Elizabeth Robins (August 6, 1862 – May 8, 1952) was an actress, playwright, novelist, and suffragette. She also wrote as C. E. Raimond.

Early life
Elizabeth Robins, the first child of Charles Robins and Hannah Crow, was born in Louisville, Kentucky. After financial difficulties, her father left for Colorado, leaving the children in the care of Hannah. When Hannah was committed to an insane asylum, Elizabeth and the other children were sent to live with her grandmother in Zanesville, Ohio, where she was educated. It would be her grandmother who armed her with The Complete Works of William Shakespeare and her unconditional support on her endeavor to act in New York City. Her father was a follower of Robert Owen and held progressive political views. Though her father was an insurance broker, he traveled a lot during her childhood and in the summer of 1880, Robins accompanied him to mining camps and was able to attend theatre in New York and Washington along the way. Because of her intelligence, Elizabeth was one of her father's favorites. He wanted her to attend Vassar College and study medicine. At the age of fourteen, Robins saw her first professional play (Hamlet) which ignited her desire to pursue an acting career. From 1880 to 1888, she would have an acting career in America.

Acting career
After arriving in New York, Robins soon met James O'Neill, who helped her join Edwin Booth's theatre and by 1882, she was touring. She soon grew bored and irritated playing "wretched, small character parts" and in 1883 joined the Boston Museum stock company. It would be here that she met her future husband, George Parks, who was also a member of the company. In 1885 Robins married Parks. Although her husband struggled to get acting parts, she was soon in great demand and would be on tour throughout their marriage. Her refusal to leave the stage may have caused Parks to kill himself in 1887 by jumping off a bridge into the Charles River, stating in his suicide note, "I will not stand in your light any longer." On September 3, 1888, Robins moved to London. "Her move to London represented a rebirth after personal tragedy in America." Except for extended visits to the U.S. to visit family, she remained in England for the rest of her life.

At a social gathering during her first week in England, she met Oscar Wilde. Throughout her career, he would come see her act and give her critiques, such as in one of her roles in Frances Hodgson Burnett's The Real Little Lord Fauntleroy in 1889. Wilde's comment was "you have definitely asserted your position as an actress of the first order. Your future on our stage is assured."

Early in her time in London, she became enamored with Ibsen's plays. In 1891 a London matinee revival of A Doll's House put Robins in contact with Marion Lea. Together they would form a joint management, making this the "first step toward the theatre that Robins had dreamed of … a theatre of independent management and artistic standards." Finding work in "'women's plays' written by men like Ibsen," Robins and Lea brought strong female characters to the stage. George Bernard Shaw noted "what is called the Woman Question has begun to agitate the stage." Together Elizabeth Robins and Marion Lea brought Ibsen's Hedda Gabler  to the stage for the first time ever in England. A Doll's House "marked an important step in the representation of women by dramatists" and Hedda marked an important step for Elizabeth Robins, becoming her defining role. "Sarah Bernhardt could not have done it better," wrote William Archer in a publication of The World. From then on, Hedda became synonymous with Robins on the English stage. Robins and Lea would go on to produce a handful of Ibsen's other 'New Woman' plays. "The experience of acting and producing Ibsen's plays and the reactions to her work helped transform Elizabeth over time into a committed supporter of women's rights."  In 1898, she joined forces with William Archer, an influential critic, and together they produced non-profit Ibsen plays. She became known in Britain as "Ibsen's High Priestess."

In 1902, she was Lucrezia in Stephen Phillips's Paolo and Francesca at the St. James's Theatre, London. Ending her acting career at the age of forty, Robins had made her mark on the English stage as not only an actress but an actress-manageress.

Writing career
Robins realised her income from acting was not stable enough to carry her. While Robins was busy being a successful actress, she had to leave England to look for her brother in Alaska, who had gone missing. Her experiences searching for her brother led her to write her novels, Magnetic North (written in 1904) and Come and Find Me (1908). Before this, she had written novels such as George Mandeville's Husband (1894), The New Moon (1895), Below the Salt and Other Stories (1896) and several others under the name of C. E. Raimond. She explained her use of a pseudonym as a means of keeping her acting and writing careers separate but gave it up when the media reported that Robins and Raimond were the same. She and Florence Bell anonymously wrote the play Alan's Wife based on the short story Befried by the Swedish author Elin Améen. She enjoyed a long career as a fiction and nonfiction writer.

In her biography of Elizabeth Robins, Staging a Life, Angela V. John says, "It is possible to trace in Elizabeth's writing from 1890s onwards an emerging feminist critique, clearly, but only partly, influenced by the psychological realism of Ibsen, which would find most confident expression in 1907 in her justly celebrated novel "The Convert". Robins's main character, Vida, speaks to "male politicians and social acquaintances", something very different from what the women of Robins's time did – something very reminiscent of one of Ibsen's 'new women.' The novel is an adaptation of Robins's most successful play, Votes for Women! The first play to bring the "street politics of women's suffrage to the stage", Votes for Women! led to a surge of suffrage theatre. Elizabeth Robins first attended "open-air meetings of the suffrage union" when the Women's Social and Political Union moved its headquarters from Manchester to London in 1906. It was then that she "abandoned" the current play she was writing and worked to complete the very first suffrage drama. "The more Robins became immersed in the work, the more she became converted to the cause".

Women's rights involvement
She became a member of the National Union of Women's Suffrage Societies, as well as the Women's Social and Political Union, although she broke with the WSPU over its increasing use of violent militancy. She remained a strong advocate of women's rights, however, and used her gifts as a public speaker and writer on behalf of the cause. In 1907 her book The Convert was published. It was later turned into a play that became synonymous with the suffrage movement. Robins remained an active feminist throughout her life. In the 1920s she was a regular contributor to the feminist magazine, Time and Tide. She also continued to write books such as Ancilla's Share: An Indictment of Sex Antagonism, which explored the issues of sexual inequality. She collected and edited speeches, lectures, and articles dealing with the women's movement, some of which had never previously appeared in print (Way Stations, published by Dodd, Mead and Company, New York, 1913).

Frederick Pethick-Lawrence, 1st Baron Pethick-Lawrence credited Robins with explaining to him the difference between a suffragette and a suffragist.

Robins was involved in the campaign to allow women to enter the House of Lords. Her friend, Margaret Haig, was the daughter of Viscount Rhondda. He was a supporter of women's rights and in his will made arrangements for Margaret to inherit his title. This was considered radical, as women did not normally inherit peerage titles. When Rhondda died in 1918 the House of Lords refused to allow Margaret, now the Viscountess Rhondda, to take her seat. Robins wrote numerous articles on the subject, but the House of Lords refused to change its decision. It was not until 1958 that women were first admitted to the House.

Personal life
A beautiful woman, Robins was pursued by many men. She admitted to a deep attraction to her close friend, the highly respected literary critic and fellow Ibsen scholar, William Archer. As a married man Archer was unavailable, however. Except for her brief marriage to George Parks, she remained a fiercely independent single woman. Highly intelligent, she was welcomed into the cream of London's literary and artistic circles, enjoying friendships with George Bernard Shaw, Oscar Wilde, and Henry James, as well as a tempestuous romantic (but probably non-physical) relationship with the much younger future poet laureate John Masefield.

In 1900 she traveled alone to the gold rush camps of Alaska in search of her favorite brother Raymond Robins who she feared was lost in the Yukon. After a long and arduous journey, she located Raymond in Nome. She shared his life in wild and lawless Alaska throughout the summer of 1900. Her adventures were not without cost – the typhoid fever she contracted at that time compromised her health for the rest of her life. Robins's tales about Alaska provided material for a number of articles she sent on to London for publication. Her best selling book, The Magnetic North, is an account of her experiences, as is The Alaska-Klondike Diary of Elizabeth Robins.

Although she rejected her father's plans for her to be educated as a doctor, she retained a strong interest in medicine. In 1909 she met Octavia Wilberforce, the great-granddaughter of William Wilberforce, a leader of the British movement to emancipate slaves. Octavia was a young woman whose desire to study medicine was thwarted by a family which viewed intellectualism and professional careers as 'unsexing' for women. When Wilberforce's father refused to pay for her studies and disinherited her for pursuing them, Robins and other friends provided financial and moral support until she became a doctor. While some have conjectured that Robins and Wilberforce were romantically involved, this has never been supported by scholarly material available about either woman, nor is it borne out by their own writings. Available evidence points to Robins and Wilberforce enjoying a relationship much like that of mother and daughter. In her declining years Robins developed a friendship with Virginia and Leonard Woolf. Dr Wilberforce looked after Robins until her death in 1952, just months shy of her 90th birthday.

