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[
"Diana and Her Companions",
"owned by",
"Mauritshuis"
] | Diana and Her Companions (Dutch: Diana en haar Nimfen or Diana en haar gezellinnen) is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.
The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective moment would grow stronger in Vermeer's paintings as his career progressed.
Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century. | owned by | 24 | [
"possessed by",
"belonging to",
"controlled by",
"under ownership of",
"held by"
] | null | null |
[
"Diana and Her Companions",
"collection",
"Mauritshuis"
] | Diana and Her Companions (Dutch: Diana en haar Nimfen or Diana en haar gezellinnen) is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.
The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective moment would grow stronger in Vermeer's paintings as his career progressed.
Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century. | collection | 79 | [
"assemblage",
"accumulation",
"gathering",
"compilation",
"assortment"
] | null | null |
[
"Diana and Her Companions",
"depicts",
"Diana"
] | Description
The scene
The painting depicts the Greek and Roman goddess Diana ("Artemis" in Ancient Greece) with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer (the most skin Vermeer shows on a figure in any of his extant paintings), a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle.Attribution and relationship to other works
According to Arthur K. Wheelock Jr., the painting "has no visual precedent". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.Nor does the painting use Diana as an allegorical portrait, a tradition for which had developed by the mid-17th century, with identifiable women depicted as the goddess, who was also a symbol of chastity. An example of this tradition is Diana and Her Nymphs, painted by Jacob van Loo in Amsterdam around 1648, about seven or eight years before Vermeer's work. (Vermeer's Diana has frequently been compared to van Loo's. In van Loo's painting, Diana also sits in a forest clearing with a small group of companions, but the mood is very different.The similarities between Vermeer's painting and Rembrandt's style are close enough that the work was attributed to Rembrandt's student, Nicolaes Maes when auctioned in 1876. Vermeer's signature on the painting had been altered, making it look like Maes'. During a restoration the original signature of J. v. Meer was faintly discernible, though this was ascribed to the Utrecht artist Johannes van der Meet.Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict subjects. Some features of Diana share the effects and techniques of Rembrandt. Diana's stout figure is much like those in Rembrandt's work, and Vermeer used thick impasto brushwork following the lines of the folds of her clothing, as Rembrandt did. Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene. Vermeer's painting is very similar in feeling to Rembrandt's Bathsheba, painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock. The poses of the woman whose feet is washed and the one doing the washing are similar. It is possible that Rembrandt's former pupil, Carel Fabritius (in Delft from 1650 until his death in late 1654), may have made Vermeer familiar with Rembrandt's work.
Doubts about the attribution of the painting remained until about 1901, the year Abraham Bredius and Willem Martin, deputy director of the Mauritshuis, discovered its similarities in coloring and technique with Martha and Mary, which was signed by Vermeer, and in colors with The Procuress, another very early Vermeer work. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Diana and Her Companions",
"genre",
"mythological painting"
] | Description
The scene
The painting depicts the Greek and Roman goddess Diana ("Artemis" in Ancient Greece) with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer (the most skin Vermeer shows on a figure in any of his extant paintings), a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Diana and Her Companions",
"depicts",
"nymph"
] | Diana and Her Companions (Dutch: Diana en haar Nimfen or Diana en haar gezellinnen) is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.
The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective moment would grow stronger in Vermeer's paintings as his career progressed.
Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century.Description
The scene
The painting depicts the Greek and Roman goddess Diana ("Artemis" in Ancient Greece) with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer (the most skin Vermeer shows on a figure in any of his extant paintings), a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"Diana and Her Companions",
"movement",
"Dutch Golden Age painting"
] | The similarities between Vermeer's painting and Rembrandt's style are close enough that the work was attributed to Rembrandt's student, Nicolaes Maes when auctioned in 1876. Vermeer's signature on the painting had been altered, making it look like Maes'. During a restoration the original signature of J. v. Meer was faintly discernible, though this was ascribed to the Utrecht artist Johannes van der Meet.Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict subjects. Some features of Diana share the effects and techniques of Rembrandt. Diana's stout figure is much like those in Rembrandt's work, and Vermeer used thick impasto brushwork following the lines of the folds of her clothing, as Rembrandt did. Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene. Vermeer's painting is very similar in feeling to Rembrandt's Bathsheba, painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock. The poses of the woman whose feet is washed and the one doing the washing are similar. It is possible that Rembrandt's former pupil, Carel Fabritius (in Delft from 1650 until his death in late 1654), may have made Vermeer familiar with Rembrandt's work.
Doubts about the attribution of the painting remained until about 1901, the year Abraham Bredius and Willem Martin, deputy director of the Mauritshuis, discovered its similarities in coloring and technique with Martha and Mary, which was signed by Vermeer, and in colors with The Procuress, another very early Vermeer work. | movement | 87 | [
"motion",
"activity",
"progression",
"advancement",
"mobility"
] | null | null |
[
"Diana and Her Companions",
"instance of",
"painting"
] | Description
The scene
The painting depicts the Greek and Roman goddess Diana ("Artemis" in Ancient Greece) with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer (the most skin Vermeer shows on a figure in any of his extant paintings), a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle.Attribution and relationship to other works
According to Arthur K. Wheelock Jr., the painting "has no visual precedent". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.Nor does the painting use Diana as an allegorical portrait, a tradition for which had developed by the mid-17th century, with identifiable women depicted as the goddess, who was also a symbol of chastity. An example of this tradition is Diana and Her Nymphs, painted by Jacob van Loo in Amsterdam around 1648, about seven or eight years before Vermeer's work. (Vermeer's Diana has frequently been compared to van Loo's. In van Loo's painting, Diana also sits in a forest clearing with a small group of companions, but the mood is very different.The similarities between Vermeer's painting and Rembrandt's style are close enough that the work was attributed to Rembrandt's student, Nicolaes Maes when auctioned in 1876. Vermeer's signature on the painting had been altered, making it look like Maes'. During a restoration the original signature of J. v. Meer was faintly discernible, though this was ascribed to the Utrecht artist Johannes van der Meet.Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict subjects. Some features of Diana share the effects and techniques of Rembrandt. Diana's stout figure is much like those in Rembrandt's work, and Vermeer used thick impasto brushwork following the lines of the folds of her clothing, as Rembrandt did. Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene. Vermeer's painting is very similar in feeling to Rembrandt's Bathsheba, painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock. The poses of the woman whose feet is washed and the one doing the washing are similar. It is possible that Rembrandt's former pupil, Carel Fabritius (in Delft from 1650 until his death in late 1654), may have made Vermeer familiar with Rembrandt's work.
Doubts about the attribution of the painting remained until about 1901, the year Abraham Bredius and Willem Martin, deputy director of the Mauritshuis, discovered its similarities in coloring and technique with Martha and Mary, which was signed by Vermeer, and in colors with The Procuress, another very early Vermeer work. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Virgin and Child with Saint Anne (Masaccio)",
"collection",
"Uffizi Gallery"
] | John T. Spike, Masaccio, Rizzoli libri illustrati, Milano 2002 ISBN 88-7423-007-9
AA.VV., Galleria degli Uffizi, collana I Grandi Musei del Mondo, Roma 2003.
Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. ISBN 88-451-7212-0 | collection | 79 | [
"assemblage",
"accumulation",
"gathering",
"compilation",
"assortment"
] | null | null |
[
"Odyssey",
"characters",
"Penelope"
] | The Odyssey (; Ancient Greek: Ὀδύσσεια, romanized: Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is one of the oldest extant works of literature still widely read by modern audiences. As with the Iliad, the poem is divided into 24 books. It follows the Greek hero Odysseus, king of Ithaca, and his journey home after the Trojan War. After the war, which lasted ten years, his journey lasted for ten additional years, during which time he encountered many perils and all of his crewmates were killed. In his absence, Odysseus was assumed dead, and his wife Penelope and son Telemachus had to contend with a group of unruly suitors who were competing for Penelope's hand in marriage.
The Odyssey was originally composed in Homeric Greek in around the 8th or 7th century BC and, by the mid-6th century BC, had become part of the Greek literary canon. In antiquity, Homer's authorship of the poem was not questioned, but contemporary scholarship predominantly assumes that the Iliad and the Odyssey were composed independently and that the stories formed as part of a long oral tradition. Given widespread illiteracy, the poem was performed by an aoidos or rhapsode and was more likely to be heard than read.
Crucial themes in the poem include the ideas of nostos (νόστος; "return"), wandering, xenia (ξενία; "guest-friendship"), testing, and omens. Scholars still reflect on the narrative significance of certain groups in the poem, such as women and slaves, who have a more prominent role in the epic than in many other works of ancient literature. This focus is especially remarkable when contrasted with the Iliad, which centres the exploits of soldiers and kings during the Trojan War.
The Odyssey is regarded as one of the most significant works of the Western canon. The first English translation of the Odyssey was in the 16th century. Adaptations and re-imaginings continue to be produced across a wide variety of media. In 2018, when BBC Culture polled experts around the world to find literature's most enduring narrative, the Odyssey topped the list. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Odyssey",
"characters",
"Circe"
] | After the cannibalistic Laestrygonians destroyed all of his ships except his own, Odysseus sailed on and reached the island of Aeaea, home of witch-goddess Circe. She turned half of his men into swine with drugged cheese and wine. Hermes warned Odysseus about Circe and gave Odysseus an herb called moly, making him resistant to Circe's magic. Odysseus forced Circe to change his men back to their human forms and was seduced by her. They remained with her for one year. Finally, guided by Circe's instructions, Odysseus and his crew crossed the ocean and reached a harbor at the western edge of the world, where Odysseus sacrificed to the dead. Odysseus summoned the spirit of the prophet Tiresias and was told that he may return home if he is able to stay himself and his crew from eating the sacred livestock of Helios on the island of Thrinacia and that failure to do so would result in the loss of his ship and his entire crew. He then meets his dead mother Anticleia and first learns of the suitors and what happened in Ithaca in his absence. Odysseus also converses with his dead comrades from Troy.
Returning to Aeaea, they buried Elpenor and were advised by Circe on the remaining stages of the journey. They skirted the land of the Sirens. All of the sailors had their ears plugged up with beeswax, except for Odysseus, who was tied to the mast as he wanted to hear the song. He told his sailors not to untie him as it would only make him drown himself. They then passed between the six-headed monster Scylla and the whirlpool Charybdis. Scylla claimed six of his men.
Next, they landed on the island of Thrinacia, with the crew overriding Odysseus's wishes to remain away from the island. Zeus caused a storm that prevented them from leaving, causing them to deplete the food given to them by Circe. While Odysseus was away praying, his men ignored the warnings of Tiresias and Circe and hunted the sacred cattle. Helios insisted that Zeus punish the men for this sacrilege. They suffered a shipwreck, and all but Odysseus drowned as he clung to a fig tree. Washed ashore on Ogygia, he remained there as Calypso's lover.Wandering
Only two of Odysseus's adventures are described by the narrator. The rest of Odysseus' adventures are recounted by Odysseus himself. The two scenes described by the narrator are Odysseus on Calypso's island and Odysseus' encounter with the Phaeacians. These scenes are told by the poet to represent an important transition in Odysseus' journey: being concealed to returning home.Calypso's name comes from the Greek word kalúptō (καλύπτω), meaning 'to cover' or 'conceal', which is apt, as this is exactly what she does with Odysseus. Calypso keeps Odysseus concealed from the world and unable to return home. After leaving Calypso's island, the poet describes Odysseus' encounters with the Phaeacians—those who "convoy without hurt to all men"—which represents his transition from not returning home to returning home.Also, during Odysseus' journey, he encounters many beings that are close to the gods. These encounters are useful in understanding that Odysseus is in a world beyond man and that influences the fact he cannot return home. These beings that are close to the gods include the Phaeacians who lived near the Cyclopes, whose king, Alcinous, is the great-grandson of the king of the giants, Eurymedon, and the grandson of Poseidon. Some of the other characters that Odysseus encounters are the cyclops Polyphemus, the son of Poseidon; Circe, a sorceress who turns men into animals; and the cannibalistic giants, the Laestrygonians. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Ido",
"based on",
"Esperanto"
] | Ido () is a constructed language derived from Reformed Esperanto, and similarly designed with the goal of being a universal second language for people of diverse backgrounds. To function as an effective international auxiliary language, Ido was specifically designed to be grammatically, orthographically, and lexicographically regular (and, above all, easy to learn and use). It is the most successful of the many Esperanto derivatives, called Esperantidoj.
Ido was created in 1907 out of a desire to reform perceived flaws in Esperanto, a language that had been created 20 years earlier to facilitate international communication. The name of the language traces its origin to the Esperanto word ido, meaning "offspring", since the language is a "descendant" of Esperanto. After its inception, Ido gained support from some in the Esperanto community. A setback occurred with the sudden death in 1914 of one of its most influential proponents, Louis Couturat. In 1928, leader Otto Jespersen left the movement for his own language Novial. There were two reasons for why Ido declined in popularity: first, the emergence of further schisms arising from competing reform projects; and second, a general lack of awareness of Ido as a candidate for an international language. These obstacles weakened the movement and it was not until the rise of the Internet that it began to regain momentum.
Ido uses the same 26 letters as the English (Latin) alphabet, with no diacritics. It draws its vocabulary from English, French, German, Italian, Latin, Russian, Spanish and Portuguese, and is largely intelligible to those who have studied Esperanto.
Several works of literature have been translated into Ido, including The Little Prince, the Book of Psalms, and the Gospel of Luke. As of the year 2000, there were approximately 100–200 Ido speakers in the world. In 2020, Ido had 24 native speakers in Finland. | based on | 133 | [
"derived from",
"inspired by",
"modeled after",
"constructed from",
"built upon"
] | null | null |
[
"Ido",
"writing system",
"Latin script"
] | Ido () is a constructed language derived from Reformed Esperanto, and similarly designed with the goal of being a universal second language for people of diverse backgrounds. To function as an effective international auxiliary language, Ido was specifically designed to be grammatically, orthographically, and lexicographically regular (and, above all, easy to learn and use). It is the most successful of the many Esperanto derivatives, called Esperantidoj.
Ido was created in 1907 out of a desire to reform perceived flaws in Esperanto, a language that had been created 20 years earlier to facilitate international communication. The name of the language traces its origin to the Esperanto word ido, meaning "offspring", since the language is a "descendant" of Esperanto. After its inception, Ido gained support from some in the Esperanto community. A setback occurred with the sudden death in 1914 of one of its most influential proponents, Louis Couturat. In 1928, leader Otto Jespersen left the movement for his own language Novial. There were two reasons for why Ido declined in popularity: first, the emergence of further schisms arising from competing reform projects; and second, a general lack of awareness of Ido as a candidate for an international language. These obstacles weakened the movement and it was not until the rise of the Internet that it began to regain momentum.
Ido uses the same 26 letters as the English (Latin) alphabet, with no diacritics. It draws its vocabulary from English, French, German, Italian, Latin, Russian, Spanish and Portuguese, and is largely intelligible to those who have studied Esperanto.
Several works of literature have been translated into Ido, including The Little Prince, the Book of Psalms, and the Gospel of Luke. As of the year 2000, there were approximately 100–200 Ido speakers in the world. In 2020, Ido had 24 native speakers in Finland. | writing system | 136 | [
"Script",
"Alphabet",
"Orthography",
"Characters",
"Writing scheme"
] | null | null |
[
"Ido",
"instance of",
"constructed language"
] | Ido () is a constructed language derived from Reformed Esperanto, and similarly designed with the goal of being a universal second language for people of diverse backgrounds. To function as an effective international auxiliary language, Ido was specifically designed to be grammatically, orthographically, and lexicographically regular (and, above all, easy to learn and use). It is the most successful of the many Esperanto derivatives, called Esperantidoj.
Ido was created in 1907 out of a desire to reform perceived flaws in Esperanto, a language that had been created 20 years earlier to facilitate international communication. The name of the language traces its origin to the Esperanto word ido, meaning "offspring", since the language is a "descendant" of Esperanto. After its inception, Ido gained support from some in the Esperanto community. A setback occurred with the sudden death in 1914 of one of its most influential proponents, Louis Couturat. In 1928, leader Otto Jespersen left the movement for his own language Novial. There were two reasons for why Ido declined in popularity: first, the emergence of further schisms arising from competing reform projects; and second, a general lack of awareness of Ido as a candidate for an international language. These obstacles weakened the movement and it was not until the rise of the Internet that it began to regain momentum.
Ido uses the same 26 letters as the English (Latin) alphabet, with no diacritics. It draws its vocabulary from English, French, German, Italian, Latin, Russian, Spanish and Portuguese, and is largely intelligible to those who have studied Esperanto.
Several works of literature have been translated into Ido, including The Little Prince, the Book of Psalms, and the Gospel of Luke. As of the year 2000, there were approximately 100–200 Ido speakers in the world. In 2020, Ido had 24 native speakers in Finland. | instance of | 5 | [
"type of",
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"representation of"
] | null | null |
[
"Ido",
"instance of",
"Esperantido"
] | Ido () is a constructed language derived from Reformed Esperanto, and similarly designed with the goal of being a universal second language for people of diverse backgrounds. To function as an effective international auxiliary language, Ido was specifically designed to be grammatically, orthographically, and lexicographically regular (and, above all, easy to learn and use). It is the most successful of the many Esperanto derivatives, called Esperantidoj.
