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[
"Book of Revelation",
"author",
"John of Patmos"
] | The Book of Revelation, also erroneously called the Book of Revelations, is the final book of the New Testament (and therefore the final book of the Christian Bible). Its title is derived from the first word of the Koine Greek text: apokalypsis, meaning "unveiling" or "revelation". The Book of Revelation is the only apocalyptic book in the New Testament canon. It occupies a central place in Christian eschatology.
The author names himself as simply "John" in the text, but his precise identity remains a point of academic debate. Second-century Christian writers such as Papias of Hierapolis, Justin Martyr, Irenaeus, Melito of Sardis, Clement of Alexandria, and the author of the Muratorian fragment identify John the Apostle as the "John" of Revelation. Modern scholarship generally takes a different view, with many considering that nothing can be known about the author except that he was a Christian prophet. Modern theological scholars characterize the Book of Revelation's author as "John of Patmos". The bulk of traditional sources date the book to the reign of the Roman emperor Domitian (AD 81–96), which evidence tends to confirm.The book spans three literary genres: the epistolary, the apocalyptic, and the prophetic. It begins with John, on the island of Patmos in the Aegean Sea, addressing a letter to the "Seven Churches of Asia". He then describes a series of prophetic visions, including figures such as the Seven-Headed Dragon, the Serpent, and the Beast, which culminate in the Second Coming of Jesus.
The obscure and extravagant imagery has led to a wide variety of Christian interpretations. Historicist interpretations see Revelation as containing a broad view of history while preterist interpretations treat Revelation as mostly referring to the events of the Apostolic Age (1st century), or, at the latest, the fall of the Western Roman Empire in the 5th century. Futurists, meanwhile, believe that Revelation describes future events with the seven churches growing into the body of believers throughout the age, and a reemergence or continuous rule of a Greco-Roman system with modern capabilities described by John in ways familiar to him; and idealist or symbolic interpretations consider that Revelation does not refer to actual people or events but is an allegory of the spiritual path and the ongoing struggle between good and evil. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Book of Revelation",
"genre",
"apocalyptic literature"
] | The Book of Revelation, also erroneously called the Book of Revelations, is the final book of the New Testament (and therefore the final book of the Christian Bible). Its title is derived from the first word of the Koine Greek text: apokalypsis, meaning "unveiling" or "revelation". The Book of Revelation is the only apocalyptic book in the New Testament canon. It occupies a central place in Christian eschatology.
The author names himself as simply "John" in the text, but his precise identity remains a point of academic debate. Second-century Christian writers such as Papias of Hierapolis, Justin Martyr, Irenaeus, Melito of Sardis, Clement of Alexandria, and the author of the Muratorian fragment identify John the Apostle as the "John" of Revelation. Modern scholarship generally takes a different view, with many considering that nothing can be known about the author except that he was a Christian prophet. Modern theological scholars characterize the Book of Revelation's author as "John of Patmos". The bulk of traditional sources date the book to the reign of the Roman emperor Domitian (AD 81–96), which evidence tends to confirm.The book spans three literary genres: the epistolary, the apocalyptic, and the prophetic. It begins with John, on the island of Patmos in the Aegean Sea, addressing a letter to the "Seven Churches of Asia". He then describes a series of prophetic visions, including figures such as the Seven-Headed Dragon, the Serpent, and the Beast, which culminate in the Second Coming of Jesus.
The obscure and extravagant imagery has led to a wide variety of Christian interpretations. Historicist interpretations see Revelation as containing a broad view of history while preterist interpretations treat Revelation as mostly referring to the events of the Apostolic Age (1st century), or, at the latest, the fall of the Western Roman Empire in the 5th century. Futurists, meanwhile, believe that Revelation describes future events with the seven churches growing into the body of believers throughout the age, and a reemergence or continuous rule of a Greco-Roman system with modern capabilities described by John in ways familiar to him; and idealist or symbolic interpretations consider that Revelation does not refer to actual people or events but is an allegory of the spiritual path and the ongoing struggle between good and evil. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Book of Revelation",
"language of work or name",
"Koine Greek"
] | Composition and setting
Title, authorship, and date
The name Revelation comes from the first word of the book in Koine Greek: ἀποκάλυψις (apokalypsis), which means "unveiling" or "revelation". The author names himself as "John", but modern scholars consider it unlikely that the author of Revelation also wrote the Gospel of John. He was a Jewish Christian prophet, probably belonging to a group of such prophets, and was accepted by the congregations to whom he addresses his letter.The book is commonly dated to about AD 95, as suggested by clues in the visions pointing to the reign of the emperor Domitian. The beast with seven heads and the number 666 seem to allude directly to the emperor Nero (reigned AD 54–68), but this does not require that Revelation was written in the 60s, as there was a widespread belief in later decades that Nero would return. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"Deutschlandlied",
"language of work or name",
"German"
] | Melody
The melody of the "Deutschlandlied", also known as “the Austria tune”, was written by Joseph Haydn in 1797 to provide music to the poem "Gott erhalte Franz den Kaiser" ("God save Francis the Emperor") by Lorenz Leopold Haschka. The song was a birthday anthem honouring Francis II (1768–1835), Habsburg emperor, and was intended as a parallel to Great Britain's "God Save the King". Haydn's work is sometimes called the "Emperor's Hymn" (Kaiserhymne). It was the music of the National Anthem of Austria-Hungary until the abolition of the Habsburg Monarchy in 1918. It is often used as the musical basis for the hymn "Glorious Things of Thee Are Spoken".
It has been conjectured that Haydn took the first four measures of the melody from a Croatian folk song. This hypothesis has never achieved unanimous agreement; an alternative theory reverses the direction of transmission, positing that Haydn's melody was adapted as a folk tune. For further discussion, see Haydn and folk music.
Haydn later used the hymn as the basis for the second movement (Poco adagio cantabile) of his String Quartet No. 62 in C major, Opus 76 No. 3, often called the "Emperor" or "Kaiser" quartet.On 7 March 1990, months before reunification, the Federal Constitutional Court declared only the third stanza of Hoffmann's poem to be legally protected as a national anthem under German criminal law; Section 90a of the Criminal Code (Strafgesetzbuch) makes defamation of the national anthem a crime, but does not specify what the national anthem is. This did not mean that stanzas one and two were no longer part of the national anthem, but that their peculiar status as "part of the [national] anthem but unsung" disqualified them for penal law protection, since the penal law must be interpreted in the narrowest manner possible.
In November 1991, President Richard von Weizsäcker and Chancellor Helmut Kohl agreed in an exchange of letters to declare the third stanza alone to be the national anthem of the reunified republic. Hence, as of then, the national anthem of Germany is unmistakably the third stanza of the "Deutschlandlied", and only this stanza, set to Haydn's music.
The incipit of the third stanza, "Einigkeit und Recht und Freiheit" ("Unity and Justice and Freedom"), is widely considered to be the national motto of Germany, although it has never been officially proclaimed as such. It appears on Bundeswehr soldiers' belt buckles (replacing the earlier "Gott mit uns" ("God with Us") of the Imperial German Army and the Nazi-era Wehrmacht) and on 2 euro coins minted in Germany, and on the edges of the obsolete 2 and 5 Deutsche Mark coins. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"Deutschlandlied",
"composer",
"Joseph Haydn"
] | The "Deutschlandlied" (German pronunciation: [ˈdɔʏtʃlantˌliːt] (listen); "Song of Germany"), officially titled "Das Lied der Deutschen" (German: [das ˌliːt dɛːʁ ˈdɔʏtʃn̩]; "The Song of the Germans"), has been the national anthem of Germany either wholly or in part since 1922, except for a seven-year gap following World War II in West Germany. In East Germany, the national anthem was "Auferstanden aus Ruinen" ("Risen from Ruins") between 1949 and 1990.