Works
Anonymously, with Florence Bell, she wrote:
Alan's Wife, 1893

As C. E. Raimond, she wrote:
George Mandeville's Husband, 1894
The New Moon, 1895
Below the Salt, 1896
The Open Question: A Tale of Two Temperaments, 1898
The success of this last novel led to her publishing under her own name:
The Alaska-Klondike Diary of Elizabeth Robins, 1900
The Magnetic North, 1904
A Dark Lantern, 1905 (filmed in 1920)
The Convert, 1907
Under The Southern Cross, 1907
Votes for Women! (A suffrage play produced at the Royal Court Theatre, Sloane Square, London), 1907
Come and Find Me, 1908, a sequel to The Magnetic North
My Little Sister, 1913 (filmed in 1919)
Camilla, 1918
The Messenger, 1920
Ancilla's Share : an indictment of sex antagonism, 1924
The Florentine Frame, 1909
Raymond and I, 1956

See also
History of feminism
List of suffragists and suffragettes
Women's suffrage in the United Kingdom

Notes

References
Angela V. John, Elizabeth Robins: Staging a Life, 1862–1952
Iveta Jusova, The New Woman and the Empire: Gender, Racial, and Colonial Issues in Sarah Grand, George Egerton, Elizabeth Robins, and Amy Levy. The Ohio State University Press, 2005.
Joanne E. Gates, Elizabeth, Robins, 1862–1952, Actress, Novelist, Feminist
The Alaska-Klondike Diary of Elizabeth Robins, 1900
Pat Jalland, ed., Octavia Wilberforce:The Autobiography of a Pioneer Woman Doctor
The Papers of Elizabeth Robins at Fales Library, New York University
Kelly, Katherine E., ed. Modern Drama by Women, 1880s-1930s: an International Anthology. New York: Routledge, 1996. Print.
 Park, Sowon, 'Elizabeth Robins'. Literary Encyclopedia (https://www.litencyc.com/php/speople.php?rec=true&UID=3817)
Powell, Kerry. Women and Victorian Theatre. Cambridge: Cambridge University Press,1997. Print.
Chronology and Bibliography

Further reading

 Stowell, S. (1994). A stage of their own: Feminist playwrights of the suffrage era. Ann Arbor, Mich: Univ. of Michigan Press. p. 9–39.

External links

 Elizabeth Robins Collection, Harry Ransom Center.
Elizabeth Robins Papers, Fales Library and Special Collections, New York University.

Elizabeth Robins - Victorian Fiction Research Guide

1862 births
1952 deaths
Writers from Louisville, Kentucky
Actresses from Louisville, Kentucky
American dramatists and playwrights
American women's rights activists
British suffragists
American feminists
Victorian women writers
American women dramatists and playwrights
Kentucky women writers
Activists from Kentucky

Elizabeth Robins


Łukasz de Bnin Opaliński of Łodzia coat of arms (1581–1654) was a Polish nobleman.

He was castellan of Poznań from 1615, Court Marshal of the Crown from 1622 (or 1630), Grand Marshal of the Crown in 1634–1650, voivode of the Rawa Voivodeship, starost wałecki, leżajski, hrubieszowski, kolski, odolanowski, śremski, łosicki, ratneński, ujski and pilski. He was an enemy of Stanisław Stadnicki.

In 1620 when Michał Piekarski tried to attack king Sigismund III Vasa, Opaliński threw himself between them, saving the king.

He was a supporter and trusted retainer of King Władysław IV Vasa, considered efficient and just. At the same time he was merciless in exploiting the crown lands he was entrusted as a starost.

He had three wives, Anna Pilecka, Zofia Daniłowicz and Elżbieta Firlej. He had two children with Pilecka, Elżbieta Opalińska and Konstancja Opalińska, as well as one child with Daniłowicz, Katarzyna Opalińska.

Founder of basilica in Leżajsk.

Lukasz Opalinski (1581-1654)
Starost of Leżajsk
1581 births
1654 deaths

Łukasz Opaliński (1581–1654)


Fountain Lakes may refer to:

Fountain Valley (British Columbia), also known as the Fountain Lakes Valley or Three Lakes Valley, a valley and associated rural community near Lillooet, British Columbia, Canada
the fictional community of Fountain Lakes in the Australian television series Kath & Kim.

Fountain Lakes


Listo di urbi en Missouri, de A til Z.

A
Adrian
Advance
Alba
Albany
Alexandria
Alma
Altenburg
Alton
Amoret
Amsterdam
Anderson
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Arbyrd
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Archie
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Ava
Avondale

B
Ballwin
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Bellflower
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Berger
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C
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D
Dearborn
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E
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F
Fairfax
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G
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H
Hale
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I
Iberia
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J
Jackson
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K
Kahoka
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Kennett
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Kidder
Kimberling City
Kimmswick
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Knob Noster
Knox City

L
La Belle
Laclede
Laddonia
Ladue
La Grange
Lake Annette
Lake Lafayette
Lake Lotawana
Lake Ozark
Lake St. Louis
Lakeshire
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Lake Winnebago
Lamar
La Monte
Lancaster
La Plata
Laredo
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Lathrop
Lawson
Leadington
Leadwood
Lebanon
Lee's Summit
Leeton
Levasy
Lexington
Liberal
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Licking
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Lincoln
Linn
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Linneus
Lockwood
Lohman
Lone Jack
Louisiana
Lowry City

M
McFall
Macks Creek
Macon
Madison
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Malden
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Maplewood
Marble Hill
Marceline
Marionville
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Maryland Heights
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Memphis
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Meta
Mexico
Miami
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Monett
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Montrose
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Morley
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Moscow Mills
Mound City
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Mountain View
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N
Napoleon
Naylor
Neck City
Neelyville
Nelson
Neosho
Nevada
New Bloomfield
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New Florence
New Franklin
New Hampton
New Haven
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New Madrid
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Niangua
Nixa
Noel
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Normandy
North Kansas City
Northmoor
Northwoods
Norwood
Novinger

O
Oak Grove
Oakland
Odessa
O'Fallon
Old Monroe
Olivette
Olympian Village
Oran
Oregon
Oronogo
Orrick
Osage Beach
Osborn
Osceola
Otterville
Overland
Owensville
Ozark

P
Pacific
Pagedale
Palmyra
Paris
Park Hills
Parkville
Parma
Parnell
Pasadena Hills
Pattonsburg
Peculiar
Perry
Perryville

Pevely
Piedmont
Pierce City
Pilot Grove
Pilot Knob
Pine Lawn
Platte City
Platte Woods
Plattsburg
Pleasant Hill
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Polo
Poplar Bluff
Portage Des Sioux
Portageville
Potosi
Prairie Home
Princeton
Purcell
Purdin
Purdy
Puxico

Q
Queen City
Qulin

R
Raymore
Raytown
Rea
Reeds Spring
Republic
Rich Hill
Richland
Richmond
Richmond Heights
Ridgeway
Risco
Riverside
Rocheport
Rockaway Beach
Rock Hill
Rock Port
Rockville
Rogersville
Rolla
Rosebud
Rosendale
Russellville

S
Saint Ann
Saint Charles
Saint Clair
Saint George
Saint James
Saint John
Saint Joseph
Saint Louis
Saint Martins
Saint Mary
Saint Paul
Saint Peters
Saint Robert
Sainte Genevieve
Salem
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Sheldon
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Smithton
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Stotts City
Stoutland
Stover
Strafford
Strasburg
Sturgeon
Sugar Creek
Sunrise Beach
Sullivan
Summersville
Sunset Hills
Sweet Springs
Syracuse

T
Tallapoosa
Taos
Tarkio
Thayer
Tipton
Town and Country
Tracy
Tecumseh
Trenton
Trimble
Triplett
Troy
Truesdale

U
Union
Unionville
University City
Urbana
Urich

V
Valley Park
Van Buren
Vandalia
Velda City
Versailles
Viburnum
Vienna
Vinita Park

W
Walker
Walnut Grove
Warrensburg
Warrenton
Warsaw
Warson Woods
Washburn
Washington
Wasola
Waverly
Wayland
Waynesville
Weatherby Lake
Weaubleau
Webb City
Webster Groves
Weldon Spring
Wellington
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Wellsville
Wentzville
West Alton
Westboro
Weston
Westphalia
West Plains
Wheatland
Wheaton
Wheeling
Wildwood
Willard
Williamsville
Willow Springs
Winchester
Windsor
Winfield
Winona
Woods Heights
Woodson Terrace
Wright City
Wyaconda
Wyatt

Videz anke:
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Listo di urbi en Missouri


A galley slave was a slave rowing in a galley, either a convicted criminal sentenced to work at the oar (French: galérien), or a kind of human chattel, sometimes a prisoner of war, assigned to the duty of rowing.