Ido was created in 1907 out of a desire to reform perceived flaws in Esperanto, a language that had been created 20 years earlier to facilitate international communication. The name of the language traces its origin to the Esperanto word ido, meaning "offspring", since the language is a "descendant" of Esperanto. After its inception, Ido gained support from some in the Esperanto community. A setback occurred with the sudden death in 1914 of one of its most influential proponents, Louis Couturat. In 1928, leader Otto Jespersen left the movement for his own language Novial. There were two reasons for why Ido declined in popularity: first, the emergence of further schisms arising from competing reform projects; and second, a general lack of awareness of Ido as a candidate for an international language. These obstacles weakened the movement and it was not until the rise of the Internet that it began to regain momentum.
Ido uses the same 26 letters as the English (Latin) alphabet, with no diacritics. It draws its vocabulary from English, French, German, Italian, Latin, Russian, Spanish and Portuguese, and is largely intelligible to those who have studied Esperanto.
Several works of literature have been translated into Ido, including The Little Prince, the Book of Psalms, and the Gospel of Luke. As of the year 2000, there were approximately 100–200 Ido speakers in the world. In 2020, Ido had 24 native speakers in Finland. | instance of | 5 | [
"type of",
"example of",
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"representation of"
] | null | null |
[
"Ido",
"instance of",
"planned language"
] | Ido () is a constructed language derived from Reformed Esperanto, and similarly designed with the goal of being a universal second language for people of diverse backgrounds. To function as an effective international auxiliary language, Ido was specifically designed to be grammatically, orthographically, and lexicographically regular (and, above all, easy to learn and use). It is the most successful of the many Esperanto derivatives, called Esperantidoj.
Ido was created in 1907 out of a desire to reform perceived flaws in Esperanto, a language that had been created 20 years earlier to facilitate international communication. The name of the language traces its origin to the Esperanto word ido, meaning "offspring", since the language is a "descendant" of Esperanto. After its inception, Ido gained support from some in the Esperanto community. A setback occurred with the sudden death in 1914 of one of its most influential proponents, Louis Couturat. In 1928, leader Otto Jespersen left the movement for his own language Novial. There were two reasons for why Ido declined in popularity: first, the emergence of further schisms arising from competing reform projects; and second, a general lack of awareness of Ido as a candidate for an international language. These obstacles weakened the movement and it was not until the rise of the Internet that it began to regain momentum.
Ido uses the same 26 letters as the English (Latin) alphabet, with no diacritics. It draws its vocabulary from English, French, German, Italian, Latin, Russian, Spanish and Portuguese, and is largely intelligible to those who have studied Esperanto.
Several works of literature have been translated into Ido, including The Little Prince, the Book of Psalms, and the Gospel of Luke. As of the year 2000, there were approximately 100–200 Ido speakers in the world. In 2020, Ido had 24 native speakers in Finland. | instance of | 5 | [
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"instance of",
"international auxiliary language"
] | Ido () is a constructed language derived from Reformed Esperanto, and similarly designed with the goal of being a universal second language for people of diverse backgrounds. To function as an effective international auxiliary language, Ido was specifically designed to be grammatically, orthographically, and lexicographically regular (and, above all, easy to learn and use). It is the most successful of the many Esperanto derivatives, called Esperantidoj.
Ido was created in 1907 out of a desire to reform perceived flaws in Esperanto, a language that had been created 20 years earlier to facilitate international communication. The name of the language traces its origin to the Esperanto word ido, meaning "offspring", since the language is a "descendant" of Esperanto. After its inception, Ido gained support from some in the Esperanto community. A setback occurred with the sudden death in 1914 of one of its most influential proponents, Louis Couturat. In 1928, leader Otto Jespersen left the movement for his own language Novial. There were two reasons for why Ido declined in popularity: first, the emergence of further schisms arising from competing reform projects; and second, a general lack of awareness of Ido as a candidate for an international language. These obstacles weakened the movement and it was not until the rise of the Internet that it began to regain momentum.
Ido uses the same 26 letters as the English (Latin) alphabet, with no diacritics. It draws its vocabulary from English, French, German, Italian, Latin, Russian, Spanish and Portuguese, and is largely intelligible to those who have studied Esperanto.
Several works of literature have been translated into Ido, including The Little Prince, the Book of Psalms, and the Gospel of Luke. As of the year 2000, there were approximately 100–200 Ido speakers in the world. In 2020, Ido had 24 native speakers in Finland. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Also sprach Zarathustra",
"based on",
"Thus Spoke Zarathustra"
] | Structure
The piece is divided into nine sections played with only three definite pauses. Strauss named the sections after selected chapters of Friedrich Nietzsche's novel Thus Spoke Zarathustra:"Sonnenaufgang" (Sunrise)
"Von den Hinterweltlern" (Of the Backworldsmen)
"Von der großen Sehnsucht" (Of the Great Longing)
"Von den Freuden und Leidenschaften" (Of Joys and Passions)
"Das Grablied" (The Song of the Grave)
"Von der Wissenschaft" (Of Science and Learning)
"Der Genesende" (The Convalescent)
"Das Tanzlied" (The Dance Song)
"Nachtwandlerlied" (Song of the Night Wanderer)These selected chapters from Nietzsche's novel highlight major moments of the character Zarathustra's philosophical journey in the novel. The general storylines and ideas in these chapters were the inspiration used to build the tone poem's structure. | based on | 133 | [
"derived from",
"inspired by",
"modeled after",
"constructed from",
"built upon"
] | null | null |
[
"Jiyun",
"editor",
"Ding Du"
] | The Jiyun (Chi-yun; simplified Chinese: 集韵; traditional Chinese: 集韻; pinyin: Jíyùn; Wade–Giles: Chi2-yün4; lit. Collected Rimes) is a Chinese rime dictionary published in 1037 during the Song Dynasty. The chief editor Ding Du (丁度) and others expanded and revised the Guangyun. It is possible, according to Teng and Biggerstaff (1971:147), that Sima Guang completed the text in 1067. The Jiyun has 53,525 character entries (Teng & Biggerstaff, 1971: 147), approximately twice as many as the Guangyun, and likewise has 206 rime groups. | editor | 137 | [
"scribe",
"redactor",
"corrector",
"copy editor",
"proofreader"
] | null | null |
[
"Interlingue",
"writing system",
"Latin script"
] | Grammar
Alphabet
Interlingue is written with 26 Latin letters: a, b, c, d, e, f, g, h, i, j, k, l, m, n, o, p, q, r, s, t, u, v, w, x, y, and z. The names of the letters are a, be, ce, de, e, ef, ge, ha, i, jot, ka, el, em, en, o, pe, qu, er, es, te, u, ve, duplic ve, ix, ypsilon, and zet. Accents are written on the five vowels to indicate irregular stress, with the acute accent (á é í ó ú) preferred, but others (è, ê, etc.) permitted. | writing system | 136 | [
"Script",
"Alphabet",
"Orthography",
"Characters",
"Writing scheme"
] | null | null |
[
"Interlingue",
"discoverer or inventor",
"Edgar de Wahl"
] | Interlingue ([interˈliŋɡwe]; ISO 639 ie, ile), originally Occidental ([oktsidenˈtaːl]), is an international auxiliary language created in 1922 and renamed in 1949. Its creator, Edgar de Wahl, sought to achieve maximal grammatical regularity and natural character. The vocabulary is based on pre-existing words from various languages and a derivational system which uses recognized prefixes and suffixes.
Many of Interlingue's derived word forms reflect those common to certain Western European languages, primarily the Romance languages, along with some Germanic vocabulary. Many of its words are formed using de Wahl's rule, a set of rules for regular conversion of all but six verb infinitives into derived words including from Latin double-stem verbs (e.g. vider to see and its derivative vision). The result is a naturalistic and regular language that is easy to understand at first sight for individuals acquainted with certain Western European languages. Readability and simplified grammar, along with the regular appearance of the magazine Cosmoglotta, made Occidental popular in Europe during the years before World War II despite efforts by the Nazis to suppress international auxiliary languages.
Occidental survived the war, but the community had been out of touch with the language's creator since 1939. A Baltic German naval officer and teacher from Estonia, de Wahl refused to leave his Tallinn home for Germany, even after his house was destroyed in the 1943 air raids on the city forcing him to take refuge in a psychiatric hospital. Since most of his mail had been intercepted, he died in 1948 largely unaware of developments in the language. The name change to Interlingue took place the following year for two reasons: (1) to demonstrate to the Soviet Union the language's neutrality, and (2) the expectation of a possible union or closer collaboration with the community around Interlingua, a competing naturalistic project under development. Many users were lost following the latter's appearance in 1951, beginning a period of decline until the advent of the Internet.History and activity
Beginnings
Edgar de Wahl announced the creation of Occidental in 1922 with the first issue of the magazine Cosmoglotta, published in Tallinn, Estonia under the name Kosmoglott. Occidental was a product of years of personal experimentation under the name Auli (auxiliary language), which he used from 1906 to 1921 and which later on gained the nickname proto-Occidental. De Wahl, originally a proponent of Volapük and then Esperanto, began creating Occidental after the failed vote to reform Esperanto in 1894.De Wahl corresponded with other language creators, among them the Italian mathematician Giuseppe Peano (creator of Latino sine flexione), from whom he gained an appreciation for its selection of international vocabulary, and Waldemar Rosenberger, the creator of Idiom Neutral. | discoverer or inventor | 110 | [
"discoverer",
"inventor",
"creator",
"pioneer",
"innovator"
] | null | null |
[
"Interlingue",
"creator",
"Edgar de Wahl"
] | Interlingue ([interˈliŋɡwe]; ISO 639 ie, ile), originally Occidental ([oktsidenˈtaːl]), is an international auxiliary language created in 1922 and renamed in 1949. Its creator, Edgar de Wahl, sought to achieve maximal grammatical regularity and natural character. The vocabulary is based on pre-existing words from various languages and a derivational system which uses recognized prefixes and suffixes.
Many of Interlingue's derived word forms reflect those common to certain Western European languages, primarily the Romance languages, along with some Germanic vocabulary. Many of its words are formed using de Wahl's rule, a set of rules for regular conversion of all but six verb infinitives into derived words including from Latin double-stem verbs (e.g. vider to see and its derivative vision). The result is a naturalistic and regular language that is easy to understand at first sight for individuals acquainted with certain Western European languages. Readability and simplified grammar, along with the regular appearance of the magazine Cosmoglotta, made Occidental popular in Europe during the years before World War II despite efforts by the Nazis to suppress international auxiliary languages.
Occidental survived the war, but the community had been out of touch with the language's creator since 1939. A Baltic German naval officer and teacher from Estonia, de Wahl refused to leave his Tallinn home for Germany, even after his house was destroyed in the 1943 air raids on the city forcing him to take refuge in a psychiatric hospital. Since most of his mail had been intercepted, he died in 1948 largely unaware of developments in the language. The name change to Interlingue took place the following year for two reasons: (1) to demonstrate to the Soviet Union the language's neutrality, and (2) the expectation of a possible union or closer collaboration with the community around Interlingua, a competing naturalistic project under development. Many users were lost following the latter's appearance in 1951, beginning a period of decline until the advent of the Internet. | creator | 76 | [
"author",
"originator",
"designer",
"founder",
"producer"
] | null | null |
[
"The Trial",
"language of work or name",
"German"
] | The Trial (German: Der Process, previously Der Proceß, Der Prozeß and Der Prozess) is a novel written by Franz Kafka in 1914 and 1915 and published posthumously on 26 April 1925. One of his best known works, it tells the story of Josef K., a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. Heavily influenced by Dostoevsky's Crime and Punishment and The Brothers Karamazov, Kafka even went so far as to call Dostoevsky a blood relative. Like Kafka's two other novels, The Castle and Amerika, The Trial was never completed, although it does include a chapter which appears to bring the story to an intentionally abrupt ending.
After Kafka's death in 1924 his friend and literary executor Max Brod edited the text for publication by Verlag Die Schmiede. The original manuscript is held at the Museum of Modern Literature, Marbach am Neckar, Germany. The first English-language translation, by Willa and Edwin Muir, was published in 1937. In 1999, the book was listed in Le Monde's 100 Books of the Century and as No. 2 of the Best German Novels of the Twentieth Century. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"The Trial",
"form of creative work",
"novel"
] | The Trial (German: Der Process, previously Der Proceß, Der Prozeß and Der Prozess) is a novel written by Franz Kafka in 1914 and 1915 and published posthumously on 26 April 1925. One of his best known works, it tells the story of Josef K., a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. Heavily influenced by Dostoevsky's Crime and Punishment and The Brothers Karamazov, Kafka even went so far as to call Dostoevsky a blood relative. Like Kafka's two other novels, The Castle and Amerika, The Trial was never completed, although it does include a chapter which appears to bring the story to an intentionally abrupt ending.
After Kafka's death in 1924 his friend and literary executor Max Brod edited the text for publication by Verlag Die Schmiede. The original manuscript is held at the Museum of Modern Literature, Marbach am Neckar, Germany. The first English-language translation, by Willa and Edwin Muir, was published in 1937. In 1999, the book was listed in Le Monde's 100 Books of the Century and as No. 2 of the Best German Novels of the Twentieth Century. | form of creative work | 126 | [
"artistic creation",
"creative composition",
"artistic production",
"work of art",
"creative piece"
] | null | null |
[
"The Trial",
"instance of",
"unfinished novel"
] | The Trial (German: Der Process, previously Der Proceß, Der Prozeß and Der Prozess) is a novel written by Franz Kafka in 1914 and 1915 and published posthumously on 26 April 1925. One of his best known works, it tells the story of Josef K., a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. Heavily influenced by Dostoevsky's Crime and Punishment and The Brothers Karamazov, Kafka even went so far as to call Dostoevsky a blood relative. Like Kafka's two other novels, The Castle and Amerika, The Trial was never completed, although it does include a chapter which appears to bring the story to an intentionally abrupt ending.
After Kafka's death in 1924 his friend and literary executor Max Brod edited the text for publication by Verlag Die Schmiede. The original manuscript is held at the Museum of Modern Literature, Marbach am Neckar, Germany. The first English-language translation, by Willa and Edwin Muir, was published in 1937. In 1999, the book was listed in Le Monde's 100 Books of the Century and as No. 2 of the Best German Novels of the Twentieth Century. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"The Trial",
"characters",
"Josef K."
] | The Trial (German: Der Process, previously Der Proceß, Der Prozeß and Der Prozess) is a novel written by Franz Kafka in 1914 and 1915 and published posthumously on 26 April 1925. One of his best known works, it tells the story of Josef K., a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. Heavily influenced by Dostoevsky's Crime and Punishment and The Brothers Karamazov, Kafka even went so far as to call Dostoevsky a blood relative. Like Kafka's two other novels, The Castle and Amerika, The Trial was never completed, although it does include a chapter which appears to bring the story to an intentionally abrupt ending.
After Kafka's death in 1924 his friend and literary executor Max Brod edited the text for publication by Verlag Die Schmiede. The original manuscript is held at the Museum of Modern Literature, Marbach am Neckar, Germany. The first English-language translation, by Willa and Edwin Muir, was published in 1937. In 1999, the book was listed in Le Monde's 100 Books of the Century and as No. 2 of the Best German Novels of the Twentieth Century.Plot summary
On the morning of his thirtieth birthday, Josef K., the chief cashier of a bank, is unexpectedly arrested by two unidentified agents from an unspecified agency for an unspecified crime. Josef is not imprisoned, however, but left "free" and told to await instructions from the Committee of Affairs. Josef's landlady, Frau Grubach, tries to console Josef about the trial, but insinuates that the procedure may be related to an immoral relationship with his neighbor Fräulein Bürstner. Josef visits Bürstner to vent his worries, and then kisses her.
A few days later, Josef finds that Fräulein Montag, a lodger from another room, has moved in with Fräulein Bürstner. He suspects that this maneuver is meant to distance him from Bürstner. Josef is ordered to appear at the court's address the coming Sunday, without being told the exact time or room. After a period of exploration, Josef finds the court in the attic. Josef is severely reproached for his tardiness, and he arouses the assembly's hostility after a passionate plea about the absurdity of the trial and the emptiness of the accusation.
Josef later tries to confront the presiding judge over his case, but only finds an attendant's wife. The woman gives him information about the process and attempts to seduce him before a law student bursts into the room and takes the woman away, claiming her to be his mistress. The woman's husband then takes Josef on a tour of the court offices, which ends after Josef becomes extremely weak in the presence of other court officials and accused.
One evening, in a storage room at his own bank, Josef discovers the two agents who arrested him being whipped by a flogger for asking Josef for bribes and as a result of complaints Josef made at court. Josef tries to argue with the flogger, saying that the men need not be whipped, but the flogger cannot be swayed. The next day he returns to the storage room and is shocked to find everything as he had found it the day before, including the whipper and the two agents.
Josef is visited by his uncle, a traveling countryman. Worried by the rumors about his nephew, the uncle introduces Josef to Herr Huld, a sickly and bedridden lawyer tended to by Leni, a young nurse who shows an immediate attraction to Josef. During the conversation, Leni calls Josef away and takes him to the next room for a sexual encounter. Afterward, Josef meets his angry uncle outside, who claims that Josef's lack of respect for the process has hurt his case.