Since World War II and the fall of Nazi Germany, only the third stanza has been used as the national anthem. Its incipit "Einigkeit und Recht und Freiheit" ("Unity and Justice and Freedom") is considered the unofficial national motto of Germany, and is inscribed on modern German Army belt buckles and the rims of some German coins.
The music is the hymn "Gott erhalte Franz den Kaiser", written in 1797 by the Austrian composer Joseph Haydn as an anthem for the birthday of Francis II, Emperor of the Holy Roman Empire and later of Austria. In 1841, the German linguist and poet August Heinrich Hoffmann von Fallersleben wrote the lyrics of "Das Lied der Deutschen" as a new text for that music, counterposing the national unification of Germany to the eulogy of a monarch: lyrics that were considered revolutionary at the time.
The "Deutschlandlied" was adopted as the national anthem of Germany in 1922, during the Weimar Republic, to which all three stanzas were used. West Germany retained it as its official national anthem in 1952, with only the third stanza sung on official occasions. After German reunification in 1990, in 1991 only the third stanza was reconfirmed as the national anthem. It is discouraged, although not illegal, to perform the first stanza (or to some degree, the second), due to association with the Nazi regime or previous nationalist sentiment.Melody
The melody of the "Deutschlandlied", also known as “the Austria tune”, was written by Joseph Haydn in 1797 to provide music to the poem "Gott erhalte Franz den Kaiser" ("God save Francis the Emperor") by Lorenz Leopold Haschka. The song was a birthday anthem honouring Francis II (1768–1835), Habsburg emperor, and was intended as a parallel to Great Britain's "God Save the King". Haydn's work is sometimes called the "Emperor's Hymn" (Kaiserhymne). It was the music of the National Anthem of Austria-Hungary until the abolition of the Habsburg Monarchy in 1918. It is often used as the musical basis for the hymn "Glorious Things of Thee Are Spoken".
It has been conjectured that Haydn took the first four measures of the melody from a Croatian folk song. This hypothesis has never achieved unanimous agreement; an alternative theory reverses the direction of transmission, positing that Haydn's melody was adapted as a folk tune. For further discussion, see Haydn and folk music.
Haydn later used the hymn as the basis for the second movement (Poco adagio cantabile) of his String Quartet No. 62 in C major, Opus 76 No. 3, often called the "Emperor" or "Kaiser" quartet.On 7 March 1990, months before reunification, the Federal Constitutional Court declared only the third stanza of Hoffmann's poem to be legally protected as a national anthem under German criminal law; Section 90a of the Criminal Code (Strafgesetzbuch) makes defamation of the national anthem a crime, but does not specify what the national anthem is. This did not mean that stanzas one and two were no longer part of the national anthem, but that their peculiar status as "part of the [national] anthem but unsung" disqualified them for penal law protection, since the penal law must be interpreted in the narrowest manner possible.
In November 1991, President Richard von Weizsäcker and Chancellor Helmut Kohl agreed in an exchange of letters to declare the third stanza alone to be the national anthem of the reunified republic. Hence, as of then, the national anthem of Germany is unmistakably the third stanza of the "Deutschlandlied", and only this stanza, set to Haydn's music.
The incipit of the third stanza, "Einigkeit und Recht und Freiheit" ("Unity and Justice and Freedom"), is widely considered to be the national motto of Germany, although it has never been officially proclaimed as such. It appears on Bundeswehr soldiers' belt buckles (replacing the earlier "Gott mit uns" ("God with Us") of the Imperial German Army and the Nazi-era Wehrmacht) and on 2 euro coins minted in Germany, and on the edges of the obsolete 2 and 5 Deutsche Mark coins. | composer | 142 | [
"author",
"songwriter",
"creator",
"maker",
"writer"
] | null | null |
[
"Deutschlandlied",
"instance of",
"national anthem"
] | Melody
The melody of the "Deutschlandlied", also known as “the Austria tune”, was written by Joseph Haydn in 1797 to provide music to the poem "Gott erhalte Franz den Kaiser" ("God save Francis the Emperor") by Lorenz Leopold Haschka. The song was a birthday anthem honouring Francis II (1768–1835), Habsburg emperor, and was intended as a parallel to Great Britain's "God Save the King". Haydn's work is sometimes called the "Emperor's Hymn" (Kaiserhymne). It was the music of the National Anthem of Austria-Hungary until the abolition of the Habsburg Monarchy in 1918. It is often used as the musical basis for the hymn "Glorious Things of Thee Are Spoken".
It has been conjectured that Haydn took the first four measures of the melody from a Croatian folk song. This hypothesis has never achieved unanimous agreement; an alternative theory reverses the direction of transmission, positing that Haydn's melody was adapted as a folk tune. For further discussion, see Haydn and folk music.
Haydn later used the hymn as the basis for the second movement (Poco adagio cantabile) of his String Quartet No. 62 in C major, Opus 76 No. 3, often called the "Emperor" or "Kaiser" quartet.On 7 March 1990, months before reunification, the Federal Constitutional Court declared only the third stanza of Hoffmann's poem to be legally protected as a national anthem under German criminal law; Section 90a of the Criminal Code (Strafgesetzbuch) makes defamation of the national anthem a crime, but does not specify what the national anthem is. This did not mean that stanzas one and two were no longer part of the national anthem, but that their peculiar status as "part of the [national] anthem but unsung" disqualified them for penal law protection, since the penal law must be interpreted in the narrowest manner possible.
In November 1991, President Richard von Weizsäcker and Chancellor Helmut Kohl agreed in an exchange of letters to declare the third stanza alone to be the national anthem of the reunified republic. Hence, as of then, the national anthem of Germany is unmistakably the third stanza of the "Deutschlandlied", and only this stanza, set to Haydn's music.
The incipit of the third stanza, "Einigkeit und Recht und Freiheit" ("Unity and Justice and Freedom"), is widely considered to be the national motto of Germany, although it has never been officially proclaimed as such. It appears on Bundeswehr soldiers' belt buckles (replacing the earlier "Gott mit uns" ("God with Us") of the Imperial German Army and the Nazi-era Wehrmacht) and on 2 euro coins minted in Germany, and on the edges of the obsolete 2 and 5 Deutsche Mark coins. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Deutschlandlied",
"form of creative work",
"song"
] | Melody
The melody of the "Deutschlandlied", also known as “the Austria tune”, was written by Joseph Haydn in 1797 to provide music to the poem "Gott erhalte Franz den Kaiser" ("God save Francis the Emperor") by Lorenz Leopold Haschka. The song was a birthday anthem honouring Francis II (1768–1835), Habsburg emperor, and was intended as a parallel to Great Britain's "God Save the King". Haydn's work is sometimes called the "Emperor's Hymn" (Kaiserhymne). It was the music of the National Anthem of Austria-Hungary until the abolition of the Habsburg Monarchy in 1918. It is often used as the musical basis for the hymn "Glorious Things of Thee Are Spoken".
It has been conjectured that Haydn took the first four measures of the melody from a Croatian folk song. This hypothesis has never achieved unanimous agreement; an alternative theory reverses the direction of transmission, positing that Haydn's melody was adapted as a folk tune. For further discussion, see Haydn and folk music.
