.Console.[Error].WriteLine("The specified number is too big!")
    End Try

    Return -1
End Function

When applying the System.Diagnostics.Process class one can use the instance properties StandardInput, StandardOutput, and StandardError of that class to access the standard streams of the process.

2000 - : Python (2 or 3)
The following example, written in Python, shows how to redirect the standard input both to the standard output
and to a text file.

#!/usr/bin/env python
import sys
# Save the current stdout so that we can revert sys.stdout
# after we complete our redirection
stdin_fileno = sys.stdin
stdout_fileno = sys.stdout
# Redirect sys.stdout to the file
sys.stdout = open('myfile.txt', 'w')
ctr = 0
for inps in stdin_fileno:
    ctrs = str(ctr)
    # Prints to the redirected stdout ()
    sys.stdout.write(ctrs + ") this is to the redirected --->" + inps + '\n')
    # Prints to the actual saved stdout handler
    stdout_fileno.write(ctrs + ") this is to the actual  --->" + inps + '\n')
    ctr = ctr + 1
# Close the file
sys.stdout.close()
# Restore sys.stdout to our old saved file handler
sys.stdout = stdout_fileno

GUIs
Graphical user interfaces (GUIs) do not always make use of the standard streams; they do when GUIs are wrappers of underlying scripts and/or console programs, for instance the Synaptic package manager GUI, which wraps apt commands in Debian and/or Ubuntu. GUIs created with scripting tools like Zenity and KDialog by KDE project make use of stdin, stdout, and stderr, and are based on simple scripts rather than a complete GUI programmed and compiled in C/C++ using Qt, GTK, or other equivalent proprietary widget framework.

The Services menu, as implemented on NeXTSTEP and Mac OS X, is also analogous to standard streams. On these operating systems, graphical applications can provide functionality through a system-wide menu that operates on the current selection in the GUI, no matter in what application.

Some GUI programs, primarily on Unix, still write debug information to standard error. Others (such as many Unix media players) may read files from standard input. Popular Windows programs that open a separate console window in addition to their GUI windows are the emulators pSX and DOSBox.

GTK-server can use stdin as a communication interface with an interpreted program to realize a GUI.

The Common Lisp Interface Manager paradigm "presents" GUI elements sent to an extended output stream.

See also
 Redirection (computing)
 Stream (computing)
 Input/output
 C file input/output
 SYSIN and SYSOUT
 Standard streams in OpenVMS

References

Sources

 "Standard Streams", The GNU C Library
 KRONOS 2.1 Reference Manual, Control Data Corporation, Part Number 60407000, 1974
 NOS Version 1 Applications Programmer's Instant, Control Data Corporation, Part Number 60436000, 1978
 Level 68 Introduction to Programming on MULTICS , Honeywell Corporation, 1981
 Evolution of the MVS Operating System, IBM Corporation, 1981
 Lions' Commentary on UNIX Sixth Edition, John Lions, , 1977
 Console Class, .NET Framework Class Library, Microsoft Corporation, 2008

External links
 Standard Input Definition - by The Linux Information Project
 Standard Output Definition - by The Linux Information Project
 Standard Error Definition - by The Linux Information Project

Unix

Standard streams


The Rebbe the Messiah, and the Scandal of Orthodox Indifference is a book by Rabbi Dr. David Berger on the topic of Chabad messianism and the mainstream orthodox Jewish reaction to that trend. Rabbi Berger addresses the Chabad-Messianic question, regarding a dead Messiah, from a halachic perspective. The book is written as a historical narrative of Berger's encounter with Chabad messianism from the time of the death of the Lubavitcher Rebbe, Rabbi Menachem Mendel Schneerson in 1994 through the book's publication in 2001.  The narrative is interlaced with Dr. Berger's published articles, written correspondences, and transcribed public lectures, in which he passionately appeals to both the leadership of the Orthodox and Chabad communities for an appropriate response to Chabad-Lubavitch messianism.