During subsequent visits to Huld, Josef realizes that he is a capricious character who will not be of much help. At the bank, one of Josef's clients recommends him to seek the advice of Titorelli, the court's official painter. Titorelli has no real influence within the court, but his deep experience of the process is painfully illuminating to Josef, and he can only suggest complex and unpleasant hypothetical options, as no definitive acquittal has ever been managed. Josef finally decides to dismiss Huld and take control of matters himself. Upon arriving at Huld's office, Josef meets a downtrodden individual, Rudi Block, a client who offers Josef some insight from a client's perspective. Block's case has continued for five years and he has gone from being a successful businessman to being almost bankrupt and is virtually enslaved by his dependence on the lawyer and Leni, with whom he appears to be sexually involved. The lawyer mocks Block in front of Josef for his dog-like subservience. This experience further poisons Josef's opinion of his lawyer.
Josef is put in charge of accompanying an important Italian client to the city's cathedral. While inside the cathedral, a priest calls Josef by name and tells him a fable (which was published earlier as "Before the Law") that is meant to explain his situation. The priest tells Josef that the parable is an ancient text of the court, and many generations of court officials have interpreted it differently. On the eve of Josef's thirty-first birthday, two men arrive at his apartment to execute him. They lead him to a small quarry outside the city, and kill him with a butcher's knife. Josef summarizes his situation with his last words: "Like a dog!"Characters
Josef K. – The tale's protagonist: a thirty year old, unmarried bank administrator living in an unnamed city.
Fräulein Bürstner – A boarder in the same house as Josef K. She lets him kiss her one night, but then rebuffs his advances. K. briefly catches sight of her, or someone who looks similar to her, in the final pages of the novel.
Fräulein Montag – Friend of Fräulein Bürstner, she talks to K. about ending his relationship with Fräulein Bürstner after his arrest. She claims she can bring him insight, because she is an objective third party.
Willem and Franz – Officers who arrest K. one morning but refuse to disclose the crime he is said to have committed. They are later flogged.
Inspector – Man who conducts a proceeding at Josef K.'s boardinghouse to inform K. officially that he is under arrest.
Rabinsteiner, Kullich and Kaminer – Junior bank employees who attend the proceeding at the boardinghouse.
Frau Grubach – The proprietress of the lodging house in which K. lives. She holds K. in high esteem, despite his arrest.
Woman in the Court – The first judgement of K happens in her house. She claims help from K. because she does not want to be abused by the magistrates.
Student – Deformed man who acts under orders of the instruction judge. Will be a powerful man in the future.
Instruction Judge – First Judge of K. In his trial, he confuses K. with a wall painter.
Uncle Karl – K.'s impetuous uncle from the country, formerly his guardian. Upon hearing of the trial, Karl insists that K. hire Herr Huld, the lawyer.
Herr Huld, the Lawyer – K.'s pompous and pretentious advocate who provides little in the way of action and far too much in the way of anecdote.
Leni – Herr Huld's nurse, she has feelings for Josef K. and soon becomes his lover. She shows him her webbed hand, yet another reference to the motif of the hand throughout the book. Apparently, she finds accused men extremely attractive — the fact of their indictment makes them irresistible to her.
Albert – Office director at the court, and a friend of Huld.
Flogger – Man who punishes Franz and Willem in the Bank after K.'s complaints against the two agents in his first Judgement.
Vice-President – K.'s unctuous rival at the Bank, only too willing to catch K. in a compromising situation. He repeatedly takes advantage of K.'s preoccupation with the trial to advance his own ambitions.
President – Manager of the Bank. A sickly figure, whose position the Vice-President is trying to assume. Gets on well with K., inviting him to various engagements.
Rudi Block, the Merchant – Block is another accused man and client of Huld. His case is five years old, and he is but a shadow of the prosperous grain dealer he once was. All his time, energy, and resources are now devoted to his case, to the detriment of his own life. Although he has hired five additional lawyers on the side, he is completely and pathetically subservient to Huld.
Manufacturer – Person who hears about K.'s case and advises him to see a painter who knows how the court system works.
Titorelli, the Painter – Titorelli inherited the position of Court Painter from his father. He knows a great deal about the comings and goings of the court's lowest level. He offers to help K., and manages to unload a few identical landscape paintings on the accused man.
Priest – Prison chaplain whom K. encounters in a cathedral. The priest advises K. that his case is going badly and tells him to accept his fate.
Doorkeeper and Farmer – The characters of the Chaplain's Tale.Film
In the 1962 film adaptation by Orson Welles, Josef K. is played by Anthony Perkins and The Advocate by Welles.
Martin Scorsese's 1985 film After Hours contains a scene adapted from "Before the Law", in which the protagonist is trying to get into a nightclub named Club Berlin.
The 1993 film The Trial was based on Harold Pinter's screenplay adaptation. Directed by David Jones, it starred Kyle MacLachlan as Josef K. and Anthony Hopkins as The Priest.
The 2017 science fiction film Blade Runner 2049 features a protagonist named Officer K, who is referred to as "Joe", an allusion to Josef K. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Integrated Authority File",
"operator",
"German National Library"
] | The Gemeinsame Normdatei (translated as Integrated Authority File, also known as the Universal Authority File) or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives and museums. The GND is managed by the German National Library (German: Deutsche Nationalbibliothek; DNB) in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero (CC0) licence.The GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format.The GND became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: | operator | 139 | [
"controller",
"manager",
"supervisor",
"administrator",
"coordinator"
] | null | null |
[
"Gospel of John",
"has part(s)",
"John 1"
] | Structure and content
The majority of scholars see four sections in the Gospel of John: a prologue (1:1–18); an account of the ministry, often called the "Book of Signs" (1:19–12:50); the account of Jesus' final night with his disciples and the passion and resurrection, sometimes called the Book of Glory (13:1–20:31); and a conclusion (20:30–31); to these is added an epilogue which most scholars believe did not form part of the original text (Chapter 21). Disagreement does exist; some scholars such as Richard Bauckham argue that John 21 was part of the original work, for example.
The prologue informs readers of the true identity of Jesus, the Word of God through whom the world was created and who took on human form; he came to the Jews and the Jews rejected him, but "to all who received him (the circle of Christian believers), who believed in his name, he gave power to become children of God."
Book of Signs (ministry of Jesus): Jesus calls his disciples and begins his earthly ministry. He travels from place to place informing his hearers about God the Father in long discourses, offering eternal life to all who will believe, and performing miracles which are signs of the authenticity of his teachings, but this creates tensions with the religious authorities (manifested as early as 5:17–18), who decide that he must be eliminated.
The Book of Glory tells of Jesus's return to his heavenly father: it tells how he prepares his disciples for their coming lives without his physical presence and his prayer for himself and for them, followed by his betrayal, arrest, trial, crucifixion and post-resurrection appearances.
The conclusion sets out the purpose of the gospel, which is "that you may believe that Jesus is the Christ, the Son of God, and that believing you may have life in his name."
Chapter 21, the addendum, tells of Jesus' post-resurrection appearances in Galilee, the miraculous catch of fish, the prophecy of the crucifixion of Peter, and the fate of the Beloved Disciple.The structure is highly schematic: there are seven "signs" culminating in the raising of Lazarus (foreshadowing the resurrection of Jesus), and seven "I am" sayings and discourses, culminating in Thomas's proclamation of the risen Jesus as "my Lord and my God" (the same title, dominus et deus, claimed by the Emperor Domitian, an indication of the date of composition). | has part(s) | 19 | [
"contains",
"comprises",
"includes",
"consists of",
"has components"
] | null | null |
[
"Gospel of John",
"has part(s)",
"John 20"
] | Structure and content
The majority of scholars see four sections in the Gospel of John: a prologue (1:1–18); an account of the ministry, often called the "Book of Signs" (1:19–12:50); the account of Jesus' final night with his disciples and the passion and resurrection, sometimes called the Book of Glory (13:1–20:31); and a conclusion (20:30–31); to these is added an epilogue which most scholars believe did not form part of the original text (Chapter 21). Disagreement does exist; some scholars such as Richard Bauckham argue that John 21 was part of the original work, for example.
The prologue informs readers of the true identity of Jesus, the Word of God through whom the world was created and who took on human form; he came to the Jews and the Jews rejected him, but "to all who received him (the circle of Christian believers), who believed in his name, he gave power to become children of God."
Book of Signs (ministry of Jesus): Jesus calls his disciples and begins his earthly ministry. He travels from place to place informing his hearers about God the Father in long discourses, offering eternal life to all who will believe, and performing miracles which are signs of the authenticity of his teachings, but this creates tensions with the religious authorities (manifested as early as 5:17–18), who decide that he must be eliminated.
The Book of Glory tells of Jesus's return to his heavenly father: it tells how he prepares his disciples for their coming lives without his physical presence and his prayer for himself and for them, followed by his betrayal, arrest, trial, crucifixion and post-resurrection appearances.
The conclusion sets out the purpose of the gospel, which is "that you may believe that Jesus is the Christ, the Son of God, and that believing you may have life in his name."
Chapter 21, the addendum, tells of Jesus' post-resurrection appearances in Galilee, the miraculous catch of fish, the prophecy of the crucifixion of Peter, and the fate of the Beloved Disciple.The structure is highly schematic: there are seven "signs" culminating in the raising of Lazarus (foreshadowing the resurrection of Jesus), and seven "I am" sayings and discourses, culminating in Thomas's proclamation of the risen Jesus as "my Lord and my God" (the same title, dominus et deus, claimed by the Emperor Domitian, an indication of the date of composition). | has part(s) | 19 | [
"contains",
"comprises",
"includes",
"consists of",
"has components"
] | null | null |
[
"Gospel of John",
"has part(s)",
"John 13"
] | Structure and content
The majority of scholars see four sections in the Gospel of John: a prologue (1:1–18); an account of the ministry, often called the "Book of Signs" (1:19–12:50); the account of Jesus' final night with his disciples and the passion and resurrection, sometimes called the Book of Glory (13:1–20:31); and a conclusion (20:30–31); to these is added an epilogue which most scholars believe did not form part of the original text (Chapter 21). Disagreement does exist; some scholars such as Richard Bauckham argue that John 21 was part of the original work, for example.
The prologue informs readers of the true identity of Jesus, the Word of God through whom the world was created and who took on human form; he came to the Jews and the Jews rejected him, but "to all who received him (the circle of Christian believers), who believed in his name, he gave power to become children of God."
Book of Signs (ministry of Jesus): Jesus calls his disciples and begins his earthly ministry. He travels from place to place informing his hearers about God the Father in long discourses, offering eternal life to all who will believe, and performing miracles which are signs of the authenticity of his teachings, but this creates tensions with the religious authorities (manifested as early as 5:17–18), who decide that he must be eliminated.
The Book of Glory tells of Jesus's return to his heavenly father: it tells how he prepares his disciples for their coming lives without his physical presence and his prayer for himself and for them, followed by his betrayal, arrest, trial, crucifixion and post-resurrection appearances.
The conclusion sets out the purpose of the gospel, which is "that you may believe that Jesus is the Christ, the Son of God, and that believing you may have life in his name."
Chapter 21, the addendum, tells of Jesus' post-resurrection appearances in Galilee, the miraculous catch of fish, the prophecy of the crucifixion of Peter, and the fate of the Beloved Disciple.The structure is highly schematic: there are seven "signs" culminating in the raising of Lazarus (foreshadowing the resurrection of Jesus), and seven "I am" sayings and discourses, culminating in Thomas's proclamation of the risen Jesus as "my Lord and my God" (the same title, dominus et deus, claimed by the Emperor Domitian, an indication of the date of composition). | has part(s) | 19 | [
"contains",
"comprises",
"includes",
"consists of",
"has components"
] | null | null |
[
"Ramayana",
"characters",
"Sita"
] | The Rāmāyaṇa (; Sanskrit: रामायणम्, IAST: Rāmāyaṇam) is a Sanskrit epic from ancient India, one of the two important epics of Hinduism, known as the Itihasas (history), the other being the Mahābhārata. The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Rama, a legendary prince of Ayodhya in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama's stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama's eventual return to Ayodhya to be crowned king amidst jubilation and celebration.
The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society. | characters | 128 | [
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Jain versions of the Ramayana can be found in the various Jain agamas like Saṅghadāsagaṇī Vāchaka's Vasudevahiṇḍī (circa 4th century CE), Ravisena's Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva.
Rama, Lakshmana and Ravana are the eighth Baldeva, Vasudeva and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu Puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of two distinct classes of mighty brothers, who appear nine times in each half time cycle and jointly rule half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of jinas) by Acharya Bhadrabahu (3d–4th century BCE).
In the Jain epic of Ramayana, it is not Rama who kills Ravana as told in the Hindu version. Perhaps this is because Rama, a liberated Jain Self in his last life, is unwilling to kill. Instead, it is Lakshmana who kills Ravana (as Vasudeva killes Prativasudeva). In the end, Rama, who led an upright life, renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to Hell. However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Ayodhya had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he came to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to the Jain version, Rama had four chief queens: Maithili, Prabhavati, Ratinibha, and Sridama.
Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven as Indra. Rama, after Lakshman's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in the fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future Tirthankara of the next half ascending time cycle and Sita will be his Ganadhara. | characters | 128 | [
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[
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] | The Rāmāyaṇa (; Sanskrit: रामायणम्, IAST: Rāmāyaṇam) is a Sanskrit epic from ancient India, one of the two important epics of Hinduism, known as the Itihasas (history), the other being the Mahābhārata. The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Rama, a legendary prince of Ayodhya in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama's stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama's eventual return to Ayodhya to be crowned king amidst jubilation and celebration.
The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society. | characters | 128 | [
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[
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] | The Rāmāyaṇa (; Sanskrit: रामायणम्, IAST: Rāmāyaṇam) is a Sanskrit epic from ancient India, one of the two important epics of Hinduism, known as the Itihasas (history), the other being the Mahābhārata. The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Rama, a legendary prince of Ayodhya in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama's stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama's eventual return to Ayodhya to be crowned king amidst jubilation and celebration.
The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society.Buddhist version
In the Buddhist variant of the Ramayana (Dasaratha Jataka), Dasharatha was king of Benares and not Ayodhya. Rama (called Rāmapaṇḍita in this version) was the son of Kaushalya, first wife of Dasharatha. Lakṣmaṇa (Lakkhaṇa) was a sibling of Rama and son of Sumitra, the second wife of Dasharatha. Sita was the wife of Rama. To protect his children from his wife Kaikeyi, who wished to promote her son Bharata, Dasharatha sent the three to a hermitage in the Himalayas for a twelve-year exile.
After nine years, Dasharatha died and Lakkhaṇa and Sita returned. Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a further two years. This version does not include the abduction of Sītā. There is no Ravana in this version, or the Rama-Ravana war. However, Ravana appears in other Buddhist literature, the Lankavatara Sutra.
In the explanatory commentary on Jātaka, Rāmapaṇḍita is said to have been a previous birth of the Buddha, and Sita as previous birth of Yasodharā (Rahula-Mata).Jain versions
Jain versions of the Ramayana can be found in the various Jain agamas like Saṅghadāsagaṇī Vāchaka's Vasudevahiṇḍī (circa 4th century CE), Ravisena's Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva.
Rama, Lakshmana and Ravana are the eighth Baldeva, Vasudeva and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu Puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of two distinct classes of mighty brothers, who appear nine times in each half time cycle and jointly rule half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of jinas) by Acharya Bhadrabahu (3d–4th century BCE).
In the Jain epic of Ramayana, it is not Rama who kills Ravana as told in the Hindu version. Perhaps this is because Rama, a liberated Jain Self in his last life, is unwilling to kill. Instead, it is Lakshmana who kills Ravana (as Vasudeva killes Prativasudeva). In the end, Rama, who led an upright life, renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to Hell. However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Ayodhya had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he came to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to the Jain version, Rama had four chief queens: Maithili, Prabhavati, Ratinibha, and Sridama.
Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven as Indra. Rama, after Lakshman's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in the fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future Tirthankara of the next half ascending time cycle and Sita will be his Ganadhara. | characters | 128 | [
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The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society.Dating
According to Robert P. Goldman, the oldest parts of the Ramayana date to the mid-8th century BCE. This is due to the narrative not mentioning Buddhism nor the prominence of Magadha. The text also mentions Ayodhya as the capital of Kosala, rather than its later name of Saketa or the successor capital of Shravasti. In terms of narrative time, the action of the Ramayana predates the Mahabharata. Scholarly estimates for the earliest stage of the available text range from the 7th to 4th centuries BCE, with later stages extending up to the 3rd century CE.Books two to six are the oldest portion of the epic, while the first and last books (Bala Kanda and Uttara Kanda, respectively) seem to be later additions. Style differences and narrative contradictions between these two volumes and the rest of the epic have led scholars since Hermann Jacobi to the present toward this consensus.Sundara Kanda
Sundara Kanda forms the heart of Valmiki's Ramayana and consists of a detailed, vivid account of Hanuman's heroics. After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the sea to Lanka. On the way, he meets with many challenges like facing a Gandharva Kanya who comes in the form of a demon to test his abilities. He encounters a mountain named Mainaka who offers Hanuman assistance and offers him rest. Hanuman refuses because there is little time remaining to complete the search for Sita.