Haydn later used the hymn as the basis for the second movement (Poco adagio cantabile) of his String Quartet No. 62 in C major, Opus 76 No. 3, often called the "Emperor" or "Kaiser" quartet. | form of creative work | 126 | [
"artistic creation",
"creative composition",
"artistic production",
"work of art",
"creative piece"
] | null | null |
[
"Deutschlandlied",
"genre",
"anthem"
] | The "Deutschlandlied" (German pronunciation: [ˈdɔʏtʃlantˌliːt] (listen); "Song of Germany"), officially titled "Das Lied der Deutschen" (German: [das ˌliːt dɛːʁ ˈdɔʏtʃn̩]; "The Song of the Germans"), has been the national anthem of Germany either wholly or in part since 1922, except for a seven-year gap following World War II in West Germany. In East Germany, the national anthem was "Auferstanden aus Ruinen" ("Risen from Ruins") between 1949 and 1990.
Since World War II and the fall of Nazi Germany, only the third stanza has been used as the national anthem. Its incipit "Einigkeit und Recht und Freiheit" ("Unity and Justice and Freedom") is considered the unofficial national motto of Germany, and is inscribed on modern German Army belt buckles and the rims of some German coins.
The music is the hymn "Gott erhalte Franz den Kaiser", written in 1797 by the Austrian composer Joseph Haydn as an anthem for the birthday of Francis II, Emperor of the Holy Roman Empire and later of Austria. In 1841, the German linguist and poet August Heinrich Hoffmann von Fallersleben wrote the lyrics of "Das Lied der Deutschen" as a new text for that music, counterposing the national unification of Germany to the eulogy of a monarch: lyrics that were considered revolutionary at the time.
The "Deutschlandlied" was adopted as the national anthem of Germany in 1922, during the Weimar Republic, to which all three stanzas were used. West Germany retained it as its official national anthem in 1952, with only the third stanza sung on official occasions. After German reunification in 1990, in 1991 only the third stanza was reconfirmed as the national anthem. It is discouraged, although not illegal, to perform the first stanza (or to some degree, the second), due to association with the Nazi regime or previous nationalist sentiment.Melody
The melody of the "Deutschlandlied", also known as “the Austria tune”, was written by Joseph Haydn in 1797 to provide music to the poem "Gott erhalte Franz den Kaiser" ("God save Francis the Emperor") by Lorenz Leopold Haschka. The song was a birthday anthem honouring Francis II (1768–1835), Habsburg emperor, and was intended as a parallel to Great Britain's "God Save the King". Haydn's work is sometimes called the "Emperor's Hymn" (Kaiserhymne). It was the music of the National Anthem of Austria-Hungary until the abolition of the Habsburg Monarchy in 1918. It is often used as the musical basis for the hymn "Glorious Things of Thee Are Spoken".
It has been conjectured that Haydn took the first four measures of the melody from a Croatian folk song. This hypothesis has never achieved unanimous agreement; an alternative theory reverses the direction of transmission, positing that Haydn's melody was adapted as a folk tune. For further discussion, see Haydn and folk music.
Haydn later used the hymn as the basis for the second movement (Poco adagio cantabile) of his String Quartet No. 62 in C major, Opus 76 No. 3, often called the "Emperor" or "Kaiser" quartet. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Deutschlandlied",
"instance of",
"musical work/composition"
] | Melody
The melody of the "Deutschlandlied", also known as “the Austria tune”, was written by Joseph Haydn in 1797 to provide music to the poem "Gott erhalte Franz den Kaiser" ("God save Francis the Emperor") by Lorenz Leopold Haschka. The song was a birthday anthem honouring Francis II (1768–1835), Habsburg emperor, and was intended as a parallel to Great Britain's "God Save the King". Haydn's work is sometimes called the "Emperor's Hymn" (Kaiserhymne). It was the music of the National Anthem of Austria-Hungary until the abolition of the Habsburg Monarchy in 1918. It is often used as the musical basis for the hymn "Glorious Things of Thee Are Spoken".
It has been conjectured that Haydn took the first four measures of the melody from a Croatian folk song. This hypothesis has never achieved unanimous agreement; an alternative theory reverses the direction of transmission, positing that Haydn's melody was adapted as a folk tune. For further discussion, see Haydn and folk music.
Haydn later used the hymn as the basis for the second movement (Poco adagio cantabile) of his String Quartet No. 62 in C major, Opus 76 No. 3, often called the "Emperor" or "Kaiser" quartet. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"The Tenant of Wildfell Hall",
"country of origin",
"United Kingdom"
] | The Tenant of Wildfell Hall is the second and final novel written by English author Anne Brontë. It was first published in 1848 under the pseudonym Acton Bell. Probably the most shocking of the Brontës' novels, it had an instant and phenomenal success, but after Anne's death her sister Charlotte prevented its re-publication in England until 1854.
The novel is framed as a series of letters from Gilbert Markham to his friend about the events connected with his meeting a mysterious young widow, calling herself Helen Graham, who arrives at Wildfell Hall, an Elizabethan mansion which has been empty for many years, with her young son and a servant. Contrary to the early 19th century norms, she pursues an artist's career and makes an income by selling her pictures. Her strict seclusion soon gives rise to gossip in the neighbouring village and she becomes a social outcast. Refusing to believe anything scandalous about her, Gilbert befriends her and discovers her past. In the diary she gives Gilbert, she
chronicles her husband's physical and moral decline through alcohol and debauchery in the dissipated aristocratic society. Ultimately she flees with her son, whom she desperately wishes to save from his father's influence. The depiction of marital strife and women's professional identification has also a strong moral message mitigated by Anne Brontë's belief in universal salvation.
Most critics now consider The Tenant of Wildfell Hall to be one of the first feminist novels. May Sinclair, in 1913, said that "the slamming of [Helen's] bedroom door against her husband reverberated throughout Victorian England." In leaving her husband and taking away their child, Helen violates not only social conventions but also the early 19th-century English law. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"Wujing Zongyao",
"country of origin",
"People's Republic of China"
] | The Wujing Zongyao (Chinese: 武經總要), sometimes rendered in English as the Complete Essentials for the Military Classics, is a Chinese military compendium written from around 1040 to 1044.
The book was compiled during the Northern Song dynasty by Zeng Gongliang (曾公亮), Ding Du (丁度) and Yang Weide (楊惟德), whose writing influenced many later Chinese military writers. The compendium was published under the auspices of Emperor Renzong of Song, who also authored the book's preface. The book covers a wide range of subjects, including everything from naval warships to different types of catapults. It contains the earliest known written chemical formulas for gunpowder, made from saltpeter, sulphur and charcoal along with many added ingredients. In addition to formulas for gunpowder, the compendium also contains details on various other gunpowder weapons such as fire arrows, incendiary bombs and projectiles, and grenades and smoke bombs. It also describes an early form of the compass (using thermoremanence), and has the oldest illustration of a Chinese flamethrower with a double-action dual-piston cylinder-pump capable of shooting a continuous blast of flame. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"Wujing Zongyao",
"language of work or name",
"Chinese"
] | The Wujing Zongyao (Chinese: 武經總要), sometimes rendered in English as the Complete Essentials for the Military Classics, is a Chinese military compendium written from around 1040 to 1044.
The book was compiled during the Northern Song dynasty by Zeng Gongliang (曾公亮), Ding Du (丁度) and Yang Weide (楊惟德), whose writing influenced many later Chinese military writers. The compendium was published under the auspices of Emperor Renzong of Song, who also authored the book's preface. The book covers a wide range of subjects, including everything from naval warships to different types of catapults. It contains the earliest known written chemical formulas for gunpowder, made from saltpeter, sulphur and charcoal along with many added ingredients. In addition to formulas for gunpowder, the compendium also contains details on various other gunpowder weapons such as fire arrows, incendiary bombs and projectiles, and grenades and smoke bombs. It also describes an early form of the compass (using thermoremanence), and has the oldest illustration of a Chinese flamethrower with a double-action dual-piston cylinder-pump capable of shooting a continuous blast of flame. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"Wujing Zongyao",
"instance of",
"literary work"
] | The Wujing Zongyao (Chinese: 武經總要), sometimes rendered in English as the Complete Essentials for the Military Classics, is a Chinese military compendium written from around 1040 to 1044.