In the ancient Mediterranean, galley rowers were mostly free men, and slaves were used as rowers when manpower was in high demand. In the Middle Ages and the early modern period, convicts and prisoners of war often manned galleys, and the Barbary pirates enslaved captives as galley slaves. During the 18th and 19th centuries, pirates in Asia likewise manned their galleys with captives.

History
Ancient Mediterranean  navies relied on professional rowers to man their galleys. Slaves were seldom used except in times of pressing manpower demands or extreme emergency. In the 5th and 4th centuries BC, Athens generally followed a naval policy of enrolling citizens from the lower classes (thetes), metics (foreigners resident in Athens) and hired foreigners. In the drawn-out Second Punic War, Rome and Carthage resorted to slave rowers to some extent, but only in specific cases and often with the promise of freedom after victory was achieved.

Only in the Late Middle Ages did slaves begin to be increasingly employed as rowers. It also became the custom among the Mediterranean powers to sentence condemned criminals to row in the war-galleys of the state (initially only in time of war). Traces of this practice appear in France as early as 1532, but the first legislative enactment comes in the Ordonnance d'Orléans of 1561. In 1564 Charles IX of France forbade the sentencing of prisoners to the galleys for fewer than ten years. A brand of the letters GAL identified the condemned galley-slaves.

Naval forces from both Christian and Muslim countries often turned prisoners of war into galley-slaves. Thus, at the Battle of Lepanto in 1571, 12,000 Christian galley slaves were freed from the Ottoman Turks.

The Knights Hospitaller made use of galley slaves and debtors () to row their galleys during their rule over the Maltese Islands.

In 1622, Saint Vincent de Paul, as a former slave himself (in Tunis), became chaplain to the galleys and ministered to the galley slaves.

In 1687 the governor of New France, Jacques-René de Brisay de Denonville, seized, chained, and shipped 50 Iroquois chiefs from Fort Frontenac to Marseille, France, to be used as galley slaves.

King Louis XIV of France, who wanted a bigger fleet, ordered that the courts should sentence men to the galleys as often as possible, even in times of peace; he even sought to transform the death penalty to sentencing to the galleys for life (and unofficially did so—a letter exists to all French judges, that they should, if possible, sentence men to life in the galleys instead of death).
By the end of the reign of Louis XIV in 1715 the use of the galley for war purposes had practically ceased, but the French Navy did not incorporate the corps of the galleys until 1748. From the reign of Henry IV, Toulon functioned as a naval military port, Marseille having become a merchant port, and served as the headquarters of the galleys and of the convict rowers (galériens). After the incorporation of the galleys, the system sent the majority of these latter to Toulon, the others to Rochefort and to Brest, where they worked in the arsenal.

Convict rowers also went to a large number of other French and non-French cities: Nice, Le Havre, Nîmes, Lorient, Cherbourg, Saint-Vaast-la-Hougue, La Spezia, Antwerp and Civitavecchia; but Toulon, Brest and Rochefort predominated. At Toulon the convicts remained (in chains) on the galleys, which were moored as hulks in the harbour. Their shore prisons had the name bagnes ("baths"), a name given to such penal establishments first by the Italians (), and allegedly deriving from the prison at Constantinople situated close by or attached to the great baths there.

All French convicts continued to use the name  even after galleys went out of use; only after the French Revolution did the new authorities officially change the hated name—with all it signified—to  ("forced"). The use of the term galérien nevertheless continued until 1873, when the last  in France (as opposed to the bagnes relocated to French Guiana), the bagne of Toulon, closed definitively. In Spain, the word  continued in  use as late as the early 19th century for a criminal condemned to penal servitude. In Italian the word  is still in use for a prison.

A vivid account of the life of galley-slaves in France appears in Jean Marteilhes's Memoirs of a Protestant, translated by Oliver Goldsmith, which describes the experiences of one of the Huguenots who suffered after the revocation of the Edict of Nantes in 1685.

Madame de Sevigne, a revered French author, wrote from Paris on April 10, 1671 (Letter VII): "I went to walk at Vincennes, en Troche* and by the way met with a string of galley-slaves ;
they were going to Marseilles, and will be there in about a
month. Nothing could have been surer than this mode of
conveyance, but another thought came into my head, which
was to go with them myself. There was one Duval among
them, who appeared to be a convertible man. You will see
them when they come in, and I suppose you would have
been agreeably surprised to have seen me in the midst of
the crowd of women that accompany them."

Galley-slaves lived in unsavoury conditions, so even though some sentences prescribed a restricted number of years, most rowers would eventually die, even if they survived the conditions, shipwreck and slaughter or torture at the hands of enemies or of pirates. Additionally, nobody ensured that prisoners were freed after completing their sentences. As a result, imprisonment for 10 years could in reality mean imprisonment for life because nobody except the prisoner would either notice or care.

Notable galley slaves in Europe
John Knox
Piet Pieterszoon Hein
Jean Parisot de Valette

Africa
The Barbary pirates of the 16th to 19th centuries used galley slaves, often captured Europeans from Italy or Spain. The Ottoman Sultan in Istanbul also used galley slaves.

Notable galley slaves in North Africa
Miguel de Cervantes

Asia
In Southeast Asia, from the mid-18th to the late-19th centuries, the lanong and garay warships of the Iranun and Banguingui pirates were crewed entirely with male galley slaves captured from previous raids. Conditions were brutal and it was not uncommon for galley slaves to die on voyages from exhaustion. Slaves were kept bound to their stations and were fed poorly. Slaves who mistimed their strokes were caned by overseers. Most of the slaves were Tagalogs, Visayans, and "Malays" (including Bugis, Mandarese, Iban, and Makassar). There were also occasional European and Chinese captives.

In fiction

A short account of his ten years as a galley-slave is given by the character Farrabesche in "The Village Rector" by Honoré de Balzac. He is sentenced to the galleys as a result of his life as a "chauffeur" (in this case the word refers to a brigand who threatened landowners by roasting them).

In one of his ill-fated adventures, Miguel de Cervantes's Don Quixote  frees a row of prisoners sent to the galleys, including Ginés de Pasamonte. The prisoners, however, beat him. (Cervantes himself had been captured in 1575 and served as a galley slave in Algiers for five years before he was ransomed).

In The Sea Hawk, a 1919 historical fiction novel by Rafael Sabatini, as well as the 1924 film based on the novel, the protagonist, Sir Oliver Tressilian, is sold into galley slavery by a relative.

The Sea Hawk (1940) was originally intended to be a new version of the Sabatini novel, but the studio switched to a story whose protagonist, Geoffrey Thorpe, was loosely based on Sir Francis Drake, although Drake was never a galley slave.  Howard Koch was working on the script when war broke out in Europe, and the final story deliberately draws vivid parallels between Spain and the Nazi Reich. The existence of galley slaves and the misery they endure is set up as a metaphor for life under the Reich. When Thorpe (Errol Flynn) liberates a Spanish vessel full of English captives, the freed men row willingly for home to  "Strike for the Shores of Dover",  the stirring music of score composer Erich Wolfgang Korngold and lyrics by Howard Koch and Jack Scholl. The first verse "Pull on the oars! Freedom is yours! Strike for the shores of Dover!" evoked the recent evacuation from Dunkirk. The sets in the 1940 film appear historically accurate.

In Lew Wallace's novel, Ben-Hur: A Tale of the Christ, Judah is sent to the galleys as a murderer but manages to survive a shipwreck and save the fleet leader, who frees and adopts him. Both films based on the novel—Ben-Hur: A Tale of the Christ (1925) and Ben-Hur (1959)—perpetuate the historically inaccurate image of Roman galley slaves.

In the 1943 epic novel The Long Ships, the protagonist, Orm Tostesson, is captured while raiding in Andalusia and serves as a galley slave for a number of years.

The 1947 French film Monsieur Vincent shows Saint Vincent de Paul taking the place of a weakened slave at his oar.

Steven Saylor's Roma Sub Rosa series (covering a period from  92 B.C. to 44 B.C ) includes a novel Arms of Nemesis, which contains an appalling description of the conditions under which galley slaves lived and worked—assuming that they did exist in Rome at that time (see above).

C. S. Forester wrote of an encounter with Spanish galleys in Mr. Midshipman Hornblower when the becalmed British fleet is attacked off Gibraltar by galleys. The author writes of the stench emanating from these galleys due to each carrying two hundred condemned prisoners chained permanently to the rowing benches.

Patrick O'Brian wrote of encounters with galleys in the Mediterranean in Master and Commander emphasising the galley's speed and manoeuvrability compared to sailing ships when there was little wind.

In Victor Hugo's Les Misérables, Jean Valjean was a galley prisoner, and was in danger of returning to the galleys.  Police inspector Javert's father was also a galley prisoner.