After entering Lanka, he finds a demon, Lankini, who protects all of Lanka. Hanuman fights with her and subjugates her in order to get into Lanka. In the process, Lankini, who had an earlier vision/warning from the gods, therefore, knows that the end of Lanka nears if someone defeats Lankini. Here, Hanuman explores the demons' kingdom and spies on Ravana. He locates Sita in Ashoka grove, where she is being wooed and threatened by Ravana and his rakshasis to marry Ravana.
Hanuman reassures Sita, giving Rama's signet ring as a sign that Rama is still alive. He offers to carry Sita back to Rama; however, she refuses and says that it is not the dharma, stating that Ramayana will not have significance if Hanuman carries her to Rama – "When Rama is not there Ravana carried Sita forcibly and when Ravana was not there, Hanuman carried Sita back to Rama". She says that Rama himself must come and avenge the insult of her abduction. She gives Hanuman her comb as a token to prove that she is still alive.
Hanuman takes leave of Sita. Before he leaves Lanka to go back to Rama and tell him of Sita's location & desire to be rescued only by him, he decides to wreak havoc in Lanka by destroying trees in the Naulakha Bagh and buildings and killing Ravana's warriors. He allows himself to be captured and delivered to Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and leaps from roof to roof, sets fire to Ravana's citadel, and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news. | has part(s) | 19 | [
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The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society. | has part(s) | 19 | [
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Also known as Lanka Kanda, this book describes the war between the army of Rama and the army of Ravana. Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana's renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu) across the sea, using stones that floated on water because they had Rama's name written on them. An alternate story also tells that they had been cursed by a sage that whatever they will throw in a water body will not sink, rather it will float.
The princes and their army cross over to Lanka. A lengthy war ensues. During a battle, Ravana's son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded. So Hanuman assumes a gigantic form and flies from Lanka to the Himalayas. Upon reaching Mount Sanjeevani, Hanuman was unable to identify the herb that could cure Lakshmana and so decided to bring the entire mountain back to Lanka. Eventually, the war ends when Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.
On meeting Sita, Rama said, "the dishonour meted out to him and the wrong done to her by Ravana have been wiped off, by his victory over the enemy with the assistance of Hanuman, Sugreeva and Vibhishana". However, upon criticism from people in his kingdom, Rama disowns her and asks her to seek shelter elsewhere. Sita requests Lakshmana to prepare a pile of fire for her to enter. When Lakshmana prepares a pyre, Sita prays to the god Agni and enters into it, in order to prove her conjugal fidelity. Agni appears in person from the burning pyre, carrying Sita in his arms and restores her to Rama, testifying to her purity. Rama later joyfully accepts her. The episode of Agni Pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In Tulsidas's Ramacharitamanas, Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama. | has part(s) | 19 | [
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Genre
The Ramayana belongs to the genre of Itihasa, narratives of past events (purāvṛtta), which includes the Mahabharata, the Puranas, and the Ramayana. The genre also includes teachings on the goals of human life. It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal husband, and the ideal king. Like the Mahabharata, Ramayana presents the teachings of ancient Hindu sages in the narrative allegory, interspersing philosophical and ethical elements. | instance of | 5 | [
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] | The Rāmāyaṇa (; Sanskrit: रामायणम्, IAST: Rāmāyaṇam) is a Sanskrit epic from ancient India, one of the two important epics of Hinduism, known as the Itihasas (history), the other being the Mahābhārata. The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Rama, a legendary prince of Ayodhya in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama's stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama's eventual return to Ayodhya to be crowned king amidst jubilation and celebration.
The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society.Textual characteristics
Genre
The Ramayana belongs to the genre of Itihasa, narratives of past events (purāvṛtta), which includes the Mahabharata, the Puranas, and the Ramayana. The genre also includes teachings on the goals of human life. It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal husband, and the ideal king. Like the Mahabharata, Ramayana presents the teachings of ancient Hindu sages in the narrative allegory, interspersing philosophical and ethical elements. | part of | 15 | [
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The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society. | has part(s) | 19 | [
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] | The Rāmāyaṇa (; Sanskrit: रामायणम्, IAST: Rāmāyaṇam) is a Sanskrit epic from ancient India, one of the two important epics of Hinduism, known as the Itihasas (history), the other being the Mahābhārata. The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Rama, a legendary prince of Ayodhya in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama's stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama's eventual return to Ayodhya to be crowned king amidst jubilation and celebration.
The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society. | has part(s) | 19 | [
"contains",
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"includes",
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"has components"
] | null | null |
[
"Ramayana",
"has part(s)",
"Aranyakanda"
] | The Rāmāyaṇa (; Sanskrit: रामायणम्, IAST: Rāmāyaṇam) is a Sanskrit epic from ancient India, one of the two important epics of Hinduism, known as the Itihasas (history), the other being the Mahābhārata. The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Rama, a legendary prince of Ayodhya in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama's stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama's eventual return to Ayodhya to be crowned king amidst jubilation and celebration.
The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society. | has part(s) | 19 | [
"contains",
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"includes",
"consists of",
"has components"
] | null | null |
[
"Ramayana",
"has part(s)",
"Kishkindhakanda"
] | The Rāmāyaṇa (; Sanskrit: रामायणम्, IAST: Rāmāyaṇam) is a Sanskrit epic from ancient India, one of the two important epics of Hinduism, known as the Itihasas (history), the other being the Mahābhārata. The epic, traditionally ascribed to the Maharishi Valmiki, narrates the life of Rama, a legendary prince of Ayodhya in the kingdom of Kosala. The epic follows his fourteen-year exile to the forest urged by his father King Dasharatha, on the request of Rama's stepmother Kaikeyi; his travels across forests in the Indian subcontinent with his wife Sita and brother Lakshmana, the kidnapping of Sita by Ravana – the king of Lanka, that resulted in war; and Rama's eventual return to Ayodhya to be crowned king amidst jubilation and celebration.
The scholars' estimates for the earliest stage of the text ranging from the 8th to 4th centuries BCE, and later stages extending up to the 3rd century CE, although original date of composition is unknown. It is one of the largest ancient epics in world literature and consists of nearly 24,000 verses (mostly set in the Shloka/Anustubh meter), divided into seven Khanda (parts) the first and the seventh being later additions. It belongs to the genre of Itihasa, narratives of past events (purāvṛtta), interspersed with teachings on the goals of human life.
There are many versions of Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations. There are also Cambodian (Reamker), Indonesian, Filipino, Thai (Ramakien), Lao, Burmese and Malay versions of the tale.The Ramayana was an important influence on later Sanskrit poetry and the Hindu life and culture, and its main characters were fundamental to the cultural consciousness of a number of nations, both Hindu and Buddhist. Its most important moral influence was the importance of virtue, in the life of a citizen and in the ideals of the formation of a state (from Sanskrit: रामराज्य, IAST: Rāmarājya - a utopian state where Rama is king) or of a functioning society. | has part(s) | 19 | [
"contains",
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"includes",
"consists of",
"has components"
] | null | null |
[
"Scipio Africanus Freeing Massiva (painting)",
"collection",
"Walters Art Museum"
] | Off the Wall
In 2012 Scipio Africanus Freeing Massiva was featured in Off the Wall, an open-air exhibition on the streets of Baltimore, Maryland. A reproduction of the painting, the original is part of The Walters Art Museum collection, was on display at the Clarence M. Mitchell, Jr. Courthouse. The National Gallery in London began the concept of bringing art out of doors in 2007 and the Detroit Institute of Art introduced the concept in the U.S. The Off the Wall reproductions of the Walters' paintings are done on weather-resistant vinyl and include a description of the painting and a QR code for smart phones. | collection | 79 | [
"assemblage",
"accumulation",
"gathering",
"compilation",
"assortment"
] | null | null |
[
"Newton's laws of motion",
"named after",
"Isaac Newton"
] | Newton's laws of motion are three basic laws of classical mechanics that describe the relationship between the motion of an object and the forces acting on it. These laws can be paraphrased as follows:A body remains at rest, or in motion at a constant speed in a straight line, unless acted upon by a force.
When a body is acted upon by a force, the time rate of change of its momentum equals the force.
If two bodies exert forces on each other, these forces have the same magnitude but opposite directions.The three laws of motion were first stated by Isaac Newton in his Philosophiæ Naturalis Principia Mathematica (Mathematical Principles of Natural Philosophy), originally published in 1687. Newton used them to investigate and explain the motion of many physical objects and systems, which laid the foundation for classical mechanics. In the time since Newton, the conceptual content of classical physics has been reformulated in alternative ways, involving different mathematical approaches that have yielded insights which were obscured in the original, Newtonian formulation. Limitations to Newton's laws have also been discovered; new theories are necessary when objects move at very high speeds (special relativity), are very massive (general relativity), or are very small (quantum mechanics). | named after | 11 | [
"called after",
"named for",
"honored after",
"called for"
] | null | null |
[
"The Woman in the Waves",
"depicts",
"woman"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Woman in the Waves",
"country of origin",
"France"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"The Woman in the Waves",
"depicts",
"armpit"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Woman in the Waves",
"depicts",
"nudity"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Woman in the Waves",
"creator",
"Gustave Courbet"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | creator | 76 | [
"author",
"originator",
"designer",
"founder",
"producer"
] | null | null |
[
"The Woman in the Waves",
"location",
"Metropolitan Museum of Art"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | location | 29 | [
"place",
"position",
"site",
"locale",
"spot"
] | null | null |
[
"The Woman in the Waves",
"exhibition history",
"Metropolitan Museum of Art"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | exhibition history | 132 | [
"exhibition record",
"exhibition chronology",
"exhibition itinerary",
"exhibition schedule",
"showcase history"
] | null | null |
[
"The Woman in the Waves",
"owned by",
"Metropolitan Museum of Art"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | owned by | 24 | [
"possessed by",
"belonging to",
"controlled by",
"under ownership of",
"held by"
] | null | null |
[
"The Woman in the Waves",
"collection",
"Metropolitan Museum of Art"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | collection | 79 | [
"assemblage",
"accumulation",
"gathering",
"compilation",
"assortment"
] | null | null |
[
"The Woman in the Waves",
"depicts",
"nude"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Woman in the Waves",
"depicts",
"underarm hair"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Woman in the Waves",
"instance of",
"painting"
] | The Woman in the Waves (French - La Femme à la vague) is an 1868 painting by Gustave Courbet, now in the Metropolitan Museum of Art in New York.The picture is notable for its realistic flesh tones and trace of underarm hair.
The work is on view in the Metropolitan Museum's Gallery 811. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"The Street Singer (Manet)",
"depicts",
"guitar"
] | Creation
One day in the early 1860s, Manet and French journalist Antonin Proust were taking a walk to the painter's studio. They saw a woman holding a guitar leaving a café. The artist was amazed by her look and immediately decided to create a painting of her. Manet spoke with the singer and asked her if she would pose for him. The young lady went off laughing and refused. Manet then turned to Victorine as a model for the painting.Description
Manet depicted an itinerant singer in fashionable contemporary dress leaving a cabaret by night, tightly holding a guitar and eating cherries. Victorine is depicted as a blonde, sharp, and plain young woman well known around the Pantheon Mountains. The features of her face are painted more sharply and slimmer than in other paintings. Her forehead is hidden behind her hat which she wears low on her head. Her nose is defined by deep shadows that form a parentheses shape on either side. Additionally, it appears that Spanish painter Velázquez inspired Manet in many ways here, especially in the use of color. Manet emphasized the features of Victorine by using a limited palette. Her chin and cheek are barely visible as they were covered by her right hand. Her upper lip is nearly invisible as it is partly covered by the two little ruby cherries on her ring finger and little finger. According to art historian Stéphane Guégan, the cherries were added as an afterthought. Art historian George Mauner says the woman's confrontational stare and her awkward grasp of the cherries and the guitar, "which seems almost too bulky for her to manage comfortably" produces a self-conscious effect that is unexpected in a genre painting. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Street Singer (Manet)",
"depicts",
"singer"
] | Description
Manet depicted an itinerant singer in fashionable contemporary dress leaving a cabaret by night, tightly holding a guitar and eating cherries. Victorine is depicted as a blonde, sharp, and plain young woman well known around the Pantheon Mountains. The features of her face are painted more sharply and slimmer than in other paintings. Her forehead is hidden behind her hat which she wears low on her head. Her nose is defined by deep shadows that form a parentheses shape on either side. Additionally, it appears that Spanish painter Velázquez inspired Manet in many ways here, especially in the use of color. Manet emphasized the features of Victorine by using a limited palette. Her chin and cheek are barely visible as they were covered by her right hand. Her upper lip is nearly invisible as it is partly covered by the two little ruby cherries on her ring finger and little finger. According to art historian Stéphane Guégan, the cherries were added as an afterthought. Art historian George Mauner says the woman's confrontational stare and her awkward grasp of the cherries and the guitar, "which seems almost too bulky for her to manage comfortably" produces a self-conscious effect that is unexpected in a genre painting. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Street Singer (Manet)",
"instance of",
"painting"
] | The Street Singer is an oil-on-canvas painting by Édouard Manet from 1862, depicting a female street musician standing near the entrance to a cabaret.The painting was inspired by a meeting between the artist and a street singer. Manet asked her to pose for him but she refused, so Manet asked a favorite model, Victorine Meurent, to pose for the work. It is either the first or second of Manet's several large-scale paintings for which Victorine posed. The style of the painting shows the influence of Frans Hals and Spanish masters such as Diego Velázquez.The Street Singer is one of a series of single-figure compositions that Manet painted during the 1860s in which he depicted contemporary "types" at life size, upsetting the convention that such humble genre subjects be painted at a small scale.The painting was donated to the Boston Museum of Fine Arts in 1966.Creation
One day in the early 1860s, Manet and French journalist Antonin Proust were taking a walk to the painter's studio. They saw a woman holding a guitar leaving a café. The artist was amazed by her look and immediately decided to create a painting of her. Manet spoke with the singer and asked her if she would pose for him. The young lady went off laughing and refused. Manet then turned to Victorine as a model for the painting.Description
Manet depicted an itinerant singer in fashionable contemporary dress leaving a cabaret by night, tightly holding a guitar and eating cherries. Victorine is depicted as a blonde, sharp, and plain young woman well known around the Pantheon Mountains. The features of her face are painted more sharply and slimmer than in other paintings. Her forehead is hidden behind her hat which she wears low on her head. Her nose is defined by deep shadows that form a parentheses shape on either side. Additionally, it appears that Spanish painter Velázquez inspired Manet in many ways here, especially in the use of color. Manet emphasized the features of Victorine by using a limited palette. Her chin and cheek are barely visible as they were covered by her right hand. Her upper lip is nearly invisible as it is partly covered by the two little ruby cherries on her ring finger and little finger. According to art historian Stéphane Guégan, the cherries were added as an afterthought. Art historian George Mauner says the woman's confrontational stare and her awkward grasp of the cherries and the guitar, "which seems almost too bulky for her to manage comfortably" produces a self-conscious effect that is unexpected in a genre painting. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Circe Offering the Cup to Ulysses",
"depicts",
"Odysseus"
] | Circe Offering the Cup to Ulysses is an oil painting in the Pre-Raphaelite style by John William Waterhouse that was created in 1891.The painting depicts a scene from the Odyssey. Circe, a sorceress, offers a cup to Odysseus (commonly Ulysses in English). In the cup is a potion. Circe seeks to bring Ulysses under her spell, as she has done with his crew. Two of Ulysses' crewmen have been transformed into pigs, one can be seen beside Circe's feet on the right, while the other is peering out from behind her throne on the left. Ulysses' reflection can be seen in the mirror which is behind Circe's throne.
It reflects the columns of Circe's palace, and Ulysses' ship. Odysseus, intrepid and worried about his sailors, tries to save them and on the way Hermes (the messenger of the immortals) intercepts him and tells him of Circe's intentions, advising him to find a special plant that keeps him away from the effects of Circe's drink. After Odysseus had the plant he was able to resist the evil effects of Circe's potion. So when the sorceress thought that she had had the effect of her drink, she went to touch Odysseus with her wand to complete the transformation process and then, Odysseus threatened Circe with his sword, who immediately surrendered, and returned his sailors to the human form. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Horse Fair",
"depicts",
"horse"
] | The Horse Fair is an oil-on-canvas painting by French artist Rosa Bonheur, begun in 1852 and first exhibited at the Paris Salon in 1853. The artist added some finishing touches in 1855. The large work measures 96.25 in × 199.5 in (244.5 cm × 506.7 cm).The painting depicts dealers selling horses at the horse market held on the Boulevard de l'Hôpital in Paris. The hospital of Salpêtrière can be seen in the left background.
The prime version of the painting has been in the collection of the Metropolitan Museum of Art in New York since 1887, when it was donated by Cornelius Vanderbilt II. It is on view in Gallery 812.Exhibition
The painting was praised by the critics when it was first exhibited at the Paris Salon in May 1853. Several commented on the masculine nature of the work. Earlier, Bonheur had offered studies of two paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny, for consideration of a state commission. He selected the other work, Haymaking in the Auvergne, now held by the museum at the Château de Fontainebleau. Bonheur rejected his attempt to change his mind after the 1853 exhibition.