The book was compiled during the Northern Song dynasty by Zeng Gongliang (曾公亮), Ding Du (丁度) and Yang Weide (楊惟德), whose writing influenced many later Chinese military writers. The compendium was published under the auspices of Emperor Renzong of Song, who also authored the book's preface. The book covers a wide range of subjects, including everything from naval warships to different types of catapults. It contains the earliest known written chemical formulas for gunpowder, made from saltpeter, sulphur and charcoal along with many added ingredients. In addition to formulas for gunpowder, the compendium also contains details on various other gunpowder weapons such as fire arrows, incendiary bombs and projectiles, and grenades and smoke bombs. It also describes an early form of the compass (using thermoremanence), and has the oldest illustration of a Chinese flamethrower with a double-action dual-piston cylinder-pump capable of shooting a continuous blast of flame. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Wujing Zongyao",
"author",
"Zeng Gongliang"
] | The Wujing Zongyao (Chinese: 武經總要), sometimes rendered in English as the Complete Essentials for the Military Classics, is a Chinese military compendium written from around 1040 to 1044.
The book was compiled during the Northern Song dynasty by Zeng Gongliang (曾公亮), Ding Du (丁度) and Yang Weide (楊惟德), whose writing influenced many later Chinese military writers. The compendium was published under the auspices of Emperor Renzong of Song, who also authored the book's preface. The book covers a wide range of subjects, including everything from naval warships to different types of catapults. It contains the earliest known written chemical formulas for gunpowder, made from saltpeter, sulphur and charcoal along with many added ingredients. In addition to formulas for gunpowder, the compendium also contains details on various other gunpowder weapons such as fire arrows, incendiary bombs and projectiles, and grenades and smoke bombs. It also describes an early form of the compass (using thermoremanence), and has the oldest illustration of a Chinese flamethrower with a double-action dual-piston cylinder-pump capable of shooting a continuous blast of flame. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"The Geographer",
"exhibition history",
"Vermeer and the Masters of Genre Painting. Inspiration and Rivalry."
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material. | exhibition history | 132 | [
"exhibition record",
"exhibition chronology",
"exhibition itinerary",
"exhibition schedule",
"showcase history"
] | null | null |
[
"The Geographer",
"depicts",
"map"
] | Description
This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).
The geographer, dressed in a Japanese-style robe then popular among scholars, is shown to be "someone excited by intellectual inquiry", with his active stance, the presence of maps, charts, a globe and books, as well as the dividers he holds in his right hand, according to Arthur K. Wheelock Jr. "The energy in this painting [...] is conveyed most notably through the figure's pose, the massing of objects on the left side of the composition, and the sequence of diagonal shadows on the wall to the right."Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.Details of the man's face are slightly blurred, suggesting movement (also a feature of Vermeer's Mistress and Maid), according to Serena Carr. His eyes are narrowed, perhaps squinting in the sunlight or an indication of intense thinking. Carr asserts that the painting depicts a "flash of inspiration" or even "revelation". The drawn curtain on the left and the position of the oriental carpet on the table—pushed back—are both symbols of revelation. "He grips a book as if he's about to snatch it up to corroborate his ideas."The cartographic objects surrounding the man are some of the actual items a geographer would have: the globe, the dividers the man holds, a cross-staff (hung on the center post of the window), used to measure the angle of celestial objects like the Sun or stars, and the chart the man is using, which, according to one scholar, James A. Welu, appears to be a nautical chart on vellum. The sea chart on the wall of "all the Sea coasts of Europe" has been identified as one published by Willem Jansz. Blaeu. This accuracy indicates Vermeer had a source familiar with the profession. The Astronomer, which seems to form a pendant with this painting, shows a similar, sophisticated knowledge of cartographic instruments and books, and the same young man modeled for both. That man himself may have been the source of Vermeer's correct display of surveying and geographical instruments, and possibly of his knowledge of perspective.Wheelock and others assert the model/source was probably Antonie van Leeuwenhoek (1632-1723), a contemporary of Vermeer who was also born in Delft. The families of both men were in the textile business, and both families had a strong interest in science and optics. A "microscopist", van Leeuwenhoek was described after his death as being so skilled in "navigation, astronomy, mathematics, philosophy, and natural science ... that one can certainly place him with the most distinguished masteres of the art." Another image of van Leeuwenhoek (by the Delft artist Jan Verkolje) about 20 years later shows a broad face and straight nose, similar to Vermeer's model. At the time Vermeer painted the two works, the scientist would have been about 36 years old. He would have been actively studying for his examination for surveyor, which he passed on February 4, 1669. There is no documentary evidence for any kind of relationship between the two men during Vermeer's lifetime, although in 1676, van Leeuwenhoek was appointed a trustee for Vermeer's estate.The pose of the figure in Vermeer's painting "takes up precisely the position of Faust in Rembrandt's famous etching" (although facing the opposite direction), according to Lawrence Gowing. Similar arrangements can be found in drawings by Nicolaes Maes. | depicts | 134 | [
"illustrates",
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[
"The Geographer",
"creator",
"Johannes Vermeer"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material.Description
This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).
The geographer, dressed in a Japanese-style robe then popular among scholars, is shown to be "someone excited by intellectual inquiry", with his active stance, the presence of maps, charts, a globe and books, as well as the dividers he holds in his right hand, according to Arthur K. Wheelock Jr. "The energy in this painting [...] is conveyed most notably through the figure's pose, the massing of objects on the left side of the composition, and the sequence of diagonal shadows on the wall to the right."Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.Details of the man's face are slightly blurred, suggesting movement (also a feature of Vermeer's Mistress and Maid), according to Serena Carr. His eyes are narrowed, perhaps squinting in the sunlight or an indication of intense thinking. Carr asserts that the painting depicts a "flash of inspiration" or even "revelation". The drawn curtain on the left and the position of the oriental carpet on the table—pushed back—are both symbols of revelation. "He grips a book as if he's about to snatch it up to corroborate his ideas." | creator | 76 | [
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[
"The Geographer",
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] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material. | location | 29 | [
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[
"The Geographer",
"exhibition history",
"The public and the private in the age of Vermeer"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material.Description
This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).
The geographer, dressed in a Japanese-style robe then popular among scholars, is shown to be "someone excited by intellectual inquiry", with his active stance, the presence of maps, charts, a globe and books, as well as the dividers he holds in his right hand, according to Arthur K. Wheelock Jr. "The energy in this painting [...] is conveyed most notably through the figure's pose, the massing of objects on the left side of the composition, and the sequence of diagonal shadows on the wall to the right."Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.Details of the man's face are slightly blurred, suggesting movement (also a feature of Vermeer's Mistress and Maid), according to Serena Carr. His eyes are narrowed, perhaps squinting in the sunlight or an indication of intense thinking. Carr asserts that the painting depicts a "flash of inspiration" or even "revelation". The drawn curtain on the left and the position of the oriental carpet on the table—pushed back—are both symbols of revelation. "He grips a book as if he's about to snatch it up to corroborate his ideas." | exhibition history | 132 | [
"exhibition record",
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"showcase history"
] | null | null |
[
"The Geographer",
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"Städel Museum"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material. | owned by | 24 | [
"possessed by",
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] | null | null |
[
"The Geographer",
"collection",
"Städel Museum"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material. | collection | 79 | [
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] | null | null |
[
"The Geographer",
"depicts",
"globe"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material.Description
This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).