Robert E. Howard transplanted the institute of galley slavery to his mythical Hyborian Age, depicting Conan the Barbarian as organizing a rebellion of galley slaves who kill the crew, take over the ship and make him their captain in one novel (Conan the Conqueror serialized in Weird Tales 1935-1936).

In Ursula K. Le Guin's Earthsea series, multiple references are made to galley slaves; in The Farthest Shore specifically, Prince Arren is rescued from captivity, and notes the galley slaves imprisoned with him on the ship.

Notes

References

Further reading
Bamford, Paul W., Fighting ships and prisons : the Mediterranean Galleys of France in the Age of Louis XIV. Cambridge University Press, London. 1974.
James, Simon (2001), "The Roman Galley Slave: Ben-Hur and the Birth of a Factoid", Public Archaeology 2, 35-49

See also

Obsolete occupations
Nautical terminology
Galley slaves

Galley slave


The GBU-43/B Massive Ordinance Air Blast, (also known as Mother of All Bombs or MOAB) is a large yield bomb, said to be the most powerful non-nuclear bomb in the U.S arsenal. It was first made in 2003 and still is used today by the USA. It was first deployed on an enemy cave complex in Afghanistan.

The GBU-43/B MOAB is a thermobaric weapon, which means it's packed with a very fine explosive powder that gets ejected out of the bombshell when the bomb has reached its target. This fine powder then is ejected into a big cloud of powder, which mixes with the air, oxidizing the explosive powder. Then, the oxidized fuel mix gets ignited, producing a very large explosion. Thermobaric weapons carry only fuel instead of fuel and oxidizer, like other bombs do, since oxygen is already in the atmosphere. Only carrying fuel allows for a much bigger explosion with the same bomb size. Some thermobaric weapons are so powerful that they are similar to small nuclear weapons in terms of explosion size and intensity.

Explosives

GBU-43/B MOAB


The Church of the Holy Cross in Middletown, Rhode Island, is a parish church of the Episcopal Diocese of Rhode Island of The Episcopal Church. The church is located at 1439 West Main Road, Middletown, Rhode Island. It is an early example of Richard Upjohn's work in translating Gothic architecture from stone to affordable designs for small, wooden churches. Built in 1845, Holy Cross Church exemplifies the architecture made accessible by the publication in 1852 of Upjohn's book, Rural Architecture. In its survey of Middletown's architectural resources, the Rhode Island Historical Preservation Commission recommended the Church of the Holy Cross for inclusion in the National Register, along with Upjohn's more luxurious Italianate Hamilton Hoppin House.

Description
A 1-story, end-gable, Gothic Revival structure with patterned-shingle sides, a projecting pedimented entry, square belfry in front and stained-glass Gothic windows.

History
Holy Cross Church was designed by Mr. Richard Upjohn, an Englishman, who also designed Trinity Church in New York and St. Stephen's and Grace Church in Providence, Rhode Island. Upjohn was commissioned to build three Episcopal churches on Aquidneck Island, the other two being St. Mary's in Portsmouth and the now demolished Old Emmanual Church in Newport.
At its consecration on October 14, 1845, Bishop Henshaw said, "Rustic in its exterior, but so chaste in its interior finish, and so perfect in its proportion, that it is more imposing in its religious impression and far better adapted to its sacred use than many buildings of far greater cost and pretensions."

From the church history:
"The Church of the Holy Cross had its beginnings specifically with two people, Miss Sarah Gibbs and John Henry Gilliat and possibly indirectly with a third person, Miss Cynthia Taggart, also with the unnamed people who welcomed the opportunity to attend religious services near their homes. In the early 1840s, Miss Gibbs became interested in bringing religious services and instruction to her neighbors. In November 1843, at the invitation of Rev. Francis Vinton, rector of Trinity Church, the Rev. Hobart Williams arrived in South Portsmouth to organize a mission. Miss Gibbs invited Rev. Williams to make his home at Oakland. Services were held at Oakland, a nearby school house, at homes of neighbors and in a school house on Middle Road in Portsmouth. In the spring of 1844 the attendance at the morning services became too large for the small school house and was transferred to Oliphant School on West Main Road in Middletown. On the first Sunday after Easter, April 14, 1844, Morning prayer was publicly offered in that place for the first time. Services were continued until the fall of the same year. The growing religious interest in the neighborhood now seemed to justify the building of a free chapel to provide a place where services could be held in the middle of the island. In April 1845, Mr. John H. Gilliat purchased from Thomas George Rogers, a brother-in-law of Cynthia Taggart, 1/2 acre of land on the South corner of Oliphant Lane and West Road for $75. Mr. Richard Upjohn, an Englishman, was employed as the architect. Mr. Upjohn had designed Trinity Church in New York and St. Stephen's Church and Grace Church in Providence. The Church was built with the gift from Mr. Gilliat of $2,145. Others gave $283.50 for the site and some special interior furnishings."

See also

Carpenter Gothic

References

External links
Church page on diocese website
Town of Middletown History

Episcopal churches in Rhode Island
Richard Upjohn church buildings
Religious organizations established in 1843
19th-century Episcopal church buildings
Carpenter Gothic church buildings in the United States
Gothic Revival church buildings in Rhode Island
1843 establishments in Rhode Island

Church of the Holy Cross (Middletown, Rhode Island)


Ernst Gottfried Fischer (17 July 1754 – 27 January 1831)  was a  German chemist. He was born in Hoheneiche near Saalfeld. After studying theology and mathematics at the University of Halle, he was a teacher in Berlin before becoming Professor of Physics in 1810. He translated Claude Berthollet's publication Recherches sur les lois de l'affinitié in 1802. He proposed a system of equivalents based on sulfuric acid equal to one hundred.

Stoichiometry contribution

Jeremias Benjamin Richter's work had little impact until 1802, when it was summarized by Fischer in terms of tables, such as the one below.

According to this table, it takes 615 parts by weight of magnesia to neutralize either 1000 parts by weight of sulfuric acid or 1405 parts by weight of nitric acid. In the early literature on the subject, these weights were referred to as combining weights.

Works

References

1754 births
1831 deaths
19th-century German chemists
18th-century German chemists

Ernst Gottfried Fischer


Feriae tonsurae ovium, Anglice Sheep-Shearing Feast, quotannis in vere, quo tempore tonsura ovium perfecta sit, et saepius mense Iunio ineunte, a pastoribus Britanniae celebrabatur. Tales feriae in litteris describuntur.

Pandosto et The Winter's Tale
Feriae tonsurae ovium sunt crisis (act. 4 sc. 3-4) fabulae scaenicae The Winter's Tale a Gulielmo Shakesperio anno incerto compositae, anno 1611 doctae, primum in editione in folio (titulo Mr. William Shakespeares Comedies, Histories & Tragedies) anno 1623 impressae. Initium huius episodii iam in mythistoria Pandosto a Roberto Greene scripta reperitur, qui haec narrat:
It happened not long after this that there was a meeting of all the farmers' daughters in Sicilia, whither Fawnia was also bidden as the mistress of the feast, who, having attired herself in her best garments, went among the rest of her companions to the merry meeting, there spending the day in such homely pastimes as shepherds use (Robertus Greene, Pandosto (1907 ed., p. 42).
Apud Greene virgo Fawnia ibi primum a Dorasto videtur, qui statim amore captus est.

Shakesperius situm et nomina mutavit: feriae iam in Bohemia celebrantur, magistra epuli Perdita, amator Florizel; is iam Perditam amabat, sed in eis feriis pater eius Leontes primum de amoribus certus fit. Ante ferias celebratas Clown, Perditae frater, enumerat res quae ad comedendum sive et coquendum emere oportet:
Let mee see, what am I to buy for our Sheepe-shearing-Feast? Three pound of Sugar, fiue pound of Currence, Rice: What will this sister of mine do with Rice? But my father hath made her Mistris of the Feast, and she layes it on. Shee hath made-me four and twenty Nose-gayes for the shearers (three-man song-men, all, and very good ones) but they are most of them Meanes and Bases; but one Puritan amongst them, and he sings Psalmes to horne-pipes. I must haue Saffron to colour the Warden Pies, Mace: Dates, none: that's out of my note: Nutmegges, seuen; a Race or two of Ginger, but that I may begge: Foure pound of Prewyns, and as many of Reysons o'th Sun (The Winter's Tale act. IV sc. 3).

The Sad Shepherd
Feriae tonsurae ovium sunt res principalis ludi pastoralis imperfectae The Sad Shepherd a Beniamino Jonson scriptae. Ibi a Mariana, muliere Robin Hood, praecepta festivitatis enuntiantur:
Fall to your Cheese-Cakes, Curds, and clawted Cream,
Your Fools, your Flaunes; and of Ale a stream
To wash it from your Livers: strain Ewes Milk
Into your Cyder Sillabubs, and be drunk
To him, whose Fleece hath brought the earliest Lamb
This year; and wears the Baudrick at your Bord!
Where you may all go whistle; and record
This i' your Dance: and foot it lustily (The Sad Shepherd act. I sc. 7).