Criticism of Chabad-Lubavitch messianism

Berger, an academic expert on Jewish responses to Christianity, particularly claims of Jesus' messiahship and divinity, criticized what he viewed as similar assertions made by some religious leaders of the Chabad-Lubavitch movement about Schneerson shortly after Schneerson's death in 1994 and even in 2014. Berger argues that the assertion a person could begin a messianic mission, die, and posthumously return to complete his mission has been unanimously rejected by the Sages and Jewish polemicists for nearly 2,000 years. An example of Berger's proof-texts is the passage in the Talmud which shows that Rabbi Akiva set aside his previous assertions of Simon bar Kokhba's presumed messiahship after bar Kokhba was put to death. To Berger, the Messianists' viewpoint on this issue is outside the pale of accepted Orthodox Jewish belief. Berger has been highly disappointed by the Orthodox establishment's reaction to Chabad-Lubavitch's claims that Schneerson is the Jewish messiah, arguing that there is a "scandal of Orthodox indifference".

Support

His views are shared and supported by many prominent Orthodox authorities, including the late Rosh yeshiva ("dean") Rabbi Elazar Shach (see Elazar Shach: Opposition to the Lubavitcher Rebbe) and the vehement opposition of the  Rabbinical Seminary of America (Yeshivas Chofetz Chaim) in New York City, and that of the Rabbinical Council of America (See Chabad messianism: Rabbinical Council of America.)

Rabbi Aharon Feldman, the dean of the non-Hasidic Yeshiva Ner Yisrael: Ner Israel Rabbinical College in Baltimore, Maryland, wrote a widely disseminated letter in 2004 which stated that Orthodox Jews should avoid praying in Chabad synagogues that avowed a belief in the Rebbe as the Messiah. He stated that while there is nothing in Jewish law stating that the messianist views of Chabad-Lubavitch are heretical per se, they "dig under the foundations of Torah fundamentals" and any support of them should be avoided.

Conflict over Rav Ahron Soloveichik's position

In June 1996, The Jewish Press published a paid advertisement that included a letter with Rabbi Ahron Soloveichik's signature. The letter included the assertion that Soloveitchik believed Schneerson to have been worthy of being Messiah, that the Chabad position that Schneerson was the Messiah could not be dismissed as heretical, and cited a number of sources to demonstrate that he could be the Messiah. The letter also attacked Chabad's critics, and praised Chabad's works.

Many messianists believe that Soloveichik defended their position and bring him as a source to back up their arguments. Yet the letter caused confusion as this was a reversal of Soloveichik's previous position on the matter. In 1994, Soloveichik had told The Forward that Schneerson "can't be the Messiah - he is not living - a Messiah has to be living. A living Messiah, not a dead Messiah." He had also expressed shock at the idea that anyone could suggest that the Messiah could be from among the dead noting that "that could be possible in the Christian faith, but not Judaism" adding that this was "repugnant to everything Judaism represents."

Berger provides a letter from Soloveitchik to a friend in 2000, that resolves the contradiction between his two positions. Soloveichik writes:
To my great dismay. . . publications affiliated with the Lubavitch movement have persisted in stating that I validate their belief that a Jewish Messiah may be resurrected from the dead. I completely reject and vigorously deny any such claim. As I have already stated publicly. . .  such a belief is repugnant to Judaism and is the antithesis of the truth. My intent in signing the original letter . . . was merely to express my opinion that we should not label subscribers to these beliefs as heretics. Any statements in that letter which imply an endorsement of their view were not shown to me at the time I signed and I once again repudiate any such ridiculous claim.

Criticism

David Singer, Director of Research for the American Jewish Committee, wrote a critique of the book in First Things, stating, among other things, that Berger has "emerged as a would-be Torquemada on the Orthodox scene, demanding a policy of 'intolerance' and 'exclusion' toward those he deems to be heretical to Orthodoxy." Berger responded at length on the OrthodoxyToday.org website, where Singer's article had been reprinted.