The geographer, dressed in a Japanese-style robe then popular among scholars, is shown to be "someone excited by intellectual inquiry", with his active stance, the presence of maps, charts, a globe and books, as well as the dividers he holds in his right hand, according to Arthur K. Wheelock Jr. "The energy in this painting [...] is conveyed most notably through the figure's pose, the massing of objects on the left side of the composition, and the sequence of diagonal shadows on the wall to the right."Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.Details of the man's face are slightly blurred, suggesting movement (also a feature of Vermeer's Mistress and Maid), according to Serena Carr. His eyes are narrowed, perhaps squinting in the sunlight or an indication of intense thinking. Carr asserts that the painting depicts a "flash of inspiration" or even "revelation". The drawn curtain on the left and the position of the oriental carpet on the table—pushed back—are both symbols of revelation. "He grips a book as if he's about to snatch it up to corroborate his ideas."The globe was published in Amsterdam in 1618 by Jodocus Hondius. Terrestrial and celestial globes were commonly sold together, and the celestial globe in The Astronomer "was also a Hondius (Hendrick rather than Judocus)", another indication that the two paintings were created as pendant pieces, according to Cant. The globe is turned toward the Indian Ocean, where the Dutch East India Company was then active. Vermeer used an impasto technique to apply pointillé dots, not to indicate light reflected more strongly on certain points but to emphasize the dull ochre cartouche "frame" printed on the globe. Since the globe can be identified, we know the decorative cartouche includes a plea for information for future editions—reflecting the theme of revelation in the painting.The cartographic objects surrounding the man are some of the actual items a geographer would have: the globe, the dividers the man holds, a cross-staff (hung on the center post of the window), used to measure the angle of celestial objects like the Sun or stars, and the chart the man is using, which, according to one scholar, James A. Welu, appears to be a nautical chart on vellum. The sea chart on the wall of "all the Sea coasts of Europe" has been identified as one published by Willem Jansz. Blaeu. This accuracy indicates Vermeer had a source familiar with the profession. The Astronomer, which seems to form a pendant with this painting, shows a similar, sophisticated knowledge of cartographic instruments and books, and the same young man modeled for both. That man himself may have been the source of Vermeer's correct display of surveying and geographical instruments, and possibly of his knowledge of perspective.Wheelock and others assert the model/source was probably Antonie van Leeuwenhoek (1632-1723), a contemporary of Vermeer who was also born in Delft. The families of both men were in the textile business, and both families had a strong interest in science and optics. A "microscopist", van Leeuwenhoek was described after his death as being so skilled in "navigation, astronomy, mathematics, philosophy, and natural science ... that one can certainly place him with the most distinguished masteres of the art." Another image of van Leeuwenhoek (by the Delft artist Jan Verkolje) about 20 years later shows a broad face and straight nose, similar to Vermeer's model. At the time Vermeer painted the two works, the scientist would have been about 36 years old. He would have been actively studying for his examination for surveyor, which he passed on February 4, 1669. There is no documentary evidence for any kind of relationship between the two men during Vermeer's lifetime, although in 1676, van Leeuwenhoek was appointed a trustee for Vermeer's estate.The pose of the figure in Vermeer's painting "takes up precisely the position of Faust in Rembrandt's famous etching" (although facing the opposite direction), according to Lawrence Gowing. Similar arrangements can be found in drawings by Nicolaes Maes.Provenance and exhibitions
For much of the painting's early history (until 1797), it was owned together with The Astronomer, which it strongly resembles, and the two have long been considered pendants, although their measurements are not identical. The paintings were not among the works in the Dissius sale of 1696, a collection apparently originally owned by the artist's supposed patron, Pieter van Ruijven, and the earliest record of the painting is from 1713. Up until the late 18th century, they were referred to as "Astrologers". The pair were sold by an anonymous owner together in Rotterdam on April 27, 1713 (No. 10 or 11), for 300 florins (a "considerable sum", according to Wheelock). Hendrik Sorgh, an art broker, may have bought the paintings at that point. They were among his effects when he died in 1720, and both were sold on March 28 of that year in Amsterdam (No. 3 or 4 in the sale; for 160 florins; described as "An Astrologer" and "a repeat"). Govert Looten, a neighbor of Sorgh at the Keizersgracht in Amsterdam bought the paintings, which were sold from his estate on March 31, 1729 (this painting was No. 6 and went for 104 florins, both were described in the catalog as "sublimely and artfully painted"). Jacob Crammer Simmonsz of Amsterdam (1725-1778) owned the pair before 1778, hanging them in his home on the Prinsengracht (Simonsz also owned The Lacemaker and another Vermeer, now unknown, depicting a lady pouring wine). He sold The Astronomer and The Geographer together on November 25 of that year to a Huguenot banker, Jean Etiènne Fizeaux of Amsterdam, who owned The Geographer until his death in 1780. His widow owned the work until perhaps 1785. As of 1794 it was owned by Jan Danser Nijman of Amsterdam, who sold it on August 16, 1797, to Christiaan Josi, a publisher of prints, for 133 guilders. It later was bought by Arnoud de Lange of Amsterdam. This transaction separated the two paintings. De Lange sold it on December 12, 1803, for 360 florins.Sometime before 1821, the painting was owned by Johann Goll van Franckenstein Jr. of Velzen and Amsterdam. Pieter Hendrick Goll van Franckenstein of Amsterdam owned it before 1832, and he sold it on July 1, 1833, for 195 florins to a Nieuwenhuys. It was owned by Alexandre Dumont of Cambrai before 1860, who sold it through Thoré-Bũrger to Isaac Pereire of Paris, who owned it by 1866. It was sold on March 6, 1872. Max Kann of Paris owned the painting, perhaps that year, and it passed into the hands of Prince Demidoff of San Donato, near Florence, sometime before 1877, and stayed in his hands until he sold it on March 15, 1880. A.J. Bosch sold the painting in Vienna on April 28, 1885 (for Õs 8,000) to a Kohlbacher, who sold it to the Städel in Frankfurt.The work was exhibited in the Exposition rétrospective, Tableaux anciens empruntés aux galeries particulières held at the Palais des Champs-Elysées, Paris, 1866; at the exhibition of Ouvrages de peinture exposés au profit de la colonisation de l'Algérie par les Alsaciens-Lorrains, Palais de la Présidence du Corps législatif, Paris, 1874; and in the Vermeer, oorsprong en involved. Fabritius, de Hooch, de Witte exhibition at the Museum Boijmans Van Beuningen in Rotterdam, 1935. | depicts | 134 | [
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[
"The Geographer",
"made from material",
"oil paint"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material. | made from material | 98 | [
"constructed from material",
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"formed from material",
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] | null | null |
[
"The Geographer",
"depicts",
"geographer"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material.Description
This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).
The geographer, dressed in a Japanese-style robe then popular among scholars, is shown to be "someone excited by intellectual inquiry", with his active stance, the presence of maps, charts, a globe and books, as well as the dividers he holds in his right hand, according to Arthur K. Wheelock Jr. "The energy in this painting [...] is conveyed most notably through the figure's pose, the massing of objects on the left side of the composition, and the sequence of diagonal shadows on the wall to the right."Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.Details of the man's face are slightly blurred, suggesting movement (also a feature of Vermeer's Mistress and Maid), according to Serena Carr. His eyes are narrowed, perhaps squinting in the sunlight or an indication of intense thinking. Carr asserts that the painting depicts a "flash of inspiration" or even "revelation". The drawn curtain on the left and the position of the oriental carpet on the table—pushed back—are both symbols of revelation. "He grips a book as if he's about to snatch it up to corroborate his ideas." | depicts | 134 | [
"illustrates",
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"represents",
"shows",
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] | null | null |
[
"The Geographer",
"instance of",
"painting"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material.Description
This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).