Bibliographia
 Henry Bourne; John Brand, ed., Observations on popular antiquities: including the whole of Mr. Bourne's Antiquitates vulgares, with addenda to every chapter of that work (Novi Castelli, 1777) cap. 28
 A. M. Stirling, "Holkham: a famous sheep-shearing feast" (1908); reimpressum in Adelaide L. J. Gosset, ed., Shepherds of Britain (1911) pp. 214-216

Feriae Britanniae
Ritus Iunii
Cenae litterariae
Cenae Shakesperianae
Robertus Greene
Beniaminus Ionsonius

Feriae tonsurae ovium


The Vaalharts Irrigation Scheme is one of the largest irrigation schemes in the world covering 369.50 square kilometres in the Northern Cape Province of South Africa. It is named after the Vaal River and the Harts River, the Vaal River being its major tributary.

Water from a diversion weir in the Vaal River, near Warrenton, flows through a 1,176 km long network of canals. This system provides irrigation water to a total of 39,820ha scheduled land, industrial water to six towns and other industrial water users. This farmland is divided into individual blocks which each have their own letter, or letter group for identification. The blocks are divided into streets which have numbers that count up from the first one out. The canals divide into all of the blocks and the streets. There are a total of 6 plots per street and each plot also has a number from one to six. To reference a specific plot, you take the plot number, follow it up with the block letter and then the street number. e.g. 3 G 13. Each plot feeds off of the canal into their own dams with their own hatch from the canal. The water then goes through pumps to be sprinkled across the farmland. The most popular method to do this is with pivots.

See also
Hartswater
 Windsorton

References

External links
Vaalharts Irrigation Scheme Study, South Africa

Northern Cape
Irrigation projects
Irrigation in South Africa
Vaal River

Vaalharts Irrigation Scheme


Armchair Theatre is an anthology series of one-off plays that aired on the ITV network between 1956 and 1974. A total of 426 episodes were produced over 19 series. The series was initially produced by ABC Weekend TV until 1968, and subsequently by Thames Television from 1969 onwards. The programme also had several spin-off series including Armchair Mystery Theatre, Out of This World, Armchair Cinema and Armchair Thriller.

Archival status
Due to the archival policies of television at the time, a total of 258 episodes are missing from the archives. Although the first series has no surviving episodes to date, the survival rate of episodes increases from Series 2 onwards. A total of 104 monochrome episodes survive as 16mm telerecordings, 18 episodes exist as 405-line 2-inch videotape conversions and a further episode "Exit Joe - Running" exists in incomplete form. From Series 15 onwards when the show started colour production, all episodes exist in the archives.

Series overview

ABC era (1956-1968)

Series 1 (1956-7)
The first series was produced by Dennis Vance, who had a preference for using classical material from plays and novels written by the likes of Dorothy Brandon, Guy de Maupassant, Edgar Allan Poe and Henry James respectively. The series was transmitted live from ABC's Manchester studios in Didsbury. Currently none of the episodes from this series are known to survive in the archives. The series was aired on Sundays, which would continue to be the standard until the end of Series 10 in 1966.

Series 2 (1957-8)
Currently the earliest series with surviving episodes that are extant in the archives. This series was the first to be produced by Sydney Newman, who took over as Head of Drama at ABC midway during the series from Vance, whom was promoted to a senior position in the company. Due to the live format of the series at the time, several episodes were pulled from transmission owing to technical failure or problems with the cast and crew. The broadcast of "The Shining Hour" was delayed by a week due to a faulty camera crane which could not be repaired in time, and the planned transmission of "Trial By Candlelight" was cancelled owing to the untimely illness of actress Freda Jackson, the production was subsequently remounted and tele-recorded for later transmission. The final episode that would have concluded the series "The House of Bernarda Alba" had to be pulled from transmission, after director Ted Kotcheff fell ill immediately prior to the live broadcast.

Series 3 (1958-9)
The first full series to be produced by Newman, whom pushed for more original material, that led to commissioning teleplays from the likes of Malcolm Hulke, Tad Mosel, Mordecai Richler and John Glennon respectively. This in turn helped boost the series popularity, and by June 1959 when the current series ended, it was consistently in the top ten of audience ratings, with figures regularly exceeding 12 million viewers for 32 out of the 37 weeks the series was broadcast. As the programme was still broadcast live, production issues continued to occur; notably during the live broadcast of "Underground" on 30 November 1958, when actor Gareth Jones collapsed and died from a heart attack in between his two scenes. Newman instructed director Ted Kotcheff to continue the play and instruct the actors to improvise, as a way of avoiding the missing character from being noticed by the audience. This series also happens to have the highest number of episodes, with 52 editions broadcast between September 1958 - September 1959.

Series 4 (1959-60)
Production of the series moved Teddington Studios during the summer of 1959, which allowed production to be pre-recorded on videotape. With the emergence of the Angry Young Men movement at the time, Newman sought to capitalise on this and commission original plays from  writers within the group, including Clive Exton, Harold Pinter and Alun Owen. The series shifted its focus to showing more realist material that focussed on the lives of the working classes, in contrast to the adaptions of high-brow classical material of earlier series. Two further episodes were pulled from transmission. "Three on a Gas Ring", a drama about a single mother who shows no remorse for her situation was banned by the ITA due to its subject matter, whilst "Two on a Tightrope" which was originally recorded in 1958, was scheduled for transmission on three different occasions, including the 22/6/1958, 3/1/1960 and 22/5/1960 before being dropped from the transmission schedule permanently.

Series 5 (1960-1)
This series had the longest run of any season, running for 15 months in total, although some episodes later on in the run were broadcast in fortnightly intervals, as opposed to its traditional weekly format. One of the notable plays of the series was "Lena, O My Lena" by Alun Owen, which concluded the trilogy of plays about working class life in Northern England that he began in the previous series, "No Trains to Lime Street" and "After the Funeral". The three plays were critically acclaimed, and subsequently Owen won the Directors Merit Award.

Series 6 (1962)
Following a hiatus of four months, the series returned to transmission in May 1962, with the episodes initially broadcast weekly, while the last three episode were broadcast fortnightly, there was also a brief mid-season break during August. At 11 episodes long, this was the shortest run during Newman's tenure, although a further episode "The Trial of Dr. Fancy" was taped but pulled from transmission by the ITA as they feared the play would cause offence, it was subsequently transmitted at the start of Series 8 in 1964. Robert Muller contributed two plays that series, including "Night Conspirators" and "Afternoon of a Nymph". The later being a stinging exposé of the underbelly of the entertainment industry. Muller would go onto write five more plays for the programme during the course of the decade. The kitchen sink element was gradually dropped from the series, after Newman announced "no more plays about 'kitchen sinks', unless they are brilliant", although realist plays continued to be commissioned, they became more infrequent.

Series 7 (1962-3)
This series was the last for Newman as producer, who would depart from ABC when his contract expired in December 1962 to take on the position of Head of Drama at the BBC. He was succeeded by Leonard White who took over as producer mid-way during the series run starting with "Into the Dark", White had acted in a couple of plays in earlier series, and had produced the spin-off shows including Out of This World and Armchair Mystery Theatre, along with the first two series of The Avengers. He would go onto to have the longest run as producer, staying on until Series 14 in 1969.

Series 8 (1963-4)
The first full series with Leonard White as producer, although his work as producer is often overlooked by his predecessor Newman's legacy, he continued to commission and produce notable plays for the series Although 22 episodes were transmitted, two further episodes "The Bandstand" and "The Blood Knot" were also produced but dropped from transmission due to scheduling issues, although the latter play's subject matter about apartheid may have been a factor towards its cancellation. White continued to his predecessor's work, by commissioning plays from upcoming writers, including John Hopkins, Andrew Sinclair and Len Deighton respectively

Series 9 (1964-5)
This series continued its shift away from the social realist themes of earlier seasons, with plots focussing more on fantasy and horror, such as "The Trial of Dr. Fancy" by Clive Exton which is a surrealist satirical courtroom drama about a Doctor (John Lee) who is accused of performing bizarre medical procedures which was notably held back from transmission for two years over its content, and "The Hothouse" by Donald Churchill, about a supermarket tycoon Harry Fender (Harry H. Corbett) whom has become increasingly obsessed with growing exotic plants within his house and turns his property into a hothouse. Notably, this story, along with "The Man Who Came to Die" by Reginald Marsh, marked a rare instance where the writer of the episode, also played a principal role within the cast. This series was met with stiff competition from the BBC's The Wednesday Play which began transmission in October 1964, which was produced by White's predecessor Sydney Newman, and would go onto have a greater impact than Newman's former show. Two further episodes were produced but pulled from tranmission, "Unexpected Summer" and "Old Man's Fancy" were cancelled due to scheduling issues.