The painting was subsequently shown in Ghent in 1853 and then in Bordeaux in 1854, but the city declined to buy it for FF 15,000. It was sold to the British art dealer Ernest Gambart in 1854 for FF 40,000. Bonheur added finishing touches in 1855.
It was shown at various locations during a tour of Britain in 1855 to 1857. In London, the painting was shown in the home of Edwin Henry Landseer, the artist well known for his works on animals. Queen Victoria requested a private viewing at Buckingham Palace. It was the most acclaimed of Bonheur's works, and is described by the Metropolitan Museum as one of its best-known works of art.
It was sold to cotton trader William Parkinson Wright in 1857 for FF 30,000, and then sold to Alexander Turney Stewart in 1866. After the deaths of Stewart in 1876 and of his widow Cornelia in 1886, the painting was bought at auction by Cornelius Vanderbilt II for $53,000 in March 1887, and immediately donated to the Metropolitan Museum of Art in New York. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Horse Fair",
"main subject",
"Paris horse market"
] | The Horse Fair is an oil-on-canvas painting by French artist Rosa Bonheur, begun in 1852 and first exhibited at the Paris Salon in 1853. The artist added some finishing touches in 1855. The large work measures 96.25 in × 199.5 in (244.5 cm × 506.7 cm).The painting depicts dealers selling horses at the horse market held on the Boulevard de l'Hôpital in Paris. The hospital of Salpêtrière can be seen in the left background.
The prime version of the painting has been in the collection of the Metropolitan Museum of Art in New York since 1887, when it was donated by Cornelius Vanderbilt II. It is on view in Gallery 812.Background
Bonheur painted 'The Horse Fair' from a series of sketches of Percherons, and other draft horses, which she had made at the Paris horse market on the tree-lined Boulevard de l'Hôpital, near the Pitié-Salpêtrière Hospital, which is visible in the background to the painting. She attended the market twice weekly for a year and a half from summer of 1850 to the end of 1851. She sought a permission de travestissement from the Paris police to dress as a man, to avoid drawing attention to herself. She had earlier studied at a Paris slaughterhouse in 1845, a typical activity for an animal painter that she was the first woman to engage in, and had experienced harassment as a visible woman.In addition to studies at the Paris horse market, she also modeled her animals on those from the Paris Omnibus Company. She broke from tradition in depicting the horse eye as it is, rather than using anthropomorphism for emotional effect. It has been suggested that one of the human figures is a self-portrait.
Bonheur routinely wore masculine clothes at home and in the country. The Horse Fair is printed as Plate 18 in Germaine Greer's book The Obstacle Race, in which she writes: "There was nothing titillating about the full trousers and painters' smocks that Bonheur wore", and quotes the artist herself as saying: | main subject | 130 | [
"focus",
"central theme",
"central topic",
"main theme",
"primary subject"
] | null | null |
[
"The Horse Fair",
"location",
"Metropolitan Museum of Art"
] | The Horse Fair is an oil-on-canvas painting by French artist Rosa Bonheur, begun in 1852 and first exhibited at the Paris Salon in 1853. The artist added some finishing touches in 1855. The large work measures 96.25 in × 199.5 in (244.5 cm × 506.7 cm).The painting depicts dealers selling horses at the horse market held on the Boulevard de l'Hôpital in Paris. The hospital of Salpêtrière can be seen in the left background.
The prime version of the painting has been in the collection of the Metropolitan Museum of Art in New York since 1887, when it was donated by Cornelius Vanderbilt II. It is on view in Gallery 812. | location | 29 | [
"place",
"position",
"site",
"locale",
"spot"
] | null | null |
[
"The Horse Fair",
"depicts",
"equestrianism"
] | Exhibition
The painting was praised by the critics when it was first exhibited at the Paris Salon in May 1853. Several commented on the masculine nature of the work. Earlier, Bonheur had offered studies of two paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny, for consideration of a state commission. He selected the other work, Haymaking in the Auvergne, now held by the museum at the Château de Fontainebleau. Bonheur rejected his attempt to change his mind after the 1853 exhibition.
The painting was subsequently shown in Ghent in 1853 and then in Bordeaux in 1854, but the city declined to buy it for FF 15,000. It was sold to the British art dealer Ernest Gambart in 1854 for FF 40,000. Bonheur added finishing touches in 1855.
It was shown at various locations during a tour of Britain in 1855 to 1857. In London, the painting was shown in the home of Edwin Henry Landseer, the artist well known for his works on animals. Queen Victoria requested a private viewing at Buckingham Palace. It was the most acclaimed of Bonheur's works, and is described by the Metropolitan Museum as one of its best-known works of art.
It was sold to cotton trader William Parkinson Wright in 1857 for FF 30,000, and then sold to Alexander Turney Stewart in 1866. After the deaths of Stewart in 1876 and of his widow Cornelia in 1886, the painting was bought at auction by Cornelius Vanderbilt II for $53,000 in March 1887, and immediately donated to the Metropolitan Museum of Art in New York. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Horse Fair",
"depicts",
"bridle"
] | Exhibition
The painting was praised by the critics when it was first exhibited at the Paris Salon in May 1853. Several commented on the masculine nature of the work. Earlier, Bonheur had offered studies of two paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny, for consideration of a state commission. He selected the other work, Haymaking in the Auvergne, now held by the museum at the Château de Fontainebleau. Bonheur rejected his attempt to change his mind after the 1853 exhibition.
The painting was subsequently shown in Ghent in 1853 and then in Bordeaux in 1854, but the city declined to buy it for FF 15,000. It was sold to the British art dealer Ernest Gambart in 1854 for FF 40,000. Bonheur added finishing touches in 1855.
It was shown at various locations during a tour of Britain in 1855 to 1857. In London, the painting was shown in the home of Edwin Henry Landseer, the artist well known for his works on animals. Queen Victoria requested a private viewing at Buckingham Palace. It was the most acclaimed of Bonheur's works, and is described by the Metropolitan Museum as one of its best-known works of art.
It was sold to cotton trader William Parkinson Wright in 1857 for FF 30,000, and then sold to Alexander Turney Stewart in 1866. After the deaths of Stewart in 1876 and of his widow Cornelia in 1886, the painting was bought at auction by Cornelius Vanderbilt II for $53,000 in March 1887, and immediately donated to the Metropolitan Museum of Art in New York. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Horse Fair",
"depicts",
"fence"
] | Exhibition
The painting was praised by the critics when it was first exhibited at the Paris Salon in May 1853. Several commented on the masculine nature of the work. Earlier, Bonheur had offered studies of two paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny, for consideration of a state commission. He selected the other work, Haymaking in the Auvergne, now held by the museum at the Château de Fontainebleau. Bonheur rejected his attempt to change his mind after the 1853 exhibition.
The painting was subsequently shown in Ghent in 1853 and then in Bordeaux in 1854, but the city declined to buy it for FF 15,000. It was sold to the British art dealer Ernest Gambart in 1854 for FF 40,000. Bonheur added finishing touches in 1855.
It was shown at various locations during a tour of Britain in 1855 to 1857. In London, the painting was shown in the home of Edwin Henry Landseer, the artist well known for his works on animals. Queen Victoria requested a private viewing at Buckingham Palace. It was the most acclaimed of Bonheur's works, and is described by the Metropolitan Museum as one of its best-known works of art.
It was sold to cotton trader William Parkinson Wright in 1857 for FF 30,000, and then sold to Alexander Turney Stewart in 1866. After the deaths of Stewart in 1876 and of his widow Cornelia in 1886, the painting was bought at auction by Cornelius Vanderbilt II for $53,000 in March 1887, and immediately donated to the Metropolitan Museum of Art in New York. | depicts | 134 | [
"illustrates",
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] | null | null |
[
"The Horse Fair",
"depicts",
"Pitié-Salpêtrière Hospital"
] | The Horse Fair is an oil-on-canvas painting by French artist Rosa Bonheur, begun in 1852 and first exhibited at the Paris Salon in 1853. The artist added some finishing touches in 1855. The large work measures 96.25 in × 199.5 in (244.5 cm × 506.7 cm).The painting depicts dealers selling horses at the horse market held on the Boulevard de l'Hôpital in Paris. The hospital of Salpêtrière can be seen in the left background.
The prime version of the painting has been in the collection of the Metropolitan Museum of Art in New York since 1887, when it was donated by Cornelius Vanderbilt II. It is on view in Gallery 812.Background
Bonheur painted 'The Horse Fair' from a series of sketches of Percherons, and other draft horses, which she had made at the Paris horse market on the tree-lined Boulevard de l'Hôpital, near the Pitié-Salpêtrière Hospital, which is visible in the background to the painting. She attended the market twice weekly for a year and a half from summer of 1850 to the end of 1851. She sought a permission de travestissement from the Paris police to dress as a man, to avoid drawing attention to herself. She had earlier studied at a Paris slaughterhouse in 1845, a typical activity for an animal painter that she was the first woman to engage in, and had experienced harassment as a visible woman.In addition to studies at the Paris horse market, she also modeled her animals on those from the Paris Omnibus Company. She broke from tradition in depicting the horse eye as it is, rather than using anthropomorphism for emotional effect. It has been suggested that one of the human figures is a self-portrait.
Bonheur routinely wore masculine clothes at home and in the country. The Horse Fair is printed as Plate 18 in Germaine Greer's book The Obstacle Race, in which she writes: "There was nothing titillating about the full trousers and painters' smocks that Bonheur wore", and quotes the artist herself as saying: | depicts | 134 | [
"illustrates",
"portrays",
"represents",
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"exhibits"
] | null | null |
[
"The Horse Fair",
"collection",
"European Paintings"
] | The Horse Fair is an oil-on-canvas painting by French artist Rosa Bonheur, begun in 1852 and first exhibited at the Paris Salon in 1853. The artist added some finishing touches in 1855. The large work measures 96.25 in × 199.5 in (244.5 cm × 506.7 cm).The painting depicts dealers selling horses at the horse market held on the Boulevard de l'Hôpital in Paris. The hospital of Salpêtrière can be seen in the left background.
The prime version of the painting has been in the collection of the Metropolitan Museum of Art in New York since 1887, when it was donated by Cornelius Vanderbilt II. It is on view in Gallery 812. | collection | 79 | [
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"assortment"
] | null | null |
[
"The Horse Fair",
"depicts",
"horse rider"
] | Exhibition
The painting was praised by the critics when it was first exhibited at the Paris Salon in May 1853. Several commented on the masculine nature of the work. Earlier, Bonheur had offered studies of two paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny, for consideration of a state commission. He selected the other work, Haymaking in the Auvergne, now held by the museum at the Château de Fontainebleau. Bonheur rejected his attempt to change his mind after the 1853 exhibition.
The painting was subsequently shown in Ghent in 1853 and then in Bordeaux in 1854, but the city declined to buy it for FF 15,000. It was sold to the British art dealer Ernest Gambart in 1854 for FF 40,000. Bonheur added finishing touches in 1855.
It was shown at various locations during a tour of Britain in 1855 to 1857. In London, the painting was shown in the home of Edwin Henry Landseer, the artist well known for his works on animals. Queen Victoria requested a private viewing at Buckingham Palace. It was the most acclaimed of Bonheur's works, and is described by the Metropolitan Museum as one of its best-known works of art.
It was sold to cotton trader William Parkinson Wright in 1857 for FF 30,000, and then sold to Alexander Turney Stewart in 1866. After the deaths of Stewart in 1876 and of his widow Cornelia in 1886, the painting was bought at auction by Cornelius Vanderbilt II for $53,000 in March 1887, and immediately donated to the Metropolitan Museum of Art in New York. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Horse Fair",
"collection",
"Metropolitan Museum of Art"
] | The Horse Fair is an oil-on-canvas painting by French artist Rosa Bonheur, begun in 1852 and first exhibited at the Paris Salon in 1853. The artist added some finishing touches in 1855. The large work measures 96.25 in × 199.5 in (244.5 cm × 506.7 cm).The painting depicts dealers selling horses at the horse market held on the Boulevard de l'Hôpital in Paris. The hospital of Salpêtrière can be seen in the left background.
The prime version of the painting has been in the collection of the Metropolitan Museum of Art in New York since 1887, when it was donated by Cornelius Vanderbilt II. It is on view in Gallery 812. | collection | 79 | [
"assemblage",
"accumulation",
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"compilation",
"assortment"
] | null | null |
[
"The Horse Fair",
"depicts",
"rein"
] | Exhibition
The painting was praised by the critics when it was first exhibited at the Paris Salon in May 1853. Several commented on the masculine nature of the work. Earlier, Bonheur had offered studies of two paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny, for consideration of a state commission. He selected the other work, Haymaking in the Auvergne, now held by the museum at the Château de Fontainebleau. Bonheur rejected his attempt to change his mind after the 1853 exhibition.
The painting was subsequently shown in Ghent in 1853 and then in Bordeaux in 1854, but the city declined to buy it for FF 15,000. It was sold to the British art dealer Ernest Gambart in 1854 for FF 40,000. Bonheur added finishing touches in 1855.
It was shown at various locations during a tour of Britain in 1855 to 1857. In London, the painting was shown in the home of Edwin Henry Landseer, the artist well known for his works on animals. Queen Victoria requested a private viewing at Buckingham Palace. It was the most acclaimed of Bonheur's works, and is described by the Metropolitan Museum as one of its best-known works of art.
It was sold to cotton trader William Parkinson Wright in 1857 for FF 30,000, and then sold to Alexander Turney Stewart in 1866. After the deaths of Stewart in 1876 and of his widow Cornelia in 1886, the painting was bought at auction by Cornelius Vanderbilt II for $53,000 in March 1887, and immediately donated to the Metropolitan Museum of Art in New York. | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Horse Fair",
"depicts",
"boulevard de l'Hôpital"
] | The Horse Fair is an oil-on-canvas painting by French artist Rosa Bonheur, begun in 1852 and first exhibited at the Paris Salon in 1853. The artist added some finishing touches in 1855. The large work measures 96.25 in × 199.5 in (244.5 cm × 506.7 cm).The painting depicts dealers selling horses at the horse market held on the Boulevard de l'Hôpital in Paris. The hospital of Salpêtrière can be seen in the left background.
The prime version of the painting has been in the collection of the Metropolitan Museum of Art in New York since 1887, when it was donated by Cornelius Vanderbilt II. It is on view in Gallery 812.Background
Bonheur painted 'The Horse Fair' from a series of sketches of Percherons, and other draft horses, which she had made at the Paris horse market on the tree-lined Boulevard de l'Hôpital, near the Pitié-Salpêtrière Hospital, which is visible in the background to the painting. She attended the market twice weekly for a year and a half from summer of 1850 to the end of 1851. She sought a permission de travestissement from the Paris police to dress as a man, to avoid drawing attention to herself. She had earlier studied at a Paris slaughterhouse in 1845, a typical activity for an animal painter that she was the first woman to engage in, and had experienced harassment as a visible woman.In addition to studies at the Paris horse market, she also modeled her animals on those from the Paris Omnibus Company. She broke from tradition in depicting the horse eye as it is, rather than using anthropomorphism for emotional effect. It has been suggested that one of the human figures is a self-portrait.
Bonheur routinely wore masculine clothes at home and in the country. The Horse Fair is printed as Plate 18 in Germaine Greer's book The Obstacle Race, in which she writes: "There was nothing titillating about the full trousers and painters' smocks that Bonheur wore", and quotes the artist herself as saying: | depicts | 134 | [
"illustrates",
"portrays",
"represents",
"shows",
"exhibits"
] | null | null |
[
"The Communist Manifesto",
"main subject",
"communism"
] | The Communist Manifesto (German: Kommunistisches Manifest), originally the Manifesto of the Communist Party (German: Manifest der Kommunistischen Partei), is a political pamphlet written by German philosophers Karl Marx and Friedrich Engels. Commissioned by the Communist League and originally published in London in 1848, the Manifesto remains one of the world's most influential political documents. It presents an analytical approach to class struggle and criticizes capitalism and the capitalist mode of production, without attempting to predict communism's potential future forms.
The Communist Manifesto summarises Marx and Engels' theories concerning the nature of society and politics, namely that, in their own words, "[t]he history of all hitherto existing society is the history of class struggles". It also briefly features their ideas for how the capitalist society of the time would eventually be replaced by socialism. In the last paragraph of the Manifesto, the authors call for a "forcible overthrow of all existing social conditions", which served as a call for communist revolutions around the world.In 2013, The Communist Manifesto was registered to UNESCO's Memory of the World Programme along with Marx's Capital, Volume I. | main subject | 130 | [
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"central topic",
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"primary subject"
] | null | null |
[
"The Communist Manifesto",
"language of work or name",
"German"
] | Rise, 1872–1917
In the early 1870s, the Manifesto and its authors experienced a revival in fortunes. Hobsbawm identifies three reasons for this. The first is the leadership role Marx played in the International Workingmen's Association (aka the First International). Secondly, Marx also came into much prominence among socialists—and equal notoriety among the authorities—for his support of the Paris Commune of 1871, elucidated in The Civil War in France. Lastly, and perhaps most significantly in the popularisation of the Manifesto, was the treason trial of German Social Democratic Party (SPD) leaders. During the trial prosecutors read the Manifesto out loud as evidence; this meant that the pamphlet could legally be published in Germany. Thus in 1872 Marx and Engels rushed out a new German-language edition, writing a preface that identified that several portions that became outdated in the quarter century since its original publication. This edition was also the first time the title was shortened to The Communist Manifesto (Das Kommunistische Manifest), and it became the version the authors based future editions upon. Between 1871 and 1873, the Manifesto was published in over nine editions in six languages; on 30 December 1871 it was published in the United States for the first time in Woodhull & Claflin's Weekly of New York City. However, by the mid 1870s the Communist Manifesto remained Marx and Engels' only work to be even moderately well-known.