The geographer, dressed in a Japanese-style robe then popular among scholars, is shown to be "someone excited by intellectual inquiry", with his active stance, the presence of maps, charts, a globe and books, as well as the dividers he holds in his right hand, according to Arthur K. Wheelock Jr. "The energy in this painting [...] is conveyed most notably through the figure's pose, the massing of objects on the left side of the composition, and the sequence of diagonal shadows on the wall to the right."Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.Details of the man's face are slightly blurred, suggesting movement (also a feature of Vermeer's Mistress and Maid), according to Serena Carr. His eyes are narrowed, perhaps squinting in the sunlight or an indication of intense thinking. Carr asserts that the painting depicts a "flash of inspiration" or even "revelation". The drawn curtain on the left and the position of the oriental carpet on the table—pushed back—are both symbols of revelation. "He grips a book as if he's about to snatch it up to corroborate his ideas." | instance of | 5 | [
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] | null | null |
[
"The Geographer",
"made from material",
"canvas"
] | The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material. | made from material | 98 | [
"constructed from material",
"fabricated from material",
"composed of material",
"formed from material",
"manufactured from material"
] | null | null |
[
"The Hound of the Baskervilles",
"country of origin",
"United Kingdom"
] | The Hound of the Baskervilles is the third of the four crime novels by British writer Arthur Conan Doyle featuring the detective Sherlock Holmes. Originally serialised in The Strand Magazine from August 1901 to April 1902, it is set in 1889 largely on Dartmoor in Devon in England's West Country and tells the story of an attempted murder inspired by the legend of a fearsome, diabolical hound of supernatural origin. Holmes and Watson investigate the case. This was the first appearance of Holmes since his apparent death in "The Final Problem", and the success of The Hound of the Baskervilles led to the character's eventual revival.One of the most famous stories ever written, in 2003, the book was listed as number 128 of 200 on the BBC's The Big Read poll of the UK's "best-loved novel". In 1999, a poll of "Sherlockians" ranked it as the best of the four Holmes novels.Publication
The Hound of the Baskervilles was first serialised in The Strand Magazine in 1901. It was well-suited for this type of publication, as individual chapters end in cliffhangers. It was printed in the United Kingdom as a novel in March 1902 by George Newnes Ltd. It was published in the same year in the United States by McClure, Philips & Co. | country of origin | 80 | [
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] | null | null |
[
"The Hound of the Baskervilles",
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"Arthur Conan Doyle"
] | Origins and background
Sir Arthur Conan Doyle wrote this story shortly after returning to his home Undershaw in Surrey from South Africa, where he had worked as a volunteer physician at the Langman Field Hospital in Bloemfontein during the Second Boer War. He had not written about Sherlock Holmes in eight years, having killed off the character in the 1893 story "The Final Problem". Although The Hound of the Baskervilles is set before the latter events, two years later Conan Doyle brought Holmes back for good, explaining in "The Adventure of the Empty House" that Holmes had faked his own death. As a result, the character of Holmes occupies a liminal space between being alive and dead which further lends to the gothic elements of the novel.He was assisted with the legend of the hound and local colour by a Daily Express journalist named Bertram Fletcher Robinson (1870–1907), with whom he explored Dartmoor in June, 1901, and to whom a 1⁄3 royalty which amounted to over 500 pounds by the end of 1901.Conan Doyle may also have been inspired by his own earlier story (written and published in 1898) of a terrifying giant wolf, "The King of the Foxes". | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"The Hound of the Baskervilles",
"genre",
"detective fiction"
] | The Hound of the Baskervilles is the third of the four crime novels by British writer Arthur Conan Doyle featuring the detective Sherlock Holmes. Originally serialised in The Strand Magazine from August 1901 to April 1902, it is set in 1889 largely on Dartmoor in Devon in England's West Country and tells the story of an attempted murder inspired by the legend of a fearsome, diabolical hound of supernatural origin. Holmes and Watson investigate the case. This was the first appearance of Holmes since his apparent death in "The Final Problem", and the success of The Hound of the Baskervilles led to the character's eventual revival.One of the most famous stories ever written, in 2003, the book was listed as number 128 of 200 on the BBC's The Big Read poll of the UK's "best-loved novel". In 1999, a poll of "Sherlockians" ranked it as the best of the four Holmes novels. | genre | 85 | [
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"type",
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] | null | null |
[
"The Hound of the Baskervilles",
"genre",
"crime fiction"
] | The Hound of the Baskervilles is the third of the four crime novels by British writer Arthur Conan Doyle featuring the detective Sherlock Holmes. Originally serialised in The Strand Magazine from August 1901 to April 1902, it is set in 1889 largely on Dartmoor in Devon in England's West Country and tells the story of an attempted murder inspired by the legend of a fearsome, diabolical hound of supernatural origin. Holmes and Watson investigate the case. This was the first appearance of Holmes since his apparent death in "The Final Problem", and the success of The Hound of the Baskervilles led to the character's eventual revival.One of the most famous stories ever written, in 2003, the book was listed as number 128 of 200 on the BBC's The Big Read poll of the UK's "best-loved novel". In 1999, a poll of "Sherlockians" ranked it as the best of the four Holmes novels. | genre | 85 | [
"category",
"style",
"type",
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] | null | null |
[
"The Hound of the Baskervilles",
"genre",
"mystery fiction"
] | The Hound of the Baskervilles is the third of the four crime novels by British writer Arthur Conan Doyle featuring the detective Sherlock Holmes. Originally serialised in The Strand Magazine from August 1901 to April 1902, it is set in 1889 largely on Dartmoor in Devon in England's West Country and tells the story of an attempted murder inspired by the legend of a fearsome, diabolical hound of supernatural origin. Holmes and Watson investigate the case. This was the first appearance of Holmes since his apparent death in "The Final Problem", and the success of The Hound of the Baskervilles led to the character's eventual revival.One of the most famous stories ever written, in 2003, the book was listed as number 128 of 200 on the BBC's The Big Read poll of the UK's "best-loved novel". In 1999, a poll of "Sherlockians" ranked it as the best of the four Holmes novels. | genre | 85 | [
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] | null | null |
[
"The Hound of the Baskervilles",
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"George Newnes Ltd"
] | Publication
The Hound of the Baskervilles was first serialised in The Strand Magazine in 1901. It was well-suited for this type of publication, as individual chapters end in cliffhangers. It was printed in the United Kingdom as a novel in March 1902 by George Newnes Ltd. It was published in the same year in the United States by McClure, Philips & Co. | publisher | 135 | [
"publishing house",
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"printer"
] | null | null |
[
"The Starry Night",
"location",
"New York City"
] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art. | location | 29 | [
"place",
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] | null | null |
[
"The Starry Night",
"depicts",
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] | The painting
Although The Starry Night was painted during the day in Van Gogh's ground-floor studio, it would be inaccurate to state that the picture was painted from memory. The view has been identified as the one from his bedroom window, facing east, a view which Van Gogh painted variations of no fewer than twenty-one times, including The Starry Night. "Through the iron-barred window," he wrote to his brother, Theo, around 23 May 1889, "I can see an enclosed square of wheat ... above which, in the morning, I watch the sun rise in all its glory."Van Gogh depicted the view at different times of the day and under various weather conditions, such as the sunrise, moonrise, sunshine-filled days, overcast days, windy days, and one day with rain. While the hospital staff did not allow Van Gogh to paint in his bedroom, he was able there to make sketches in ink or charcoal on paper; eventually, he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the diagonal line coming in from the right depicting the low rolling hills of the Alpilles mountains. In fifteen of the twenty-one versions, cypress trees are visible beyond the far wall enclosing the wheat field. Van Gogh exaggerated their size in six of these paintings, most notably in F717 Wheat Field with Cypresses and The Starry Night, bringing the trees closer to the picture plane.