Series 10 (1965-6)
This series broadcast into two blocks with a mid-series break between January - March 1966. The series continued to explore a variety of themes, including "The Gong Game" by Michael Herald, which casts Leslie Phillips as Clive Breeze, an ex-RAF veteran who faces a prison sentence after stealing money to help fund his daughter's school tuition fees. White continued to commission plays from upcoming writers including Jack Rosenthal who contributed the story "The Night Before the Morning After" which deals with the self doubts of a prospective Bride and Groom on the night before their wedding. This series also has the highest archival rate for the show during the ABC Era, with only 4 episodes out of a total of 14, that are missing from the archives. This was also the last series to be transmitted on Sundays.

Series 11 (1966-7)
Like the previous series, this series was also split into two blocks with a mid series break occurring between October 1966 - January 1967. The series was also notable for featuring the pilots for two successful series Never Mind the Quality, Feel the Width and Callan, the latter was initially titled as "A Magnum for Schneider". The plot for the episode was later reworked into the feature film version, along with writer James Mitchell's novelisation of the story. The transmission day for this series was switched to Saturdays, and would continue until Series 13 when ABC lost their weekend franchise following the ITV franchise review.

Series 12 (1967)
This series continued attract writers of calibre to produce noteworthy plays including Terrence Frisby, Emanuel Litvinoff, Fay Weldon and Richard Harris respectively. "Poor Cherry" by Weldon, was unusual for the series as it was written by a female writer, the story focusses on Cherry (Dilys Laye) whose troubled marriage to Brian (John Wood) is further strained when she has an affair with Philip Rick (Peter Arne) a candidate at a by-election campaign, in which she's involved in. Shortly before the first episode of this series aired, it was announced following the ITV franchise review in June 1967, ABC would lose their weekend franchise and be forced to merge and form a joint company with Rediffusion, which would be called Thames Television, that would begin transmissions the following year.

Series 13 (1968)
The final series to air before ABC merged with Rediffusion to form Thames Television on the 30th July 1968, it was also the last series to be shown on Saturdays since the weekend franchise would soon by taken over by London Weekend Television. This series was notable for a number of plays, including "Mrs. Capper's Birthday" which was adapted from a play by Noël Coward, and "The Ballad of Artificial Mash" which aired during ABC Television's final weekend before its handover to Thames. A large number of episodes from this series are missing, with only 4 episodes known to exist in the archives.

Thames era (1969-1974)

Series 14 (1969)
The first series to air following the franchise merger that formed Thames Television the previous July; it was the last series to be produced by Leonard White and also the final one to be produced and transmitted in monochrome. Following the show's acquisition by Thames, it was no longer aired on Saturday and was moved to a weekday slot instead. Due to the policy of wiping at the time, many episodes from this series were junked, and only one episode "Edward the Confessor" is known to exist in the archives. A further 4 episodes were written for this series but were not taped.

Series 15 (1970)
This was the first series to be produced and transmitted in colour, following the commencement of colour tranmissions on both ITV and the BBC on the 15th November 1969. John Kershaw took over as producer along with Lloyd Shirley as executive producer, whom would continue in that role for the remainder of the show's run. Notable plays from the "Say Goodnight to  by Colin Welland which deals with the cross-generational differences in a Northern family, the play subsequently won Welland a BAFTA award for Best TV Screenplay in 1971, and "Wednesday's Child" by John Marshall, which was a prequel to the Public Eye episode "My Life's My Own" (1969). From this series onwards, all episodes exist in the archives.

Series 16 (1971)
This series was noteworthy for several plays, including "Detective Waiting" by Ian Kennedy Martin, that deals with a young CID officer Lewis  (Richard Beckinsale) who tries to prove himself by cracking an unsolved case, an early example of the gritty realist police dramas that Kennedy Martin would later specialise in, such as The Sweeney, Juliet Bravo and The Chinese Detective. "Office Party" by Fay Weldon, which delves into the retirement party of a bank manager Mr. Moore (George A. Cooper) who becomes aware of rapidly changing world around him, and "Will Amelia Quint Continue Writing 'A Gnome Called Shorthouse'?" by Roy Clarke, a comedy drama about a semi retired novellist Amelia Quint (Beryl Reid) who is attemptedly coaxed from her life in Italy, to write another best-selling novel.

Series 17 (1972)
Kim Mills took over as producer for this series, she also directed several plays in earlier and subsequent series. This series was troubled by political controversy when one of the plays "The Folk Singer" by Dominic Behan, ran into a dispute with the ITA with its subject matter, since it was a black comedy about The Troubles in Northen Ireland at the time that delved into both sides of the conflict. The play was eventually transmitted, albeit a later time slot than usual.

Series 18 (1973)
For this series, Joan Kemp-Welch took over as producer. At the time, Armchair Theatre was increasingly criticised as being an outdated reminder of its theatrical routes, the style of television drama production had moved on by this time. The series continued to feature innovative plays, including "Red Riding Hood" by John Peacock, a psychological reimagining of the fairy tale that deals with deals with a timid librarian Grace (Rita Tushingham) who finds herself drawn into relationship with Henry (Keith Barron) whom she believes murdered her grandmother. And "A Bit of a Lift" written and starring Donald Churchill, a bedroom farce comedy which stars Churchill as Frank, a henpecked husband whom contemplates suicide at a hotel when he crosses paths with a couple, Alec (Ronald Fraser) and Penelope (Ann Beach) after he accidentally enters their hotel room.

Series 19 (1974)
Kim Mills had returned as producer, this series also has the shortest length of the program's entire run with only 4 episodes long . By the time the final series went into production, Thames decided to hand production duties over to Euston Films which had gradually established itself as a production unit that specialised in producing dramas shot entirely on 16mm film, as opposed to the traditional medium of studio based videotape that had been used at the time. The show was subsequently superseded by Armchair Cinema, which began airing in conjunction with the transmission dates of the episodes during this series. The anthology strand would subsequently return as a spin off series Armchair Thriller, which ran for two series produced between 1978 and 1980.

External links

 Armchair Theatre (TV Series)
 Armchair Theatre at IMDb
 Armchair Theatre at BFI Screenoline
 Armchair Theatre at Nostalgia Central
 Armchair Theatre at Television Heaven

References

Armchair Theatre

List of Armchair Theatre episodes


YZ is a 2016 Indian Marathi-language Coming of an age comedy romantic drama film directed by Sameer Vidwans and produced by Sanjay Chhabria and Anish Joag under the Everest Entertainment and Pratisad Productions banner respectively.

The film stars Sagar Deshmukh, Akshay Tanksale, Parna Pethe, Sai Tamhankar and Mukta Barve in lead roles.

Plot
Gajanan Kulkarni (Sagar Deshmukh) a 33-year old history professor from Wai, Maharashtra who is still a virgin and very shy in talking with girls who is due to get married, eventually ends up in Pune for a temporary lecturer in University, Where he befriends 18-Year old student nicknamed Battees (Akshay Tanksale) who is very famous in college for his confident attitude. He opens him up to a new world around him. Battees teaches him about various  nautorious things a man should know of his age. While staying with his aunt(mother's sister) in Pune, She arranges a marriage proposal for him with a girl Parnarekha (Sai Tamhankar), Both get involved into each other but soon Gajanan realizes that she is not of his type as she is very devotional and narrow minded. Gajanan breaks-up with Parnarekha saying that she is more bore than him. Meanwhile, he meets Antara (Parna Pethe) who is a best friend of Gaja's cousin sister Aarti. Antara requests Gaja to teach him Sanskrit Language as per her college syllabus. Antara falls for Gajas innocence and proposes him, Awestruck Gaja doesn't know what to do as he has never experienced such feelings for him before from anyone. Though he too has fantasies about Antare. Still confused about Antara, he tries to sort this out. Meanwhile, while visiting Battees place to speak about his problems he meets his childhood friend and love Sayali (Mukta Barve) in the opposite building who is a single mother and is currently with one of her friend after divorce with Rahul. Gaja confesses about his feeling which he had/has for her. Sayali now confused doesn't know what to do. Sayali gives him an old box containing a bucket list of things which Gaja had written when he was a child, realizing that he has done nothing till date from the list. Parnarekha who has now changed after guidance by Battees, she has transformed herself according to Gaja & meets him at his college on his last day. Gaja arranges Sayali's marriage with her friend with whom she was in live-in relationship, which is attended by Parnarekha, Antara, Battees & his beloved people. Gaja tells Parnarekha that he needs to leave. He tells Antara that she is very important to him but he cannot go ahead with their relationship. He says goodbye to Battees. Now a changed man Gajanan sits in the cab for airport concluding that he is going to finish his bucket list.
Finally he realises that he can stay happy with what he is and have control over his desires.