Over the next forty years, as social-democratic parties rose across Europe and parts of the world, so did the publication of the Manifesto alongside them, in hundreds of editions in thirty languages. Marx and Engels wrote a new preface for the 1882 Russian edition, translated by Georgi Plekhanov in Geneva. In it they wondered if Russia could directly become a communist society, or if she would become capitalist first like other European countries. After Marx's death in 1883, Engels provided the prefaces for five editions between 1888 and 1893. Among these is the 1888 English edition, translated by Samuel Moore and approved by Engels, who also provided notes throughout the text. It has been the standard English-language edition ever since.The principal region of its influence, in terms of editions published, was in the "central belt of Europe", from Russia in the east to France in the west. In comparison, the pamphlet had little impact on politics in southwest and southeast Europe, and moderate presence in the north. Outside Europe, Chinese and Japanese translations were published, as were Spanish editions in Latin America. The first Chinese edition of the book was translated by Zhu Zhixin after the 1905 Russian Revolution in a Tongmenghui newspaper along with articles on socialist movements in Europe, North America, and Japan. This uneven geographical spread in the Manifesto's popularity reflected the development of socialist movements in a particular region as well as the popularity of Marxist variety of socialism there. There was not always a strong correlation between a social-democratic party's strength and the Manifesto's popularity in that country. For instance, the German SPD printed only a few thousand copies of the Communist Manifesto every year, but a few hundred thousand copies of the Erfurt Programme. Further, the mass-based social-democratic parties of the Second International did not require their rank and file to be well-versed in theory; Marxist works such as the Manifesto or Das Kapital were read primarily by party theoreticians. On the other hand, small, dedicated militant parties and Marxist sects in the West took pride in knowing the theory; Hobsbawm says: "This was the milieu in which 'the clearness of a comrade could be gauged invariably from the number of earmarks on his Manifesto'". | language of work or name | 125 | [
"language",
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] | null | null |
[
"The Communist Manifesto",
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"socialism"
] | The Communist Manifesto (German: Kommunistisches Manifest), originally the Manifesto of the Communist Party (German: Manifest der Kommunistischen Partei), is a political pamphlet written by German philosophers Karl Marx and Friedrich Engels. Commissioned by the Communist League and originally published in London in 1848, the Manifesto remains one of the world's most influential political documents. It presents an analytical approach to class struggle and criticizes capitalism and the capitalist mode of production, without attempting to predict communism's potential future forms.
The Communist Manifesto summarises Marx and Engels' theories concerning the nature of society and politics, namely that, in their own words, "[t]he history of all hitherto existing society is the history of class struggles". It also briefly features their ideas for how the capitalist society of the time would eventually be replaced by socialism. In the last paragraph of the Manifesto, the authors call for a "forcible overthrow of all existing social conditions", which served as a call for communist revolutions around the world.In 2013, The Communist Manifesto was registered to UNESCO's Memory of the World Programme along with Marx's Capital, Volume I. | main subject | 130 | [
"focus",
"central theme",
"central topic",
"main theme",
"primary subject"
] | null | null |
[
"The Communist Manifesto",
"main subject",
"communist revolution"
] | The Communist Manifesto (German: Kommunistisches Manifest), originally the Manifesto of the Communist Party (German: Manifest der Kommunistischen Partei), is a political pamphlet written by German philosophers Karl Marx and Friedrich Engels. Commissioned by the Communist League and originally published in London in 1848, the Manifesto remains one of the world's most influential political documents. It presents an analytical approach to class struggle and criticizes capitalism and the capitalist mode of production, without attempting to predict communism's potential future forms.
The Communist Manifesto summarises Marx and Engels' theories concerning the nature of society and politics, namely that, in their own words, "[t]he history of all hitherto existing society is the history of class struggles". It also briefly features their ideas for how the capitalist society of the time would eventually be replaced by socialism. In the last paragraph of the Manifesto, the authors call for a "forcible overthrow of all existing social conditions", which served as a call for communist revolutions around the world.In 2013, The Communist Manifesto was registered to UNESCO's Memory of the World Programme along with Marx's Capital, Volume I. | main subject | 130 | [
"focus",
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"central topic",
"main theme",
"primary subject"
] | null | null |
[
"The Communist Manifesto",
"instance of",
"written work"
] | The Communist Manifesto (German: Kommunistisches Manifest), originally the Manifesto of the Communist Party (German: Manifest der Kommunistischen Partei), is a political pamphlet written by German philosophers Karl Marx and Friedrich Engels. Commissioned by the Communist League and originally published in London in 1848, the Manifesto remains one of the world's most influential political documents. It presents an analytical approach to class struggle and criticizes capitalism and the capitalist mode of production, without attempting to predict communism's potential future forms.
The Communist Manifesto summarises Marx and Engels' theories concerning the nature of society and politics, namely that, in their own words, "[t]he history of all hitherto existing society is the history of class struggles". It also briefly features their ideas for how the capitalist society of the time would eventually be replaced by socialism. In the last paragraph of the Manifesto, the authors call for a "forcible overthrow of all existing social conditions", which served as a call for communist revolutions around the world.In 2013, The Communist Manifesto was registered to UNESCO's Memory of the World Programme along with Marx's Capital, Volume I. | instance of | 5 | [
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] | null | null |
[
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] | The Communist Manifesto (German: Kommunistisches Manifest), originally the Manifesto of the Communist Party (German: Manifest der Kommunistischen Partei), is a political pamphlet written by German philosophers Karl Marx and Friedrich Engels. Commissioned by the Communist League and originally published in London in 1848, the Manifesto remains one of the world's most influential political documents. It presents an analytical approach to class struggle and criticizes capitalism and the capitalist mode of production, without attempting to predict communism's potential future forms.
The Communist Manifesto summarises Marx and Engels' theories concerning the nature of society and politics, namely that, in their own words, "[t]he history of all hitherto existing society is the history of class struggles". It also briefly features their ideas for how the capitalist society of the time would eventually be replaced by socialism. In the last paragraph of the Manifesto, the authors call for a "forcible overthrow of all existing social conditions", which served as a call for communist revolutions around the world.In 2013, The Communist Manifesto was registered to UNESCO's Memory of the World Programme along with Marx's Capital, Volume I. | genre | 85 | [
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[
"God Save the King",
"language of work or name",
"English"
] | "God Save the King" (alternatively "God Save the Queen" when the British monarch is female) is the national anthem of the United Kingdom and the British Crown Dependencies, one of two national anthems of New Zealand since 1977, and the royal anthem of most Commonwealth realms. The author of the tune is unknown and it may originate in plainchant, but an attribution to the composer John Bull has sometimes been made.
In countries not part of the British Empire, the tune of "God Save the King" has provided the basis for various patriotic songs, though still generally connected with royal ceremony. The melody continues to be used for the national anthem of Liechtenstein, "Oben am jungen Rhein", and the royal anthem of Norway, "Kongesangen". The melody is used for the American patriotic song "My Country, 'Tis of Thee" (also known as "America"). The melody was also used for the national anthem "Heil dir im Siegerkranz" of the German Empire from 1871 to 1918 and as "The Prayer of Russians", the imperial anthem of Russia from 1816 to 1833. In Switzerland, it is known as "Rufst du, mein Vaterland".
Beyond its first verse, which is consistent, "God Save the King" has many historic and extant versions. Since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders. In general, only one verse is sung. Sometimes two verses are sung and, on certain occasions, three.The entire composition is the musical salute for the monarch and royal consort, while other members of the royal family who are entitled to royal salute (such as the Prince of Wales, along with his spouse) receive just the first six bars. The first six bars also form all or part of the viceregal salute in some Commonwealth realms other than the UK (e.g., in Canada, governors general and lieutenant governors at official events are saluted with the first six bars of "God Save the King" followed by the first four and last four bars of "O Canada"), as well as the salute given to governors of British overseas territories. | language of work or name | 125 | [
"language",
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] | null | null |
[
"God Save the King",
"instance of",
"national anthem"
] | "God Save the King" (alternatively "God Save the Queen" when the British monarch is female) is the national anthem of the United Kingdom and the British Crown Dependencies, one of two national anthems of New Zealand since 1977, and the royal anthem of most Commonwealth realms. The author of the tune is unknown and it may originate in plainchant, but an attribution to the composer John Bull has sometimes been made.
In countries not part of the British Empire, the tune of "God Save the King" has provided the basis for various patriotic songs, though still generally connected with royal ceremony. The melody continues to be used for the national anthem of Liechtenstein, "Oben am jungen Rhein", and the royal anthem of Norway, "Kongesangen". The melody is used for the American patriotic song "My Country, 'Tis of Thee" (also known as "America"). The melody was also used for the national anthem "Heil dir im Siegerkranz" of the German Empire from 1871 to 1918 and as "The Prayer of Russians", the imperial anthem of Russia from 1816 to 1833. In Switzerland, it is known as "Rufst du, mein Vaterland".
Beyond its first verse, which is consistent, "God Save the King" has many historic and extant versions. Since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders. In general, only one verse is sung. Sometimes two verses are sung and, on certain occasions, three.The entire composition is the musical salute for the monarch and royal consort, while other members of the royal family who are entitled to royal salute (such as the Prince of Wales, along with his spouse) receive just the first six bars. The first six bars also form all or part of the viceregal salute in some Commonwealth realms other than the UK (e.g., in Canada, governors general and lieutenant governors at official events are saluted with the first six bars of "God Save the King" followed by the first four and last four bars of "O Canada"), as well as the salute given to governors of British overseas territories.Saint Vincent and the Grenadines
"God Save the King" is the royal anthem of Saint Vincent and the Grenadines. It is played on royal and vice-regal occasions. The Vice-Regal Salute to the governor general is composed of the chorus of "God Save the King" and followed by that of the National Anthem, "Saint Vincent, Land so Beautiful".All proclamations in Saint Vincent and the Grenadines end with the phrase: "God Save the King". | instance of | 5 | [
"type of",
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"manifestation of",
"representation of"
] | null | null |
[
"God Save the King",
"published in",
"The Gentleman's Magazine"
] | History
In The Oxford Companion to Music, Percy Scholes points out the similarities to an early plainsong melody, although the rhythm is very distinctly that of a galliard, and he gives examples of several such dance tunes that bear a striking resemblance to "God Save the King". Scholes quotes a keyboard piece by John Bull (1619) which has some similarities to the modern tune, depending on the placing of accidentals which at that time were unwritten in certain cases and left to the discretion of the player (see musica ficta). He also points to several pieces by Henry Purcell, one of which includes the opening notes of the modern tune, setting the words "God Save the King". Nineteenth-century scholars and commentators mention the widespread belief that an old Scots carol, "Remember O Thou Man", was the source of the tune.The first published version that resembles the present song appeared in 1744, with no title but the heading "For two voices", in an anthology originally named Harmonia Britannia but changed after only a few copies had been printed to Thesaurus Musicus. When the Jacobite pretender Charles Edward Stuart led the 1745 rising, the song spread among those loyal to King George II. The tune published in The Gentleman's Magazine in 1745 departs from that used today at several points, one as early as the first bar, but is otherwise clearly a strong relative of the contemporary anthem. It was recorded as being sung in London theatres in 1745, with, for example, Thomas Arne writing a setting of the tune for the Drury Lane Theatre.
Scholes' analysis includes mention of "untenable" and "doubtful" claims, as well as "an American misattribution". Some of these are:Standard version in the United Kingdom
When the monarch of the time is female, "King" is replaced with "Queen" and all masculine pronouns are replaced with their feminine equivalents.
There is no definitive version of the lyrics. However, the version consisting of the three above verses has the best claim to be regarded as the "standard" British version (sometimes omitting the second verse) appearing not only in the 1745 Gentleman's Magazine, but also in publications such as The Book of English Songs: From the Sixteenth to the Nineteenth Century (1851), National Hymns: How They Are Written and How They Are Not Written (1861), Household Book of Poetry (1882), and Hymns Ancient and Modern, Revised Version (1982).The same version with verse two omitted appears in publications including Scouting for Boys (1908), and on the Royal Family website.According to Alan Michie's Rule, Britannia, which was published in 1952, after the death of King George VI but before the coronation of Queen Elizabeth II, when the first General Assembly of the United Nations was held in London in January 1946 the King, in honour of the occasion, "ordered the belligerent imperious second stanza of 'God Save the King' to be rewritten to bring it more into the spirit of the brotherhood of nations."In the UK, the first verse is typically sung alone, even on official occasions, although the third verse is sometimes sung in addition on certain occasions such as during the opening ceremonies of the 2012 Summer Olympics, 2012 Summer Paralympics, and the 2022 Commonwealth Games and usually at the Last Night of the Proms. | published in | 141 | [
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] | null | null |
[
"God Save the King",
"country of origin",
"Great Britain"
] | "God Save the King" (alternatively "God Save the Queen" when the British monarch is female) is the national anthem of the United Kingdom and the British Crown Dependencies, one of two national anthems of New Zealand since 1977, and the royal anthem of most Commonwealth realms. The author of the tune is unknown and it may originate in plainchant, but an attribution to the composer John Bull has sometimes been made.
In countries not part of the British Empire, the tune of "God Save the King" has provided the basis for various patriotic songs, though still generally connected with royal ceremony. The melody continues to be used for the national anthem of Liechtenstein, "Oben am jungen Rhein", and the royal anthem of Norway, "Kongesangen". The melody is used for the American patriotic song "My Country, 'Tis of Thee" (also known as "America"). The melody was also used for the national anthem "Heil dir im Siegerkranz" of the German Empire from 1871 to 1918 and as "The Prayer of Russians", the imperial anthem of Russia from 1816 to 1833. In Switzerland, it is known as "Rufst du, mein Vaterland".
Beyond its first verse, which is consistent, "God Save the King" has many historic and extant versions. Since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders. In general, only one verse is sung. Sometimes two verses are sung and, on certain occasions, three.The entire composition is the musical salute for the monarch and royal consort, while other members of the royal family who are entitled to royal salute (such as the Prince of Wales, along with his spouse) receive just the first six bars. The first six bars also form all or part of the viceregal salute in some Commonwealth realms other than the UK (e.g., in Canada, governors general and lieutenant governors at official events are saluted with the first six bars of "God Save the King" followed by the first four and last four bars of "O Canada"), as well as the salute given to governors of British overseas territories. | country of origin | 80 | [
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"motherland",
"fatherland"
] | null | null |
[
"God Save the King",
"different from",
"God Save the Queen"
] | "God Save the King" (alternatively "God Save the Queen" when the British monarch is female) is the national anthem of the United Kingdom and the British Crown Dependencies, one of two national anthems of New Zealand since 1977, and the royal anthem of most Commonwealth realms. The author of the tune is unknown and it may originate in plainchant, but an attribution to the composer John Bull has sometimes been made.
In countries not part of the British Empire, the tune of "God Save the King" has provided the basis for various patriotic songs, though still generally connected with royal ceremony. The melody continues to be used for the national anthem of Liechtenstein, "Oben am jungen Rhein", and the royal anthem of Norway, "Kongesangen". The melody is used for the American patriotic song "My Country, 'Tis of Thee" (also known as "America"). The melody was also used for the national anthem "Heil dir im Siegerkranz" of the German Empire from 1871 to 1918 and as "The Prayer of Russians", the imperial anthem of Russia from 1816 to 1833. In Switzerland, it is known as "Rufst du, mein Vaterland".
Beyond its first verse, which is consistent, "God Save the King" has many historic and extant versions. Since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders. In general, only one verse is sung. Sometimes two verses are sung and, on certain occasions, three.The entire composition is the musical salute for the monarch and royal consort, while other members of the royal family who are entitled to royal salute (such as the Prince of Wales, along with his spouse) receive just the first six bars. The first six bars also form all or part of the viceregal salute in some Commonwealth realms other than the UK (e.g., in Canada, governors general and lieutenant governors at official events are saluted with the first six bars of "God Save the King" followed by the first four and last four bars of "O Canada"), as well as the salute given to governors of British overseas territories. | different from | 12 | [
"not same as",
"not identical to",
"distinct from",
"separate from",
"unlike"
] | null | null |
[
"God Save the King",
"instance of",
"musical work/composition"
] | "God Save the King" (alternatively "God Save the Queen" when the British monarch is female) is the national anthem of the United Kingdom and the British Crown Dependencies, one of two national anthems of New Zealand since 1977, and the royal anthem of most Commonwealth realms. The author of the tune is unknown and it may originate in plainchant, but an attribution to the composer John Bull has sometimes been made.