Chaim Rapoport has responded with a book-length critique entitled "The Messiah Problem: Berger, the Angel and the Scandal of Reckless Indiscrimination".

References

External links
 "The Rebbe, the Messiah, and the Heresy Hunter" , First Things, May 2003. Book review by David Singer, Director of Research at the American Jewish Committee.
Berger's response to David Singer
 "The Professor, Messiah, & Scandal of Calumnies". Book review by Rabbi Jacob Immanuel Schochet.

2001 non-fiction books
Books about Judaism
Chabad-Lubavitch (Hasidic dynasty)
Menachem Mendel Schneerson
Chabad-Lubavitch related controversies
Jewish messianism

The Rebbe, the Messiah, and the Scandal of Orthodox Indifference


Fort Whipple is a former United States (U.S.) Army post that was temporarily established at Del Rio Springs, north of present day Chino Valley, Arizona, and later relocated to a permanent site near present day Prescott, Arizona.

History
The initial location of the post was established by Major Edward Banker Willis and Captain Nathaniel J. Pishon on December 23, 1863. They led Companies C and F of the First California Volunteers and set up the post under General Order #27 issued by General James Henry Carleton. Only tents and huts were in place, no permanent buildings were constructed at the Del Rio Springs site. The post was named Fort Whipple, after Amiel Weeks Whipple, an American military officer and topographical engineer. He served as a brigadier general in the American Civil War, and was mortally wounded on May 7, 1863, at the Battle of Chancellorsville in Virginia.

The Whipple Expedition led by Lieutenant A.W. Whipple between 1853-1854 was to survey a transcontinental railroad route along the 35th parallel north from Fort Smith, Arkansas to Los Angeles, California. Along the expedition's route, Whipple spotted the fields of gamma grass in the Del Rio Springs area and called the region "Val de China".

The Governor's Party arrived at Fort Whipple on January 22, 1864. Consisting of most of the officials of the new territorial government of Arizona, Governor John Noble Goodwin used the fort as his headquarters while he visited the territory to determine a permanent location for the fort and territorial capital.

On May 18, 1864, Major Willis completed the relocation of the fort twenty-one miles south to a miner's tent settlement on the east bank of Granite Creek. This permanent location for the fort was recommended by Governor Goodwin. Its placement was on higher ground, had better access to lumber, and the military could better protect the miners and pioneers in the Bradshaw Mountains area.  The fort was a large rectangular pine-log stockade. At the same time, Whipple Depot was established as part of the fort. In late May, Prescott (approximately 1½ miles west of the fort) was designated as the permanent capital of the Arizona Territory. The town was named after William H. Prescott, historian. The town's name was suggested by then Secretary Richard Cunningham McCormick of the Arizona Territory, whom had read Hickling's books.

In setting up the territorial government, Goodwin's administration oversaw the first election of members to the 1st Arizona Territorial Legislature in July 1864. In September 1864, they met in Prescott and adopted the Howell Code, which was the first set of statutory laws to govern the territory. The legislature also enacted legislation establishing the Arizona Historical Society, creation of mail routes, and establishing a public education system, which included a public university (the University of Arizona). The legislature's meeting in Prescott made it the de facto capital of the territory.

The old site at Del Rio Springs continued to be used by scouting parties and was called Camp Clark, in honor of John A. Clark, Surveyor General of the New Mexico Territory. The camp site was later sold, becoming Postle's Ranch.

Fort Whipple served as a tactical base for detachments of several regiments involved in the American Indian Wars between 1864 and 1886. Fort Whipple became headquarters of the Military Department of Arizona from 1870 to 1886 when Colonel George Crook was assigned to Fort Whipple. He was responsible for having a new fort built to replace the decrepit palisade fort. Between 1869 and 1872, the old fort stockade was razed and the majority of new construction occurred up until 1877.

Whipple Depot was destroyed by fire in April 1872 and rebuilt by July 1872. In 1878, Whipple Depot was renamed Prescott Barracks. In May 1879, under General Orders #53, Prescott Barracks and Fort Whipple were consolidated to become Whipple Barracks.