One of the first paintings of the view was F611 Mountainous Landscape Behind Saint-Rémy, now in Copenhagen. Van Gogh made a number of sketches for the painting, of which F1547 The Enclosed Wheatfield After a Storm is typical. It is unclear whether the painting was made in his studio or outside. In his 9 June letter describing it, he mentions he had been working outside for a few days. Van Gogh described the second of the two landscapes he mentions he was working on, in a letter to his sister Wil on 16 June 1889. This is F719 Green Wheat Field with Cypress, now in Prague, and the first painting at the asylum he definitely painted en plein air. F1548 Wheatfield, Saint-Rémy de Provence, now in New York, is a study for it. Two days later, Vincent wrote to Theo stating that he had painted "a starry sky".The Starry Night is the only nocturne in the series of views from his bedroom window. In early June, Vincent wrote to Theo, "This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big". Researchers have determined that Venus (sometimes referred to as the "morning star") was indeed visible at dawn in Provence in the spring of 1889, and was at that time nearly as bright as possible. So the brightest "star" in the painting, just to the viewer's right of the cypress tree, is actually Venus.The Moon is stylized, as astronomical records indicate that it actually was waning gibbous at the time Van Gogh painted the picture, and even if the phase of the Moon had been its waning crescent at the time, Van Gogh's Moon would not have been astronomically correct. (For other interpretations of the Moon, see below.) The one pictorial element that was definitely not visible from Van Gogh's cell is the village, which is based on a sketch (F1541v) made from a hillside above the village of Saint-Rémy. Pickvance thought F1541v was done later, and the steeple more Dutch than Provençal, a conflation of several Van Gogh had painted and drawn in his Nuenen period, and thus the first of his "reminisces of the North" he was to paint and draw early the following year. Hulsker thought a landscape on the reverse (F1541r) was also a study for the painting.The nocturne series was limited by the difficulties posed by painting such scenes from nature, i.e., at night. The first painting in the series was Café Terrace at Night, painted in Arles in early September 1888, followed by Starry Night (Over the Rhône) later that same month. Van Gogh's written statements concerning these paintings provide further insight into his intentions for painting night studies in general and The Starry Night in particular.
Soon after his arrival in Arles in February 1888, Van Gogh wrote to Theo, "I need a starry night with cypresses or—perhaps above a field of ripe wheat; there are some really beautiful nights here." That same week, he wrote to Bernard, "A starry sky is something I should like to try to do, just as in the daytime I am going to try to paint a green meadow spangled with dandelions." He compared the stars to dots on a map and mused that, as one takes a train to travel on Earth, "we take death to reach a star." Although at this point in his life Van Gogh was disillusioned by religion, he appears not to have lost his belief in an afterlife. He voiced this ambivalence in a letter to Theo after having painted Starry Night Over the Rhône, confessing to a "tremendous need for, shall I say the word—for religion—so I go outside at night to paint the stars."He wrote about existing in another dimension after death and associated this dimension with the night sky. "It would be so simple and would account so much for the terrible things in life, which now amaze and wound us so, if life had yet another hemisphere, invisible it is true, but where one lands when one dies." "Hope is in the stars," he wrote, but he was quick to point out that "earth is a planet too, and consequently a star, or celestial orb." And he stated flatly that The Starry Night was "not a return to the romantic or to religious ideas."Noted art historian Meyer Schapiro highlights the expressionistic aspects of The Starry Night, saying it was created under the "pressure of feeling" and that it is a "visionary [painting] inspired by a religious mood." Schapiro theorizes that the "hidden content" of the work makes reference to the New Testament Book of Revelation, revealing an "apocalyptic theme of the woman in pain of birth, girded with the sun and moon and crowned with stars, whose newborn child is threatened by the dragon." (Schapiro, in the same volume, also professes to see an image of a mother and child in the clouds in Landscape with Olive Trees, painted at the same time and often regarded as a pendant to The Starry Night.)Art historian Sven Loevgren expands on Schapiro's approach, again calling The Starry Night a "visionary painting" which "was conceived in a state of great agitation." He writes of the "hallucinatory character of the painting and its violently expressive form," although he takes pains to note that the painting was not executed during one of Van Gogh's incapacitating breakdowns. Loevgren compares Van Gogh's "religiously inclined longing for the beyond" to the poetry of Walt Whitman. He calls The Starry Night "an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos" and which "gives a never-to-be-forgotten sensation of standing on the threshold of eternity." Loevgren praises Schapiro's "eloquent interpretation" of the painting as an apocalyptic vision and advances his own symbolist theory with reference to the eleven stars in one of Joseph's dreams in the Old Testament Book of Genesis. Loevgren asserts that the pictorial elements of The Starry Night "are visualized in purely symbolic terms" and notes that "the cypress is the tree of death in the Mediterranean countries."Art historian Lauren Soth also finds a symbolist subtext in The Starry Night, saying that the painting is a "traditional religious subject in disguise" and a "sublimated image of [Van Gogh's] deepest religious feelings." Citing Van Gogh's avowed admiration for the paintings of Eugène Delacroix, and especially the earlier painter's use of Prussian blue and citron yellow in paintings of Christ, Soth theorizes that Van Gogh used these colors to represent Christ in The Starry Night. He criticizes Schapiro's and Loevgren's biblical interpretations, dependent as they are on a reading of the crescent moon as incorporating elements of the Sun. He says it is merely a crescent moon, which, he writes, also had symbolic meaning for Van Gogh, representing "consolation."It is in light of such symbolist interpretations of The Starry Night that art historian Albert Boime presents his study of the painting. As noted above, Boime has proven that the painting depicts not only the topographical elements of Van Gogh's view from his asylum window but also the celestial elements, identifying not only Venus but also the constellation Aries. He suggests that Van Gogh originally intended to paint a gibbous Moon but "reverted to a more traditional image" of the crescent moon, and theorizes that the bright aureole around the resulting crescent is a remnant of the original gibbous version. He recounts Van Gogh's interest in the writings of Victor Hugo and Jules Verne as possible inspiration for his belief in an afterlife on stars or planets. And he provides a detailed discussion of the well-publicized advances in astronomy that took place during Van Gogh's lifetime.
Boime asserts that while Van Gogh never mentioned astronomer Camille Flammarion in his letters, he believes that Van Gogh must have been aware of Flammarion's popular illustrated publications, which included drawings of spiral nebulae (as galaxies were then called) as seen and photographed through telescopes. Boime interprets the swirling figure in the central portion of the sky in The Starry Night to represent either a spiral galaxy or a comet, photographs of which had also been published in popular media. He asserts that the only non-realistic elements of the painting are the village and the swirls in the sky. These swirls represent Van Gogh's understanding of the cosmos as a living, dynamic place.Harvard astronomer Charles A. Whitney conducted his own astronomical study of The Starry Night contemporaneously with but independent of Boime (who spent almost his entire career at U.C.L.A.). While Whitney does not share Boime's certainty with regard to the constellation Aries, he concurs with Boime on the visibility of Venus in Provence at the time the painting was executed. He also sees the depiction of a spiral galaxy in the sky, although he gives credit for the original to Anglo-Irish astronomer William Parsons, 3rd Earl of Rosse, whose work Flammarion reproduced.Whitney also theorizes that the swirls in the sky could represent wind, evoking the mistral that had such a profound effect on Van Gogh during the twenty-seven months he spent in Provence. (It was the mistral which triggered his first breakdown after entering the asylum, in July 1889, less than a month after painting The Starry Night.) Boime theorizes that the lighter shades of blue just above the horizon show the first light of morning.The village has been variously identified as either a recollection of Van Gogh's Dutch homeland, or based on a sketch he made of the town of Saint-Rémy. In either case, it is an imaginary component of the picture, not visible from the window of the asylum bedroom.