Cast
Sagar Deshmukh as Gajanan Kulkarni
Akshay Tanksale as Shyamsundar "Battees" Paarijaatak
Mukta Barve as Sayali
Parna Pethe as Antara
Sai Tamhankar as Parnarekha
Kaumudi Walokar as Arati

Release
The film was released on 12 August 2016.

The film had its world television premier on 11 December 2016 on Star Pravah.

References

External links

2010s Marathi-language films
2016 films
2010s coming-of-age comedy-drama films
Indian romantic comedy-drama films
Indian coming-of-age comedy-drama films
Films directed by Sameer Vidwans

YZ (film)


Margrave Conrad II of Lusatia, also known as Margrave Konrad II of Landsberg (before 1159 – 6 May 1210), was a member of the House of Wettin.  He was Count of Eilenburg and Margrave of Lusatia from 1190 until his death.  From 1207, he was also Count of Groitz and Count of Sommerschenburg.  He was a son of Margrave Dedi III and his wife, Matilda of Heinsberg, the heiress of Sommerschenburg.

Life
Conrad inherited the March of Lusatia and the County of Eilenburg when his father died in 1190.  In 1207, he inherited the Counties of Groitz and Sommerschenburg from his brother Dietrich.

In 1195, Emperor Henry VI dissolved the March of Meissen after the death of Margrave Albert I.  This made Conrad the highest-ranking nobleman in the area, and the most senior member of the House of Wettin.

In 1196, Conrad travelled via Italy to the Holy Land to participate in the Crusade of Emperor Henry VI.  In 1198, he returned home, again via Italy.  In 1207, he organized a Landtag at Delitzsch Castle.

Conrad died on 6 May 1210 and was buried in the Wechselburg Priory.  His wife Elisabeth was buried in Dobrilugk Abbey.  Since he had no male heirs, his territory passed to his cousin Theodoric I, who had been appointed Margrave of Meissen when the March of Meissen was reinstated by Emperor Otto IV in 1198.  After 1210, there no longer was a separate Margrave of Lusatia.  Instead, Lusatia was held by the Margraves of Meissen, then the Margraves of Landsberg, then divided between Bohemia and Brandenburg.

Marriage and issue
He married Elisabeth (Elżbieta) of Poland ( – 2 April 1209), who was a daughter of Mieszko III the Old, the High Duke of Poland, and widow of Soběslav II, Duke of Bohemia (d. 1180).  He had three children with her:
 Conrad (documented as alive in 1207; died before 6 May 1210)
 Matilda (died in 1255 in Salzwedel, buried in  Lehnin Abbey), married in August 1205 Albert II, Margrave of Brandenburg (d. 25 February 1220).
 Agnes (d. 1266), founder of Wienhausen Abbey and buried there; married in 1211 to Henry V, Count Palatine of the Rhine (d. 28 April 1227)

Ancestors

References

 Holger Kunde: Das Zisterzienserkloster Pforte — Die Urkundenfälschungen und die frühe Geschichte bis 1236, in the series Quellen und Forschungen zur Geschichte Sachsen-Anhalts, vol. 4, Böhlau, Cologne, 2003, , p. 99
 Ferdinand Wachter: Geschichte Sachsens bis auf die neuesten Zeiten, part 2, August Lehnhold, Leipzig, 1830, p. 225

Footnotes

Margraves of Lusatia
House of Wettin
People from Eilenburg
Christians of the Crusade of 1197
12th-century births
1210 deaths
Year of birth unknown
12th-century German nobility

Conrad II, Margrave of Lusatia


Anton Zwengauer (11 October 1810 – 13 June 1884) was a German painter of the Biedermeier period.

Life
Zwengauer was born in Munich, Bavaria. He studied at the Academy of Art in his home town under, among others, Peter von Cornelius. Zwengauer found himself attracted to landscape painting, in which there was no formal training at the Academy, and at the age of 17 he therefore began to travel through the Bavarian and Austrian Alps, returning from each trip with large quantities of sketches and watercolours. His artistic breakthrough came with his painting Sonnenuntergang im Dachauer Moos ("Sunset in the Dachauer Moos"), which immediately became well-known and much-discussed in the Munich art world. His sunsets became so well known that all paintings with sunsets were referred to, half admiringly and half ironically, as "Zwengauers".

In 1835 Maximilian II, King of Bavaria, appointed him conservator of the picture gallery of Schloss Schleissheim and in 1869 promoted him to the same post in the royal picture gallery, the later Alte Pinakothek.

In the selection of his motifs Zwengauer always tried to represent the inherent strength and peace of natural landscapes in an almost solemn mood. He often painted sunsets, in which he aimed to achieve impressive effects of light and colour by simple means.

Zwengauer died aged 73 on 13 June 1884 in Munich and is buried in the Alter Südfriedhof. A street in Solln in south Munich - Zwengauerweg - is named after him.

The landscape painter Anton Georg Zwengauer was his son, the Bavarian Lieutenant-General Karl Zwengauer his grandson.

Selected works
 Nachtmahl auf dem Berg ("Supper on the Mountain") (1841)
 Herbstabend mit Hirsch am Wasser ("Autumn Evening with Deer by Water"): Neue Pinakothek, Munich
 Benediktenwand im Abendlicht ("Benediktenwand in the Evening Light"): Pinakothek, Munich
 Die vier Tageszeiten ("The Four Times of the Day")
 Hirsche am See nach Sonnenuntergang ("Deer by a Lake after Sunset") - Museum der bildenden Künste, Leipzig

References

Literature

1810 births
1884 deaths
19th-century German painters
German male painters
Painters from Munich
Burials at the Alter Südfriedhof
19th-century German male artists

Anton Zwengauer


Sir William Norris, 1st Baronet ( – 10 October 1702) was an English diplomat and politician who sat in the House of Commons from 1695 to 1701. He was also a servant of the East India Company, and served as ambassador to the Mogul Emperor Aurangzeb. The family name is sometimes spelt Norres or Norreys.

Life

Origins
He was the second son of Thomas Norris of Speke Hall, Lancashire, by Katherine, daughter of Sir Henry Garraway. The eldest son, Thomas Norris (1653–1700), was a Whig MP for Liverpool, 1688 to 1690 and 1690 to 1695. William succeeded his eldest brother, Thomas, as member for Liverpool in 1695, and held the seat till 1701; he was re-elected during his absence in India, but unseated on petition. He was made a baronet on 3 December 1698, of Speke, Lancashire. The title became extinct on his death.

India
In 1698 the new General Society or English Company (less accurately, the "New East India Company") obtained an act of parliament and letters patent from the Crown for the purpose of trading to the East Indies, and in order to obtain the necessary privileges from the Mughal Emperor Aurangzeb, Sir William Norris, specially created a baronet for the mission, was sent out to India as king's commissioner in a ship of war, at a salary of £2,000 a year, paid by the company. He was expected to obtain the protection and privileges of the Mughal authorities in favour of the new company, in face of the opposition of the officers of the East India Company (the old or 'London' East India Company), which had been the accredited representative of British commerce in India for a century. The Old Company had its firmans from the Mughal Emperors conferring special privileges of trading.

Norris landed on 25 September 1699 at Masulipatam on the Indian east coast, where he found Consul Pitt of the English Company (not to be confused with Thomas Pitt) expecting him. The situation on the ground was complicated by the actions of Sir Nicholas Waite, the English company's representative at Surat, who had written to Aurangzeb, before Norris's arrival, to request firmans of privileges, and offering to suppress piracy on the Indian seas in return. The English company was incompetent to carry the offer into effect. Niccolao Manucci excused himself as an interpreter, and Pitt had made no preparations for the inland journey. Norris fell out with him, and sailed on 23 August 1700 for Swally (Suvali), the port on the Indian west coast for Surat, which he reached on 10 December.