From May 1885 to July 1886, Fort Whipple was home to Colonel Benjamin Grierson and Troop B of the 10th Cavalry Regiment (United States), also known as Buffalo Soldiers. By 1895, the fort was dilapidated and in 1897 was scheduled for deactivation.

In April 1898 when the United States declared war on Spain, the U.S. Army reopened Whipple Barracks as a point of muster for Arizona volunteers. 200 volunteers were recruited and called the "Arizona Cowboy Regiment". They departed on May 4, 1898, to assemble in San Antonio, Texas. Officially called the 1st U.S. Volunteer Cavalry, they were nicknamed the "Rough Riders" and fought in Cuba.

Whipple Barracks was inactive between 1899 and 1902, and then reactivated in April 1902 to house and medically treat troops returning from the Spanish–American War and Philippine–American War. New barracks, buildings and quarters were constructed between 1903 and 1908. Four companies (about 500 soldiers' total) moved in.

The Prescott and Mount Union Railway operated an electric trolley passenger service between downtown Prescott and Fort Whipple from 1905 to 1912.

Arizona became a state in 1912. Troops stationed at Whipple Barracks were reassigned to other locations, and in 1913 Whipple Barracks was placed in a caretaker/un-garrisoned post status in 1913, and overseen by a small maintenance crew.

In 1918 during World War I, the U.S. Army reactivated Whipple Barracks as U.S. Army General Hospital #20. The hospital was designed to treat soldiers with respiratory illnesses, primarily tuberculosis (TB). Construction of new wards and other auxiliary buildings took place, including buildings for the American Red Cross and Young Men's Christian Association (YMCA) organizations.

In 1920 the property was loaned to the U.S. Public Health Service (USPHS) and operated under a permit from the War Department. The hospital was designated Hospital #50, Whipple Barracks, Arizona. The hospital retained its primary function in treating former soldiers with tuberculosis. The USPHS operated Whipple Barracks until Executive Order 3669  was signed on April 29, 1922. This executive order transferred the permit and functions of the hospital to the newly established U.S. Veterans Bureau. The facility became one of the most complete sanatoriums for the treatment of tuberculosis in the country.

On July 3, 1930, Public Law Number 536 authorized President Hoover by executive order to consolidate the U.S. Veterans Bureau along with several agencies focused on the treatment of veterans to become the Veterans Administration (VA). March 4, 1931, was the official date transferring the Whipple Barracks title and property from the United States Department of War, also called the War Department to the newly-established Veterans Administration.

The main hospital building (Building 107) was constructed between 1938 and 1939, and opened to receive patients in October 1939.

In July 1959, the VA re-designated Whipple VA hospital as a general medical and surgical hospital, in part due to the decline of tuberculosis patient load and increase of medical and surgical load.

On May 17, 1964, The Veterans Administration celebrated the 100-year anniversary of Fort Whipple. Medical Center Director Kenneth .J. O'Brien presided over the ceremony.

In March 1989, the Veterans Administration became a cabinet-agency and was renamed as the United States Department of Veterans Affairs (VA).

During 1995, a reorganization of the entire agency occurred to refocus and address a variety of veteran's healthcare needs. The VA hospital in Prescott along with the other VA clinics that served the northern Arizona region was officially named the Northern Arizona VA Health Care System (NAVAHCS).

On April 17, 2004, the VA hospital/medical center complex at Prescott, Arizona, was renamed the Bob Stump Department of Veterans Affairs Medical Center, after Congressman Stump, Chairman of the House Armed Services Committee.

On July 29, 2005, as part of the 75th anniversary celebration of the Veterans Administration/Department of Veterans Affairs (VA), a time capsule was buried near the main circle in front of the main hospital building. The time capsule will be opened in July 2030 during the 100th anniversary celebration of the VA.