In countries not part of the British Empire, the tune of "God Save the King" has provided the basis for various patriotic songs, though still generally connected with royal ceremony. The melody continues to be used for the national anthem of Liechtenstein, "Oben am jungen Rhein", and the royal anthem of Norway, "Kongesangen". The melody is used for the American patriotic song "My Country, 'Tis of Thee" (also known as "America"). The melody was also used for the national anthem "Heil dir im Siegerkranz" of the German Empire from 1871 to 1918 and as "The Prayer of Russians", the imperial anthem of Russia from 1816 to 1833. In Switzerland, it is known as "Rufst du, mein Vaterland".
Beyond its first verse, which is consistent, "God Save the King" has many historic and extant versions. Since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders. In general, only one verse is sung. Sometimes two verses are sung and, on certain occasions, three.The entire composition is the musical salute for the monarch and royal consort, while other members of the royal family who are entitled to royal salute (such as the Prince of Wales, along with his spouse) receive just the first six bars. The first six bars also form all or part of the viceregal salute in some Commonwealth realms other than the UK (e.g., in Canada, governors general and lieutenant governors at official events are saluted with the first six bars of "God Save the King" followed by the first four and last four bars of "O Canada"), as well as the salute given to governors of British overseas territories. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"La Marseillaise",
"genre",
"song"
] | "La Marseillaise" is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled "Chant de guerre pour l'Armée du Rhin" ("War Song for the Army of the Rhine").
The French National Convention adopted it as the Republic's anthem in 1795. The song acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. The song is the first example of the "European march" anthemic style. The anthem's evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music.History
As the French Revolution continued, the monarchies of Europe became concerned that revolutionary fervor would spread to their countries. The War of the First Coalition was an effort to stop the revolution, or at least contain it to France. Initially, the French army did not distinguish itself, and Coalition armies invaded France. On 25 April 1792, Baron Philippe-Frédéric de Dietrich, the mayor of Strasbourg and worshipful master of the local masonic lodge, asked his freemason guest Rouget de Lisle to compose a song "that will rally our soldiers from all over to defend their homeland that is under threat". That evening, Rouget de Lisle wrote "Chant de guerre pour l'Armée du Rhin" (English: "War Song for the Army of the Rhine"), and dedicated the song to Marshal Nicolas Luckner, a Bavarian freemason in French service from Cham. A plaque on the building on Place Broglie where De Dietrich's house once stood commemorates the event. De Dietrich was executed the next year during the Reign of Terror.The melody soon became the rallying call to the French Revolution and was adopted as "La Marseillaise" after the melody was first sung on the streets by volunteers (fédérés in French) from Marseille by the end of May. These fédérés were making their entrance into the city of Paris on 30 July 1792 after a young volunteer from Montpellier called François Mireur had sung it at a patriotic gathering in Marseille, and the troops adopted it as the marching song of the National Guard of Marseille. A newly graduated medical doctor, Mireur later became a general under Napoléon Bonaparte and died in Egypt at age 28.The song's lyrics reflect the invasion of France by foreign armies (from Prussia and Austria) that was under way when it was written. Strasbourg itself was attacked just a few days later. The invading forces were repulsed from France following their defeat in the Battle of Valmy. As the vast majority of Alsatians did not speak French, a German version ("Auf, Brüder, auf dem Tag entgegen") was published in October 1792 in Colmar. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"La Marseillaise",
"instance of",
"national anthem"
] | "La Marseillaise" is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled "Chant de guerre pour l'Armée du Rhin" ("War Song for the Army of the Rhine").
The French National Convention adopted it as the Republic's anthem in 1795. The song acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. The song is the first example of the "European march" anthemic style. The anthem's evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music.History
As the French Revolution continued, the monarchies of Europe became concerned that revolutionary fervor would spread to their countries. The War of the First Coalition was an effort to stop the revolution, or at least contain it to France. Initially, the French army did not distinguish itself, and Coalition armies invaded France. On 25 April 1792, Baron Philippe-Frédéric de Dietrich, the mayor of Strasbourg and worshipful master of the local masonic lodge, asked his freemason guest Rouget de Lisle to compose a song "that will rally our soldiers from all over to defend their homeland that is under threat". That evening, Rouget de Lisle wrote "Chant de guerre pour l'Armée du Rhin" (English: "War Song for the Army of the Rhine"), and dedicated the song to Marshal Nicolas Luckner, a Bavarian freemason in French service from Cham. A plaque on the building on Place Broglie where De Dietrich's house once stood commemorates the event. De Dietrich was executed the next year during the Reign of Terror.The melody soon became the rallying call to the French Revolution and was adopted as "La Marseillaise" after the melody was first sung on the streets by volunteers (fédérés in French) from Marseille by the end of May. These fédérés were making their entrance into the city of Paris on 30 July 1792 after a young volunteer from Montpellier called François Mireur had sung it at a patriotic gathering in Marseille, and the troops adopted it as the marching song of the National Guard of Marseille. A newly graduated medical doctor, Mireur later became a general under Napoléon Bonaparte and died in Egypt at age 28.The song's lyrics reflect the invasion of France by foreign armies (from Prussia and Austria) that was under way when it was written. Strasbourg itself was attacked just a few days later. The invading forces were repulsed from France following their defeat in the Battle of Valmy. As the vast majority of Alsatians did not speak French, a German version ("Auf, Brüder, auf dem Tag entgegen") was published in October 1792 in Colmar.The Convention accepted it as the French national anthem in a decree passed on 14 July 1795, making it France's first anthem. It later lost this status under Napoleon I, and the song was banned outright by Louis XVIII and Charles X, being re-instated only briefly after the July Revolution of 1830. During Napoleon I's reign, "Veillons au salut de l'Empire" was the unofficial anthem of the regime, and in Napoleon III's reign, it was "Partant pour la Syrie", but the Government brought back the iconic anthem in an attempt to motivate the French people during the Franco-Prussian War. During the nineteenth and early twentieth centuries, "La Marseillaise" was recognised as the anthem of the international revolutionary movement; as such, it was adopted by the Paris Commune in 1871, albeit with new lyrics under the title "La marseillaise de la Commune". Eight years later, in 1879, it was restored as France's national anthem, and has remained so ever since. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"La Marseillaise",
"genre",
"march"
] | "La Marseillaise" is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled "Chant de guerre pour l'Armée du Rhin" ("War Song for the Army of the Rhine").
The French National Convention adopted it as the Republic's anthem in 1795. The song acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. The song is the first example of the "European march" anthemic style. The anthem's evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music.History
As the French Revolution continued, the monarchies of Europe became concerned that revolutionary fervor would spread to their countries. The War of the First Coalition was an effort to stop the revolution, or at least contain it to France. Initially, the French army did not distinguish itself, and Coalition armies invaded France. On 25 April 1792, Baron Philippe-Frédéric de Dietrich, the mayor of Strasbourg and worshipful master of the local masonic lodge, asked his freemason guest Rouget de Lisle to compose a song "that will rally our soldiers from all over to defend their homeland that is under threat". That evening, Rouget de Lisle wrote "Chant de guerre pour l'Armée du Rhin" (English: "War Song for the Army of the Rhine"), and dedicated the song to Marshal Nicolas Luckner, a Bavarian freemason in French service from Cham. A plaque on the building on Place Broglie where De Dietrich's house once stood commemorates the event. De Dietrich was executed the next year during the Reign of Terror.The melody soon became the rallying call to the French Revolution and was adopted as "La Marseillaise" after the melody was first sung on the streets by volunteers (fédérés in French) from Marseille by the end of May. These fédérés were making their entrance into the city of Paris on 30 July 1792 after a young volunteer from Montpellier called François Mireur had sung it at a patriotic gathering in Marseille, and the troops adopted it as the marching song of the National Guard of Marseille. A newly graduated medical doctor, Mireur later became a general under Napoléon Bonaparte and died in Egypt at age 28.The song's lyrics reflect the invasion of France by foreign armies (from Prussia and Austria) that was under way when it was written. Strasbourg itself was attacked just a few days later. The invading forces were repulsed from France following their defeat in the Battle of Valmy. As the vast majority of Alsatians did not speak French, a German version ("Auf, Brüder, auf dem Tag entgegen") was published in October 1792 in Colmar. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Dracula",
"characters",
"Jonathan Harker"
] | Dracula is a novel by Bram Stoker, published in 1897. An epistolary novel, the narrative is related through letters, diary entries, and newspaper articles. It has no single protagonist, but opens with solicitor Jonathan Harker taking a business trip to stay at the castle of a Transylvanian nobleman, Count Dracula. Harker escapes the castle after discovering that Dracula is a vampire, and the Count moves to England and plagues the seaside town of Whitby. A small group, led by Abraham Van Helsing, hunt Dracula and, in the end, kill him.
Dracula was mostly written in the 1890s. Stoker produced over a hundred pages of notes for the novel, drawing extensively from Transylvanian folklore and history. Some scholars have suggested that the character of Dracula was inspired by historical figures like the Wallachian prince Vlad the Impaler or the countess Elizabeth Báthory, but there is widespread disagreement. Stoker's notes mention neither figure. He found the name Dracula in Whitby's public library while holidaying there, picking it because he thought it meant devil in Romanian.
Following its publication, Dracula was positively received by reviewers who pointed to its effective use of horror. In contrast, reviewers who wrote negatively of the novel regarded it as excessively frightening. Comparisons to other works of Gothic fiction were common, including its structural similarity to Wilkie Collins' The Woman in White (1859). In the past century, Dracula has been situated as a piece of Gothic fiction. Modern scholars explore the novel within its historical context—the Victorian era—and discuss its depiction of gender roles, sexuality, and race.
Dracula is one of the most famous pieces of English literature. Many of the book's characters have entered popular culture as archetypal versions of their characters; for example, Count Dracula as the quintessential vampire, and Abraham Van Helsing as an iconic vampire hunter. The novel, which is in the public domain, has been adapted for film over 30 times, and its characters have made numerous appearances in virtually all media. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Dracula",
"characters",
"Abraham Van Helsing"
] | Dracula is a novel by Bram Stoker, published in 1897. An epistolary novel, the narrative is related through letters, diary entries, and newspaper articles. It has no single protagonist, but opens with solicitor Jonathan Harker taking a business trip to stay at the castle of a Transylvanian nobleman, Count Dracula. Harker escapes the castle after discovering that Dracula is a vampire, and the Count moves to England and plagues the seaside town of Whitby. A small group, led by Abraham Van Helsing, hunt Dracula and, in the end, kill him.
Dracula was mostly written in the 1890s. Stoker produced over a hundred pages of notes for the novel, drawing extensively from Transylvanian folklore and history. Some scholars have suggested that the character of Dracula was inspired by historical figures like the Wallachian prince Vlad the Impaler or the countess Elizabeth Báthory, but there is widespread disagreement. Stoker's notes mention neither figure. He found the name Dracula in Whitby's public library while holidaying there, picking it because he thought it meant devil in Romanian.
Following its publication, Dracula was positively received by reviewers who pointed to its effective use of horror. In contrast, reviewers who wrote negatively of the novel regarded it as excessively frightening. Comparisons to other works of Gothic fiction were common, including its structural similarity to Wilkie Collins' The Woman in White (1859). In the past century, Dracula has been situated as a piece of Gothic fiction. Modern scholars explore the novel within its historical context—the Victorian era—and discuss its depiction of gender roles, sexuality, and race.
Dracula is one of the most famous pieces of English literature. Many of the book's characters have entered popular culture as archetypal versions of their characters; for example, Count Dracula as the quintessential vampire, and Abraham Van Helsing as an iconic vampire hunter. The novel, which is in the public domain, has been adapted for film over 30 times, and its characters have made numerous appearances in virtually all media. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Dracula",
"characters",
"Arthur Holmwood"
] | Plot
Jonathan Harker, a newly qualified English solicitor, visits Count Dracula at his castle in the Carpathian Mountains to help the Count purchase a house near London. Ignoring the Count's warning, Harker wanders the castle at night and encounters three vampire women; Dracula rescues Harker, and gives the women a small child bound inside a bag. Harker awakens in bed; soon after, Dracula leaves the castle, abandoning him to the women; Harker escapes and ends up delirious in a Budapest hospital. Dracula takes a ship for England with boxes of earth from his castle. The captain's log narrates the crew's disappearance until he alone remains, bound to the helm to maintain course. An animal resembling a large dog is seen leaping ashore when the ship runs aground at Whitby.
Lucy Westenra's letter to her best friend, Harker's fiancée Mina Murray, describes her marriage proposals from Dr. John Seward, Quincey Morris, and Arthur Holmwood. Lucy accepts Holmwood's, but all remain friends. Mina joins Lucy on holiday in Whitby. Lucy begins sleepwalking. After his ship lands there, Dracula stalks Lucy. Mina receives a letter about her missing fiancé's illness, and goes to Budapest to nurse him. Lucy becomes very ill. Seward's old teacher, Professor Abraham Van Helsing, determines the nature of Lucy's condition, but refuses to disclose it. He diagnoses her with acute blood-loss. Van Helsing places garlic flowers around her room and makes her a necklace of them. Lucy's mother removes the garlic flowers, not knowing they repel vampires. While Seward and Van Helsing are absent, Lucy and her mother are terrified by a wolf and Mrs. Westenra dies of a heart attack; Lucy dies shortly thereafter. After her burial, newspapers report children being stalked in the night by a "bloofer lady" (beautiful lady), and Van Helsing deduces it is Lucy. The four go to her tomb and see that she is a vampire. They stake her heart, behead her, and fill her mouth with garlic. Jonathan Harker and his now-wife Mina have returned, and they join the campaign against Dracula.
Everyone stays at Dr. Seward's asylum as the men begin to hunt Dracula. Van Helsing finally reveals that vampires can only rest on earth from their homeland. Dracula communicates with Seward's patient, Renfield, an insane man who eats vermin to absorb their life force. After Dracula learns of the group's plot against him, he uses Renfield to enter the asylum. He secretly attacks Mina three times, drinking her blood each time and forcing Mina to drink his blood on the final visit. She is cursed to become a vampire after her death unless Dracula is killed. As the men find Dracula's properties, they discover many earth boxes within. The vampire hunters open each of the boxes and seal wafers of sacramental bread inside them, rendering them useless to Dracula. They attempt to trap the Count in his Piccadilly house, but he escapes. They learn that Dracula is fleeing to his castle in Transylvania with his last box. Mina has a faint psychic connection to Dracula, which Van Helsing exploits via hypnosis to track Dracula's movements. Guided by Mina, they pursue him.
In Galatz, Romania, the hunters split up. Van Helsing and Mina go to Dracula's castle, where the professor destroys the vampire women. Jonathan Harker and Arthur Holmwood follow Dracula's boat on the river, while Quincey Morris and John Seward parallel them on land. After Dracula's box is finally loaded onto a wagon by Romani men, the hunters converge and attack it. After routing the Romani, Harker slashes Dracula's neck and Quincey stabs him in the heart. Dracula crumbles to dust, freeing Mina from her vampiric curse. Quincey is mortally wounded in the fight against the Romani. He dies from his wounds, at peace with the knowledge that Mina is saved. A note by Jonathan Harker seven years later states that the Harkers have a son, named Quincey. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Dracula",
"genre",
"epistolary novel"
] | Dracula is a novel by Bram Stoker, published in 1897. An epistolary novel, the narrative is related through letters, diary entries, and newspaper articles. It has no single protagonist, but opens with solicitor Jonathan Harker taking a business trip to stay at the castle of a Transylvanian nobleman, Count Dracula. Harker escapes the castle after discovering that Dracula is a vampire, and the Count moves to England and plagues the seaside town of Whitby. A small group, led by Abraham Van Helsing, hunt Dracula and, in the end, kill him.
Dracula was mostly written in the 1890s. Stoker produced over a hundred pages of notes for the novel, drawing extensively from Transylvanian folklore and history. Some scholars have suggested that the character of Dracula was inspired by historical figures like the Wallachian prince Vlad the Impaler or the countess Elizabeth Báthory, but there is widespread disagreement. Stoker's notes mention neither figure. He found the name Dracula in Whitby's public library while holidaying there, picking it because he thought it meant devil in Romanian.
Following its publication, Dracula was positively received by reviewers who pointed to its effective use of horror. In contrast, reviewers who wrote negatively of the novel regarded it as excessively frightening. Comparisons to other works of Gothic fiction were common, including its structural similarity to Wilkie Collins' The Woman in White (1859). In the past century, Dracula has been situated as a piece of Gothic fiction. Modern scholars explore the novel within its historical context—the Victorian era—and discuss its depiction of gender roles, sexuality, and race.