Norris paid for an impressive state entry into Surat. On 27 January 1701 he set out from Surat on a journey to the emperor's camp, which was then some way south of Burhanpur. He was escorted by over sixty Europeans, including his younger brother Edward Norris, and three hundred Indians. The route taken across Maharashtra via Daulatabad, Aurangabad and Jalgaon was around 470 miles, and took 38 days, with Burhanpur reached on 6 March. While in Burhanpur Norris let protocol stand in the way of meeting Asad Khan, chief vizier to the Emperor. He set off south to meet the Emperor himself, who was engaged in a siege operation at Panhala fort, and arrived in the vicinity on 4 April. An audience was granted on 28 April, and King William's letter was presented in an elaborate ceremony with many gifts. In the substantive negotiations, however, Aurangzeb put his finger on the offer to suppress piracy in the Indian Ocean, particularly since it affected pilgrims on the hajj; while Norris was unwilling to give sufficient guarantees. This point proved the stumbling block, and while both Companies made substantial monetary gifts Norris went away empty-handed, feeling hampered by a lack of expertise in Persian on the part of his interpreter Adiell Mill. He left the camp, which he had followed to Mandangad, on 5 November 1701. He was then held up in Burhanpur.

In February 1702 Aurangzeb sent Norris at Burhanpur a letter, and a sword for King William, with a promise that, after all, the firmans would be sent. On 9 February the ambassador resumed his journey, and arrived on 12 March in the neighbourhood of Surat. He immediately entered upon an acrimonious dispute with Sir Nicholas Waite, to whose actions he ascribed the failure of the mission.

Death
On 5 May 1702 Norris sailed for England in the Scipio, while his brother Edward and suite embarked in the China Merchant, with a cargo valued at 87,200 rupees on Norris's account, and sixty thousand rupees belonging to the company. At Mauritius the two ships met on 11 July, but soon afterwards the Scipio parted company, and when she came to St. Helena it was reported that Norris had been attacked with dysentery, and had died at sea on 10 October 1702. He was married, to the widow of a Pollexfen, but left no issue.

Notes

References
Farrer, William and Brownbill, J., eds. (1907). "Townships: Speke". In A History of the County of Lancaster. Vol. 3. London: Victoria County History. pp. 131–140. BHO: British History Online.
Harrison, Richard D. (2016). "Norris, Sir William, baronet (1658–1702), politician and East India Company servant". In Oxford Dictionary of National Biography. Oxford University Press.

Proceedings and Papers of the Historic Society of Lancashire and Cheshire. Session I: 1848–49. Liverpool, 1849. pp. 148, 170.

External links

 Rayment, Leigh (2007). . Retrieved 3 May 2022.

1650s births
1702 deaths
Baronets in the Baronetage of England
18th-century English diplomats
17th-century English diplomats
English MPs 1695–1698
English MPs 1698–1700
English MPs 1701
Deaths from dysentery
Ambassadors of England to the Mughal Empire
Members of the Parliament of England (pre-1707) for Liverpool

Sir William Norris, 1st Baronet


Jules Huret (; 8 April 1863, Boulogne-sur-Mer, Pas-de-Calais – 14 February 1915, Paris) was a French journalist, best known for his interviews with writers.

Life
Born to a family of fishermen, he started work aged 15 at the secretariat of the mayor's office at Boulogne, to support his widowed mother.  In 1881 he founded a small literary review and four years later came to Paris, finding work there as an editor of scholarly books on the Rive Gauche.  Entering in 1886 L'Événement of Edmond Magnier, he remained in its employ for 6 months, then worked for several other daily newspapers.

In 1890, Valentin Simond took him on as a regular collaborator on L'Écho de Paris.  In March 1891, he began his famous "Enquête sur l'évolution littéraire" (Enquiry on literary evolution), in the course of which he interviewed 64 writers, including Émile Zola and his five collaborators on Soirées de Médan, Octave Mirbeau and Maurice Barrès, about the state of French literature and their perspectives on it, and on the battle of the "Psychologists against the Naturalists" and the "Symbolists against the Parnassians".  The basic proposal of these interviews, which the interviewees had to accept, was that the Darwinian principal of evolution could be applied to literature, which was also in certain ways a battlefield in which the fittest survived.

Making a speciality of interviews and practising it to perfection, he reported the spirit of his notable contemporaries with as much tact as efficiency.  He moved in 1892 to Le Figaro, where the same year he began an "Enquête sur la question sociale en Europe" (Enquiry into the social question of Europe), which took him to Rome, Vienna, Zurich, Vienna, Germany and Russia.  In 1895, under the direction of Antonin Périvier and Fernand de Rodays, Huret saw himself entrusted with Petite chronique des lettres du quotidien (A short report on the letters of the day), then – from 1896 to 1899 – a report on the state of the theatre.  From 1902, he made great voyages to foreign lands, sending back several reports.  He published enquiries on the United States of America in Le Figaro, which his friend Octave Mirbeau proposed for the prix Goncourt, along with ones on Germany and Argentina and on France's universities, politics, poor, and critics' rights.

Works
Enquête sur l'évolution littéraire. Conversations avec MM. Renan, de Goncourt, Émile Zola, Guy de Maupassant, Huysmans, Anatole France, Maurice Barrès, etc. (1891) Online text
La Catastrophe du Bazar de la Charité (4 mai 1897). Historique du Bazar de la charité, la catastrophe. Documents recueillis et mis en ordre par Jules Huret (1897) Online text
Enquête sur la question sociale en Europe (1897) Online text
Sarah Bernhardt (1899)
Loges et coulisses (1901) Online text
Tout yeux, tout oreilles (1901) Online text
Les Grèves. Enquête au Creusot, à Lille, Roubaix, Anzin, Lens, Marseille, Carmaux, Lyon, Saint-Étienne, Saint-Chamond (1902)
En Amérique. De New-York à la Nouvelle-Orléans (1904) Online text
En Amérique. De San Francisco au Canada (1905)
En Allemagne. Rhin et Westphalie : prospérité, les villes, les ports, usiniers et philanthropes, les grands syndicats patronaux (1907) Online text
En Argentine (2 volumes, 1911–1913) Online text
En Allemagne. Berlin (1913)
Rothschild et la question sociale (1920) Online text
Correspondance Octave Mirbeau-Jules Huret (2009)

References

External links
Notice on his Enquête sur l'évolution littéraire

1863 births
1915 deaths
People from Boulogne-sur-Mer
French journalists
French male non-fiction writers

Jules Huret


Eledone moschata, the musky octopus, is a species of octopus belonging to the family Octopodidae.

Taxonomy
The skin of the single specimen of Eledone microsicya is very similar to the skin of Eledone moschata and some authorities take the view that E. microsicya is not a valid taxon and represents a Red Sea population of the otherwise Mediteraranean E. moschata with which it should synonymised.

Distribution
The musky octopus is found throughout the Mediterranean Sea, and is occasionally found in adjacent parts of the Atlantic Ocean, around the Gulf of Cadiz and off the coast of Portugal.

Habitat
The musky octopus occurs on the sandy bottom of the continental platform, at depths up to 400 meters. Usually it lives burrowed into the sediments.

Description
The largest recorded musky octopus was a male with a mantle length of , a total length of  and a mass of , caught in the Gulf of İzmir (Gulf of Smyrna), in the Aegean Sea. This small species has a head smaller than the body, with protruding eyes. The eight tentacles are relatively short and have one row of suckers. The third right arm (called Hectocotylus) is specialized to store and transfer spermatophores to the female. The basic color of the body is gray-brown, with dark, brown to blackish spots.

Eledone moschata is closely related to the horned octopus, Eledone cirrhosa, but can be distinguished by a number of features; for example, E. moschata has smooth skin and smells of musk, while E. cirrhosa has warty skin and no musky odour.

Ecology
The musky octopus feeds on a wide variety of crustaceans, molluscs and fish. Crustaceans are preferred, and species known to be eaten by E. moschata include Maja squinado, Maja crispata, Macropodia rostrata, Macropodia longirostris, Pisa tetraodon, Dorippe lanata, Lissa chiragra, Lambrus angulifrons, Lambrus massena, Inachus dorsettensis, Carcinus aestuarii, Pachygrapsus marmoratus, Xantho poressa, Pilumnus hirtellus, Goneplax rhomboides, Pagurus prideaux, Ilia nucleus and Squilla mantis; molluscs consumed by E., moschata include Chlamys varia, Mytilus galloprovincialis, Sepia orbignyana, Illex coindetii, Loligo subulata; E. moschata also eats the fish Engraulis encrasicolus, Sardina pilchardus, Mullus barbatus, Diplodus annularis, Merluccius merluccius, Merlangius merlangus, Lepidotrigla cavillone, Trachurus trachurus and Trisopterus minutus.

Gallery

References

moschata
Cephalopods described in 1798
Marine molluscs of Europe
Cephalopods of Europe

Eledone moschata


Galactose (from the Greek stem γάλακτ– galakt–, "milk") is a sugar. It has almost the same chemical structure as glucose.

Large amounts of pure galactose do not exist in nature. Instead, galactose is usually found with glucose in lactose, a sugar found in milk and other milk products. After lactose is digested and absorbed, galactose arrives in the liver. There it is changed into either glucose or glycogen.

References

Monosaccharides

Galactose