Significant expansion and construction has occurred since the time the VA acquired Whipple Barracks. Notable buildings include the Community Living Center (Building 148), which was built in two phases, Phase 1 between 1987 and 1989, and Phase 2 between 1995 and 1997; the Domiciliary (Building 151) built between 1988 and 1990; the new Outpatient Mental Health building (Building 161) built between 2014 and 2015; the new Pharmacy/Laboratory building built between 2016 and 2018.

Certified on the  National Register of Historic Places in 1999 by the National Park Service, the historic name of Fort Whipple is listed as "Fort Whipple/Department of Veterans Affairs Medical Center Historic District."

Fort Whipple Museum and other historic structures

Former military officer's quarters, Building 11 is now Fort Whipple Museum. The museum opened in 2004 and is painted light yellow and dark green. Fort Whipple Museum has artifacts and historical displays about the fort and hospital, including medical instruments, Army weaponry, the Buffalo Soldiers, maps, and photographs. The museum is operated as a joint project of the Sharlot Hall Museum and the Northern Arizona VA Health Care System, Bob Stump VA Medical Center in Prescott, Arizona. The museum is open from 10 a.m. to 4 p.m. on Thursdays, Fridays and Saturdays.

Also pictured are the historic buildings that were built between 1903 and 1908:
 The Fort Whipple Officers' Quarters
 The Fort Whipple NCO Quarters
 The Fort Whipple Army Barracks
 The Fort Whipple Post Headquarters
 The Fort Whipple Post Hospital
 The Fort Whipple Theater
 The Fort Whipple Guardhouse

Original location

References

External links
 Fort Whipple Museum – A Sharlot Hall Museum and Northern Arizona VA Health Care System Joint Venture
 National Register of Historic Places – Fort Whipple/Department of Veterans Affairs Medical Center Historic District, Prepared by Nancy L. Burgess, Preservation Consultant, October 29, 1999
 Historic Photos, Category – Military, Sharlot Hall Archives & Library.
 The History of Fort Whipple thesis, by Phillip D. Yoder, The University of Arizona, 1951
 Fort Whipple Reconstruction Photos, c. 1905–1908, Arizona Historical Society Archives
 This Day in History, April 2nd, Fort Whipple, Arizona Memory Project, Arizona Historical Society
 National Register of Historic Places – United States 2nd Generation Veterans Hospitals, Prepared by Cultural Resource Analysts, Inc., October 24, 2011
 Whipple Barracks, Arizona map, 1900, National Archives Catalog ID# 103396408
 Whipple Barracks, Arizona map, August 1904, National Archives Catalog ID# 103396406
 Whipple Barracks, Arizona map, January 1909, National Archives Catalog ID# 103396459
 National Archives Catalog of Whipple Barracks files, National Archives
 Curtis, Charles A., Army Life in the West (1862–1865): Civil War Memoir of Charles A. Curtis in New Mexico and Arizona. CreateSpace Independent Publishing Platform, 2017. , 364 pages.
 VA History Feature Stories – Historic VA Medical Center started as Fort Whipple, National VA History Office, Department of Veterans Affairs
 History of VA in 100 Objects - U.S. Public Health Service Hospital #50, National VA History Office, Department of Veterans Affairs
 Fort Whipple, Yavapai County, Arizona, The Historical Marker Database
  Reports of explorations and surveys, to ascertain the most practicable and economical route for a railroad from the Mississippi River to the Pacific Ocean, Volume III, 1856, Smithsonian Libraries
  Reports of explorations and surveys, to ascertain the most practicable and economical route for a railroad from the Mississippi River to the Pacific Ocean, Volume IV, 1856, Smithsonian Libraries
  Flags - Window in Prescott, Arizona showing prizes awarded at Fort Whipple Field Day meet, July 27, 1918, National Archives and Records Administration