Dracula is one of the most famous pieces of English literature. Many of the book's characters have entered popular culture as archetypal versions of their characters; for example, Count Dracula as the quintessential vampire, and Abraham Van Helsing as an iconic vampire hunter. The novel, which is in the public domain, has been adapted for film over 30 times, and its characters have made numerous appearances in virtually all media.Style
Narrative
As an epistolary novel, Dracula is narrated through a series of documents. The novel's first four chapters are related as the journals of Jonathan Harker. Scholar David Seed notes that Harker's accounts function as an attempt to translocate the "strange" events of his visit to Dracula's castle into the nineteenth-century tradition of travelogue writing. John Seward, Mina Murray and Jonathan Harker all keep a crystalline account of the period as an act of self-preservation; David Seed notes that Harker's narrative is written in shorthand to remain inscrutable to the Count, protecting his own identity, which Dracula threatens to destroy. Harker's journal, for example, embodies the only advantage during his stay at Dracula's castle: that he knows more than the Count thinks he does. The novel's disparate accounts approach a kind of narrative unity as the narrative unfolds. In the novel's first half, each narrator has a strongly characterised narrative voice, with Lucy's showing her verbosity, Seward's businesslike formality, and Harker's excessive politeness. These narrative styles also highlight the power struggle between vampire and his hunters; the increasing prominence of Van Helsing's broken English as Dracula gathers power represents the entrance of the foreigner into Victorian society. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Dracula",
"genre",
"horror fiction"
] | Dracula is a novel by Bram Stoker, published in 1897. An epistolary novel, the narrative is related through letters, diary entries, and newspaper articles. It has no single protagonist, but opens with solicitor Jonathan Harker taking a business trip to stay at the castle of a Transylvanian nobleman, Count Dracula. Harker escapes the castle after discovering that Dracula is a vampire, and the Count moves to England and plagues the seaside town of Whitby. A small group, led by Abraham Van Helsing, hunt Dracula and, in the end, kill him.
Dracula was mostly written in the 1890s. Stoker produced over a hundred pages of notes for the novel, drawing extensively from Transylvanian folklore and history. Some scholars have suggested that the character of Dracula was inspired by historical figures like the Wallachian prince Vlad the Impaler or the countess Elizabeth Báthory, but there is widespread disagreement. Stoker's notes mention neither figure. He found the name Dracula in Whitby's public library while holidaying there, picking it because he thought it meant devil in Romanian.
Following its publication, Dracula was positively received by reviewers who pointed to its effective use of horror. In contrast, reviewers who wrote negatively of the novel regarded it as excessively frightening. Comparisons to other works of Gothic fiction were common, including its structural similarity to Wilkie Collins' The Woman in White (1859). In the past century, Dracula has been situated as a piece of Gothic fiction. Modern scholars explore the novel within its historical context—the Victorian era—and discuss its depiction of gender roles, sexuality, and race.
Dracula is one of the most famous pieces of English literature. Many of the book's characters have entered popular culture as archetypal versions of their characters; for example, Count Dracula as the quintessential vampire, and Abraham Van Helsing as an iconic vampire hunter. The novel, which is in the public domain, has been adapted for film over 30 times, and its characters have made numerous appearances in virtually all media. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Dracula",
"genre",
"Gothic fiction"
] | Influence
Dracula was not the first piece of literature to depict vampires, but the novel has nonetheless come to dominate both popular and scholarly treatments of vampire fiction. Count Dracula is the first character to come to mind when people discuss vampires. Dracula's succeeded by drawing together folklore, legend, vampire fiction and the conventions of the Gothic novel. Wendy Doniger described the novel as vampire literature's "centrepiece, rendering all other vampires BS or AS". It profoundly shaped the popular understanding of how vampires function, including their strengths, weaknesses, and other characteristics. Bats had been associated with vampires before Dracula as a result of the vampire bat's existence—for example, Varney the Vampire (1847) included an image of a bat on its cover illustration. But Stoker deepened the association by making Dracula able to transform into one. That was, in turn, quickly taken up by film studios looking for opportunities to use special effects. Patrick McGrath notes that many of the Count's characteristics have been adopted by artists succeeding Stoker in depicting vampires, turning those fixtures into clichés. Aside from the Count's ability to transform, McGrath specifically highlights his hatred of garlic, sunlight, and crucifixes. William Hughes writes critically of the Count's cultural omnipresence, noting that the character of Dracula has "seriously inhibited" discussions of the undead in Gothic fiction.Adaptations of the novel and its characters have contributed to its enduring popularity. Even within academic discussions, the boundaries between Stoker's novel and the character's adaptation across a range of media have effectively been blurred. Dacre Stoker suggests that Stoker's failure to comply with United States copyright law contributed to its enduring status, writing that writers and producers did not need to pay a licence fee to use the character. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Dracula",
"instance of",
"literary work"
] | Style
Narrative
As an epistolary novel, Dracula is narrated through a series of documents. The novel's first four chapters are related as the journals of Jonathan Harker. Scholar David Seed notes that Harker's accounts function as an attempt to translocate the "strange" events of his visit to Dracula's castle into the nineteenth-century tradition of travelogue writing. John Seward, Mina Murray and Jonathan Harker all keep a crystalline account of the period as an act of self-preservation; David Seed notes that Harker's narrative is written in shorthand to remain inscrutable to the Count, protecting his own identity, which Dracula threatens to destroy. Harker's journal, for example, embodies the only advantage during his stay at Dracula's castle: that he knows more than the Count thinks he does. The novel's disparate accounts approach a kind of narrative unity as the narrative unfolds. In the novel's first half, each narrator has a strongly characterised narrative voice, with Lucy's showing her verbosity, Seward's businesslike formality, and Harker's excessive politeness. These narrative styles also highlight the power struggle between vampire and his hunters; the increasing prominence of Van Helsing's broken English as Dracula gathers power represents the entrance of the foreigner into Victorian society. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Dracula",
"genre",
"vampire fiction"
] | Dracula is a novel by Bram Stoker, published in 1897. An epistolary novel, the narrative is related through letters, diary entries, and newspaper articles. It has no single protagonist, but opens with solicitor Jonathan Harker taking a business trip to stay at the castle of a Transylvanian nobleman, Count Dracula. Harker escapes the castle after discovering that Dracula is a vampire, and the Count moves to England and plagues the seaside town of Whitby. A small group, led by Abraham Van Helsing, hunt Dracula and, in the end, kill him.
Dracula was mostly written in the 1890s. Stoker produced over a hundred pages of notes for the novel, drawing extensively from Transylvanian folklore and history. Some scholars have suggested that the character of Dracula was inspired by historical figures like the Wallachian prince Vlad the Impaler or the countess Elizabeth Báthory, but there is widespread disagreement. Stoker's notes mention neither figure. He found the name Dracula in Whitby's public library while holidaying there, picking it because he thought it meant devil in Romanian.
Following its publication, Dracula was positively received by reviewers who pointed to its effective use of horror. In contrast, reviewers who wrote negatively of the novel regarded it as excessively frightening. Comparisons to other works of Gothic fiction were common, including its structural similarity to Wilkie Collins' The Woman in White (1859). In the past century, Dracula has been situated as a piece of Gothic fiction. Modern scholars explore the novel within its historical context—the Victorian era—and discuss its depiction of gender roles, sexuality, and race.
Dracula is one of the most famous pieces of English literature. Many of the book's characters have entered popular culture as archetypal versions of their characters; for example, Count Dracula as the quintessential vampire, and Abraham Van Helsing as an iconic vampire hunter. The novel, which is in the public domain, has been adapted for film over 30 times, and its characters have made numerous appearances in virtually all media.Influence
Dracula was not the first piece of literature to depict vampires, but the novel has nonetheless come to dominate both popular and scholarly treatments of vampire fiction. Count Dracula is the first character to come to mind when people discuss vampires. Dracula's succeeded by drawing together folklore, legend, vampire fiction and the conventions of the Gothic novel. Wendy Doniger described the novel as vampire literature's "centrepiece, rendering all other vampires BS or AS". It profoundly shaped the popular understanding of how vampires function, including their strengths, weaknesses, and other characteristics. Bats had been associated with vampires before Dracula as a result of the vampire bat's existence—for example, Varney the Vampire (1847) included an image of a bat on its cover illustration. But Stoker deepened the association by making Dracula able to transform into one. That was, in turn, quickly taken up by film studios looking for opportunities to use special effects. Patrick McGrath notes that many of the Count's characteristics have been adopted by artists succeeding Stoker in depicting vampires, turning those fixtures into clichés. Aside from the Count's ability to transform, McGrath specifically highlights his hatred of garlic, sunlight, and crucifixes. William Hughes writes critically of the Count's cultural omnipresence, noting that the character of Dracula has "seriously inhibited" discussions of the undead in Gothic fiction.Adaptations of the novel and its characters have contributed to its enduring popularity. Even within academic discussions, the boundaries between Stoker's novel and the character's adaptation across a range of media have effectively been blurred. Dacre Stoker suggests that Stoker's failure to comply with United States copyright law contributed to its enduring status, writing that writers and producers did not need to pay a licence fee to use the character. | genre | 85 | [
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"style",
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] | null | null |
[
"Hamlet",
"characters",
"Gertrude"
] | Characters
Plot
Act I
Prince Hamlet of Denmark is the son of the recently deceased King Hamlet, and nephew of King Claudius, his father's brother and successor. Claudius hastily married King Hamlet's widow, Gertrude, Hamlet's mother, and took the throne for himself. Denmark has a long-standing feud with neighbouring Norway, in which King Hamlet slew King Fortinbras of Norway in a battle some years ago. Although Denmark defeated Norway and the Norwegian throne fell to King Fortinbras's infirm brother, Denmark fears that an invasion led by the dead Norwegian king's son, Prince Fortinbras, is imminent.
On a cold night on the ramparts of Elsinore, the Danish royal castle, the sentries Bernardo and Marcellus discuss a ghost resembling the late King Hamlet which they have recently seen, and bring Prince Hamlet's friend Horatio as a witness. After the ghost appears again, the three vow to tell Prince Hamlet what they have witnessed.
The court gathers the next day, and King Claudius and Queen Gertrude discuss affairs of state with their elderly adviser Polonius. Claudius grants permission for Polonius's son Laertes to return to school in France, and he sends envoys to inform the King of Norway about Fortinbras. Claudius also questions Hamlet regarding his continuing to grieve for his father, and forbids him to return to his university in Wittenberg. After the court exits, Hamlet despairs of his father's death and his mother's hasty remarriage. Learning of the ghost from Horatio, Hamlet resolves to see it himself. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Hamlet",
"characters",
"Polonius"
] | Dramatic structure
Modern editors have divided the play into five acts, and each act into scenes. The First Folio marks the first two acts only. The quartos do not have such divisions. The division into five acts follows Seneca, who in his plays, regularized the way ancient Greek tragedies contain five episodes, which are separated by four choral odes. In Hamlet the development of the plot or the action are determined by the unfolding of Hamlet's character. The soliloquies do not interrupt the plot, instead they are highlights of each block of action. The plot is the developing revelation of Hamlet's view of what is "rotten in the state of Denmark." The action of the play is driven forward in dialogue; but in the soliloquies time and action stop, the meaning of action is questioned, fog of illusion is broached, and truths are exposed.
The contrast between appearance and reality is a significant theme. Hamlet is presented with an image, and then interprets its deeper or darker meaning. Examples begin with Hamlet questioning the reality of the ghost. It continues with Hamlet's taking on an "antic disposition" in order to appear mad, though he is not. The contrast (appearance and reality) is also expressed in several "spying scenes": Act two begins with Polonius sending Reynaldo to spy on his son, Laertes. Claudius and Polonius spy on Ophelia as she meets with Hamlet. In act two, Claudius asks Rosencrantz and Guildenstern to spy on Hamlet. Similarly, the play-within-a-play is used by Hamlet to reveal his step-father's hidden nature.
There is no subplot, but the play presents the affairs of the courtier Polonius, his daughter, Ophelia, and his son, Laertes—who variously deal with madness, love and the death of a father in ways that contrast with Hamlet's. The graveyard scene eases tension prior to the catastrophe, and, as Hamlet holds the skull, it is shown that Hamlet no longer fears damnation in the afterlife, and accepts that there is a "divinity that shapes our ends".Hamlet's enquiring mind has been open to all kinds of ideas, but in act five he has decided on a plan, and in a dialogue with Horatio he seems to answer his two earlier soliloquies on suicide: "We defy augury. There is special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man, of aught he leaves, knows aught, what is't to leave betimes." | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Hamlet",
"characters",
"Rosencrantz and Guildenstern"
] | Dramatic structure
Modern editors have divided the play into five acts, and each act into scenes. The First Folio marks the first two acts only. The quartos do not have such divisions. The division into five acts follows Seneca, who in his plays, regularized the way ancient Greek tragedies contain five episodes, which are separated by four choral odes. In Hamlet the development of the plot or the action are determined by the unfolding of Hamlet's character. The soliloquies do not interrupt the plot, instead they are highlights of each block of action. The plot is the developing revelation of Hamlet's view of what is "rotten in the state of Denmark." The action of the play is driven forward in dialogue; but in the soliloquies time and action stop, the meaning of action is questioned, fog of illusion is broached, and truths are exposed.
The contrast between appearance and reality is a significant theme. Hamlet is presented with an image, and then interprets its deeper or darker meaning. Examples begin with Hamlet questioning the reality of the ghost. It continues with Hamlet's taking on an "antic disposition" in order to appear mad, though he is not. The contrast (appearance and reality) is also expressed in several "spying scenes": Act two begins with Polonius sending Reynaldo to spy on his son, Laertes. Claudius and Polonius spy on Ophelia as she meets with Hamlet. In act two, Claudius asks Rosencrantz and Guildenstern to spy on Hamlet. Similarly, the play-within-a-play is used by Hamlet to reveal his step-father's hidden nature.
There is no subplot, but the play presents the affairs of the courtier Polonius, his daughter, Ophelia, and his son, Laertes—who variously deal with madness, love and the death of a father in ways that contrast with Hamlet's. The graveyard scene eases tension prior to the catastrophe, and, as Hamlet holds the skull, it is shown that Hamlet no longer fears damnation in the afterlife, and accepts that there is a "divinity that shapes our ends".Hamlet's enquiring mind has been open to all kinds of ideas, but in act five he has decided on a plan, and in a dialogue with Horatio he seems to answer his two earlier soliloquies on suicide: "We defy augury. There is special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man, of aught he leaves, knows aught, what is't to leave betimes." | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Hamlet",
"characters",
"Yorick"
] | The first Hamlet in color was a 1969 film directed by Tony Richardson with Nicol Williamson as Hamlet and Marianne Faithfull as Ophelia.
In 1990 Franco Zeffirelli, whose Shakespeare films have been described as "sensual rather than cerebral", cast Mel Gibson—then famous for the Mad Max and Lethal Weapon movies—in the title role of his 1990 version; Glenn Close—then famous as the psychotic "other woman" in Fatal Attraction—played Gertrude, and Paul Scofield played Hamlet's father.Kenneth Branagh adapted, directed, and starred in a 1996 film version of Hamlet that contained material from the First Folio and the Second Quarto. Branagh's Hamlet runs for just over four hours. Branagh set the film with late 19th-century costuming and furnishings, a production in many ways reminiscent of a Russian novel of the time; and Blenheim Palace, built in the early 18th century, became Elsinore Castle in the external scenes. The film is structured as an epic and makes frequent use of flashbacks to highlight elements not made explicit in the play: Hamlet's sexual relationship with Kate Winslet's Ophelia, for example, or his childhood affection for Yorick (played by Ken Dodd).In 2000, Michael Almereyda's Hamlet set the story in contemporary Manhattan, with Ethan Hawke playing Hamlet as a film student. Claudius (played by Kyle MacLachlan) became the CEO of "Denmark Corporation", having taken over the company by killing his brother.The 2014 Bollywood film Haider is an adaptation set in modern Kashmir.The Northman, released on 22 April 2022 and directed by the American director Robert Eggers who also co-wrote the script with Icelandic author Sjón, is based in the original Scandinavian legend that inspired Shakespeare to write Hamlet. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Hamlet",
"instance of",
"literary work"
] | The Tragedy of Hamlet, Prince of Denmark, often shortened to Hamlet (), is a tragedy written by William Shakespeare sometime between 1599 and 1601. It is Shakespeare's longest play, with 29,551 words. Set in Denmark, the play depicts Prince Hamlet and his attempts to exact revenge against his uncle, Claudius, who has murdered Hamlet's father in order to seize his throne and marry Hamlet's mother.
Hamlet is considered among the "most powerful and influential tragedies in the English language", with a story capable of "seemingly endless retelling and adaptation by others".There are many works that have been pointed to as possible sources for Shakespeare's play—from ancient Greek tragedies to Elizabethan plays. The editors of the Arden Shakespeare question the idea of "source hunting", pointing out that it presupposes that authors always require ideas from other works for their own, and suggests that no author can have an original idea or be an originator. When Shakespeare wrote, there were many stories about sons avenging the murder of their fathers, and many about clever avenging sons pretending to be foolish in order to outsmart their foes. This would include the story of the ancient Roman, Lucius Junius Brutus, which Shakespeare apparently knew, as well as the story of Amleth, which was preserved in Latin by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum, and printed in Paris in 1514. The Amleth story was subsequently adapted and then published in French in 1570 by the 16th-century scholar François de Belleforest. It has a number of plot elements and major characters in common with Shakespeare's Hamlet, and lacks others that are found in Shakespeare. Belleforest's story was first published in English in 1608, after Hamlet had been written, though it's possible that Shakespeare had encountered it in the French-language version.Three different early versions of the play are extant: the First Quarto (Q1, 1603); the Second Quarto (Q2, 1604); and the First Folio (F1, 1623). Each version includes lines and passages missing from the others. | instance of | 5 | [
"type of",
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"manifestation of",
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] | null | null |
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