Days Past articles, a collaborative project of the Sharlot Hall Museum and the Prescott Corral of Westerners International
  Army played for 'real here' in the past, by Mark Ziem, February 22, 1997
  Prescott area towns hit hard by 'Spanish Influenza' in 1918, by Pat Atchison, October 4, 1997
 Remembered Names and Forgotten Faces of Fort Whipple, by Al Bates, Apr 3, 1999.
 Fort Whipple's Miss Carrie: "The Colonels' Daughter, by Mick Woodcock, June 19, 1999
 Fort Whipple's Early Days, by Al Bates, July 31, 1999.
 People Before Days of the Empire at Fort Whipple, by Al Bates, November 6, 1999
 Heliographs: The Talking Mirrors of Whipple, Glassford, by James H. Riddle, January 15, 2000
 More on the Talking Mirrors in Yavapai County, by James H. Riddle, January 22, 2000
 The Days of Empire at Fort Whipple, by Al Bates, February 26, 2000
 From Fort to Veteran's Affairs: The Latest Chapter of Whipple, by Al Bates, May 27, 2000
  Many Prescott places take their name from 1850s surveyor by Harley G. Shaw, August 5, 2000
 Del Rio's Quick Brush with the Seat of Government, by Terry Munderloh, October 14, 2000
 The Fort Whipple Next to Arlington Cemetery?, by Pat Kilkenney, November 18, 2000
 Del Rio Springs after Fort Whipple moved on, by Terry Munderloh, January 13, 2001
 Robert Postle: Officer, Gentlemen, Gambler and Rancher, by Al Bates, May 19, 2001
 Fire and Events at Whipple and the Elks Theater Defined 1928, by John Paulsen, December 28, 2002
 Five-Cent Ride Down Gurley Street – Part 1,  by Norman Delucchi, June 17, 2006
 Five-Cent Ride Down Gurley Street – Part 2, by Norman Delucchi, June 24, 2006
 Fort Whipple's Talented Engineer: Lt. Earl D. Thomas, by Tom Collins, September 22, 2007
 Fort Whipple's First Telegraph: A Turning Point in Prescott's History, by Tom Collins, May 31, 2008
 Fort Whipple: Territorial Fort to VA Medical Complex – Part 1, by Al Bates, January 14, 2012
 Fort Whipple: Territorial Fort to VA Medical Complex – Part 2, by Al Bates, January 21, 2012
 A Little Known Aspect of Life at Fort Whipple, by Mick Woodcock, May 18, 2013
 General A.V. Kautz:"The Great Mogul" – Part 1, by Andrew Wallace, May 25, 2013
 General A.V. Kautz:"The Great Mogul" – Part 2, by Andrew Wallace, June 1, 2013
 The Tenth U.S. Cavalry at Fort Whipple, by John Langellier, June 22, 2013
 Founding Fort Whipple "Set in Motion Machinery of Civil Government", by Al Bates, December 21, 2013
 The Governor's Party Reaches Fort Whipple – In Segments, by Al Bates, January 18, 2014
 Arizona Territory's First Newspaper Begins its Publication at Fort Whipple, by Al Bates, March 8, 2014
 A Frontier Fort on Granite Creek – Part 1, by Mick Woodcock, March 14, 2015
 A Frontier Fort on Granite Creek – Part 2, by Mick Woodcock, March 21, 2015
 New Life for an Old Fort: Instead of Closure, Fort Whipple is Rejuvenated, by Mick Woodcock, May 9, 2015
 Fort Whipple Becomes a Public Health Service Hospital in 1918, by Mick Woodcock, May 16, 2015
 The Final Steps from Frontier Fort to Veterans Hospital, by Mick Woodcock, May 23, 2015
 Charles Leib: Eastern Politician, Territorial Contract Surgeon, by Al Bates, August 15, 2015
  The Arizona Miner: Prescott's First Newspaper, by Fred Veil, September 15, 2018
  Construction Boom at Fort Whipple, 1905–1908, by Worcester P. Bong, September 21, 2019
  The Story Behind the Main Hospital at VA Prescott, 1939, by Worcester P. Bong, February 1, 2020
   If These Gates Could Talk, by Worcester P. Bong, April 4, 2020
  Bad Boys in Blue, Part 1, by Mick Woodcock, April 11, 2020
  Bad Boys in Blue, Part 2, by Mick Woodcock, April 18, 2020
  Bad Boys in Blue, Part 3, by Mick Woodcock, April 25, 2020
   Celebrating National Hospital Day, by Worcester P. Bong, May 9, 2020
  Take a Ride on the Whipple Stage Line, by Worcester P. Bong, August 1, 2020
  A Walk Through Whipple Barracks, Part 1, by Mick Woodcock, November 3, 2020
  Raymond W. Bliss, Commanding Officer of Whipple Barracks – 1919, by Worcester P. Bong, December 3, 2020
  Bowers and Bros., Sutler at Fort Whipple, by Mick Woodcock, December 11, 2020
  A Walk Through Whipple Barracks, Part 2, by Mick Woodcock, December 30, 2020
 The Streets of the VA Medical Center, by Worcester P. Bong, January 18, 2022
 The Birdman of Fort Whipple, by Bob Baker, January 25, 2022
  The Forgotten Golf Courses, by Worcester P. Bong, July 24, 2022
 The Red Cross House, by Worcester P. Bong, March 20, 2023
 The Transition Period, 1920-1931, by Worcester P. Bong, May 1, 2023
 Whipple VA Directors retire in Prescott, Part 1, by Worcester P. Bong, August 20, 2023
 Whipple VA Directors retire in Prescott, Part 2, by Worcester P. Bong, August 27, 2023

#PrescottAZHistory Stories
  Indian War Military Posts of Yavapai County: A Primer, by Drew Desmond, February 4, 2018
  Ft. Whipple 1869: Futile Campaigns and Public Diversions, by Drew Desmond, June 3, 2018
  Prescott's Other History Museum: Ft. Whipple, by Drew Desmond, July 22, 2018
  Buffalo Soldiers March Into Whipple, by Drew Desmond, April 26, 2020

Arizona Territory
Whipple
Buildings and structures in Yavapai County, Arizona
History museums in Arizona
History of Yavapai County, Arizona
Medical museums in the United States
Military and war museums in Arizona
Museums in Prescott, Arizona
1864 establishments in Arizona Territory
Former colonial and territorial capitals in the United States
1913 disestablishments in Arizona

Fort Whipple, Arizona


Arma 3 is a military simulation game set in a fictional world. Players can participate in tactical shooting and explore an open world environment. The game takes place on a group of islands in the Mediterranean Sea and also includes expansions set in other fictional and real-life places. It has singleplayer and co-op modes, and the landscapes and water in the game are designed to look realistic. The game was released in 2013 and has received mostly positive reviews. However, some people have said that it is too hard for new players and doesn't have enough singleplayer content. The game has continued to be updated and expanded by its developer and has a large playerbase and a community of people who create custom content for the game.

Gameplay
Arma 3 is set in a realistic world. It has a variety of weapons that are very accurate and deadly, and players need to be careful when using them because they can kill in just a few shots. The game is set on large maps with realistic land and water environments. Players can take part in different types of missions, such as infiltration and reconnaissance, or commanding large military operations. The game has a lot of different vehicles that players can use, including boats and planes. It also has a feature called diving, which allows players to go underwater and use special equipment and weapons. Players can choose their own approach to completing missions and can use different resources, such as drones, to help them. There are over 50 unique weapons in the game, including assault rifles, machine guns, and rocket launchers. Players can customize their equipment and clothing, and they need to be careful about how much they carry because it can affect their movement and stamina. The game has a multiplayer mode where players can join servers and play with or against each other in different modes, such as player vs player or player vs environment.

Synopsis
In Arma 3, the plot is set in the near future of the 2030s and takes place on the fictional island nation of the Republic of Altis and Stratis. The main factions in the game are NATO and the Canton Protocol Strategic Alliance Treaty (CSAT). There are several other teams as well, including the Altis Armed Forces (AAF), the Freedom and Independence Army (FIA), the International Development and Aid Project (IDAP), the Combat Technology Research Group (CTRG), the Gendarmerie, Syndikat, and the Livonian Defense Force. The game's story is told through six campaigns: The East Wind, Remnants of War, Apex Protocol, Old Man, Tac-Ops, and First Contact. These campaigns follow different characters and groups as they go through fights on the islands and in other locations. The plot has themes of peacekeeping, humanitarian aid, espionage, and extraterrestrial phenomena.

Development
Arma 3 was developed by Bohemia Interactive and announced in 2011. In 2012, an alpha version of the game was shown at an event called E3. In 2013, Bohemia said that they would give out three extra downloadable content packs for free after the game was released. An alpha version of the game was released in March 2013 and a beta version was released in June 2013. The final version of the game was released on September 12, 2013. It included more showcase missions and the large island of Altis. Arma 3 uses a new version of Bohemia Interactive's Real Virtuality game engine and the SQF Syntax scripting language.

Downloadable Content
In Arma 3, there are two different kinds of extra content that can be added to the game: "platform content" and "expansion content". Platform content is already included in the game and can be tried before you buy it. Expansion content must be bought and added to the game to be used. There are many different types of platform content, such as Zeus, which lets you control a character that can change the battlefield; Karts, which adds go-karts and racing to the game; Helicopters, which adds new helicopters and missions; Marksmen, which makes sniping gameplay better; Apex, which adds a new island and new things to the game; Jets, which adds new fighter jets and objects; and Laws of War, which adds new things about helping people during a war. There are also expansion content packs like Contact, Tac-Ops, and Tanks, which add new weapons, vehicles, and missions.

Controversies
The game has been involved in several controversies, including two employees who were arrested for spying on the military while on vacation in Greece, a ban on the game in Iran, and the game's footage being mistaken for real combat footage and used in propaganda.

Video games

Arma 3


Ammit was the Egyptian idea of the punishment of the soul. The name means "devourer" or "soul-eater."Ammit was usually known as 'The Devourer of the Dead' or the 'Eater of Hearts'. Ammit was believed to eat any souls found to have sinned. They would then be digested for eternity in acid. Or, Ammit who was believed to be the guardian of a lake of fire, would place the soul into the liquid fire for all eternity.

Ammit appears as mix of the crocodile, lion, and hippo. Rather than being worshipped, Ammit was feared. She was not viewed as a god, but she was viewed as a good force because she destroyed evil. Although Ammit is seen as a devouring entity, she is neutral and strictly serves at the whim of the other deities to take souls that have sinned against the gods and send them into oblivion. She was known as the crocodile goddess also known as Estriedia.

Ammit was believed to be Anubis's equal but She wanted to enter the real world and devour the souls of the living.

In Popular Culture
Ammit also intermittently appears as Ammit the Devourer in The Kane Chronicles. In the trilogy, it was kept at bay with Anubis. Ammit was also the antagonist of the television show Moon Knight.

Egyptian mythology

Ammit


Jonathan Ward (September 21, 1768, Eastchester, Westchester County, New York – September 28, 1842, Eastchester, NY) was an American politician from New York.

Life
He received limited schooling. Ward was Sheriff of Westchester County from 1802 to 1806, a member of the New York State Senate from 1807 to 1810, and a member of the Council of Appointment in 1809.

He was elected as a Democratic-Republican to the 14th United States Congress, holding office from March 4, 1815, to March 3, 1817. He was a delegate to the New York State Constitutional Convention of 1821, and was Surrogate of Westchester County from 1828 to 1840.

References

The New York Civil List compiled by Franklin Benjamin Hough (pages 70, 147 and 419; Weed, Parsons and Co., 1858)

1768 births
1842 deaths
New York (state) state senators
People from Eastchester, New York
New York (state) sheriffs
New York (state) state court judges
Democratic-Republican Party members of the United States House of Representatives from New York (state)

Jonathan Ward (politician)