Cypress trees have long been associated with death in European culture, though the question of whether Van Gogh intended for them to have such a symbolic meaning in The Starry Night is the subject of an open debate. In an April 1888 letter to Bernard, Van Gogh referred to "funereal cypresses," though this is possibly similar to saying "stately oaks" or "weeping willows." One week after painting The Starry Night, he wrote to his brother Theo, "The cypresses are always occupying my thoughts. I should like to make something of them like the canvases of the sunflowers, because it astonishes me that they have not yet been done as I see them." In the same letter he mentioned "two studies of cypresses of that difficult shade of bottle green." These statements suggest that Van Gogh was interested in the trees more for their formal qualities than for their symbolic connotation.
Schapiro refers to the cypress in the painting as a "vague symbol of a human striving." Boime calls it the "symbolic counterpart of Van Gogh's own striving for the Infinite through non-orthodox channels." Art historian Vojtech Jirat-Wasiutynski says that for Van Gogh the cypresses "function as rustic and natural obelisks" providing a "link between the heavens and the earth." (Some commentators see one tree, others see two or more.) Loevgren reminds the reader that "the cypress is the tree of death in the Mediterranean countries."Art historian Ronald Pickvance says that with "its arbitrary collage of separate motifs," The Starry Night "is overtly stamped as an 'abstraction'." Pickvance claims that cypress trees were not visible facing east from Van Gogh's room, and he includes them with the village and the swirls in the sky as products of Van Gogh's imagination. Boime asserts that the cypresses were visible in the east, as does Jirat-Wasiutyński. Van Gogh biographers Steven Naifeh and Gregory White Smith concur, saying that Van Gogh "telescoped" the view in certain of the pictures of the view from his window, and it stands to reason that Van Gogh would do this in a painting featuring the Morning Star. Such a compression of depth serves to enhance the brightness of the planet.
Soth uses Van Gogh's statement to his brother, that The Starry Night is "an exaggeration from the point of view of arrangement" to further his argument that the painting is "an amalgam of images." However, it is by no means certain that Van Gogh was using "arrangement" as a synonym for "composition." Van Gogh was, in fact, speaking of three paintings, one of which was The Starry Night, when he made this comment: "The olive trees with white cloud and background of mountains, as well as the Moonrise and the Night effect," as he called it, "these are exaggerations from the point of view of the arrangement, their lines are contorted like those of the ancient woodcuts." The first two pictures are universally acknowledged to be realistic, non-composite views of their subjects. What the three pictures do have in common is exaggerated color and brushwork of the type that Theo referred to when he criticized Van Gogh for his "search for style [that] takes away the real sentiment of things" in The Starry Night.
On two other occasions around this time, Van Gogh used the word "arrangement" to refer to color, similar to the way James Abbott McNeill Whistler used the term. In a letter to Gauguin in January 1889, he wrote, "As an arrangement of colours: the reds moving through to pure oranges, intensifying even more in the flesh tones up to the chromes, passing into the pinks and marrying with the olive and Veronese greens. As an impressionist arrangement of colours, I’ve never devised anything better." (The painting he is referring to is La Berceuse, which is a realistic portrait of Augustine Roulin with an imaginative floral background.) And to Bernard in late November 1889: "But this is enough for you to understand that I would long to see things of yours again, like the painting of yours that Gauguin has, those Breton women walking in a meadow, the arrangement of which is so beautiful, the colour so naively distinguished. Ah, you’re exchanging that for something—must one say the word—something artificial—something affected."While stopping short of calling the painting a hallucinatory vision, Naifeh and Smith discuss The Starry Night in the context of Van Gogh's mental illness, which they identify as temporal lobe epilepsy, or latent epilepsy. "Not the kind," they write, "known since antiquity, that caused the limbs to jerk and the body to collapse ('the falling sickness', as it was sometimes called), but a mental epilepsy—a seizing up of the mind: a collapse of thought, perception, reason, and emotion that manifested itself entirely in the brain and often prompted bizarre, dramatic behavior." Symptoms of the seizures "resembled fireworks of electrical impulses in the brain."Van Gogh experienced his second breakdown in seven months in July 1889. Naifeh and Smith theorize that the seeds of this breakdown were present when Van Gogh painted The Starry Night, that in giving himself over to his imagination "his defenses had been breached." On that day in mid-June, in a "state of heightened reality," with all the other elements of the painting in place, Van Gogh threw himself into the painting of the stars, producing, they write, "a night sky unlike any other the world had ever seen with ordinary eyes." | depicts | 134 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art.The asylum
In the aftermath of the 23 December 1888 breakdown that resulted in the self-mutilation of his left ear, Van Gogh voluntarily admitted himself to the Saint-Paul-de-Mausole lunatic asylum on 8 May 1889. Housed in a former monastery, Saint-Paul-de-Mausole catered to the wealthy and was less than half full when Van Gogh arrived, allowing him to occupy not only a second-story bedroom but also a ground-floor room for use as a painting studio.During the year Van Gogh stayed at the asylum in Saint-Rémy-de-Provence, the prolific output of paintings he had begun in Arles continued. During this period, he produced some of the best-known works of his career, including the Irises from May 1889, now in the J. Paul Getty Museum, and the blue self-portrait from September, 1889, in the Musée d'Orsay. The Starry Night was painted mid-June by around 18 June, the date he wrote to his brother Theo to say he had a new study of a starry sky. | location of creation | 131 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art. | depicts | 134 | [
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[
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art.The painting
Although The Starry Night was painted during the day in Van Gogh's ground-floor studio, it would be inaccurate to state that the picture was painted from memory. The view has been identified as the one from his bedroom window, facing east, a view which Van Gogh painted variations of no fewer than twenty-one times, including The Starry Night. "Through the iron-barred window," he wrote to his brother, Theo, around 23 May 1889, "I can see an enclosed square of wheat ... above which, in the morning, I watch the sun rise in all its glory."Van Gogh depicted the view at different times of the day and under various weather conditions, such as the sunrise, moonrise, sunshine-filled days, overcast days, windy days, and one day with rain. While the hospital staff did not allow Van Gogh to paint in his bedroom, he was able there to make sketches in ink or charcoal on paper; eventually, he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the diagonal line coming in from the right depicting the low rolling hills of the Alpilles mountains. In fifteen of the twenty-one versions, cypress trees are visible beyond the far wall enclosing the wheat field. Van Gogh exaggerated their size in six of these paintings, most notably in F717 Wheat Field with Cypresses and The Starry Night, bringing the trees closer to the picture plane.
One of the first paintings of the view was F611 Mountainous Landscape Behind Saint-Rémy, now in Copenhagen. Van Gogh made a number of sketches for the painting, of which F1547 The Enclosed Wheatfield After a Storm is typical. It is unclear whether the painting was made in his studio or outside. In his 9 June letter describing it, he mentions he had been working outside for a few days. Van Gogh described the second of the two landscapes he mentions he was working on, in a letter to his sister Wil on 16 June 1889. This is F719 Green Wheat Field with Cypress, now in Prague, and the first painting at the asylum he definitely painted en plein air. F1548 Wheatfield, Saint-Rémy de Provence, now in New York, is a study for it. Two days later, Vincent wrote to Theo stating that he had painted "a starry sky".The Starry Night is the only nocturne in the series of views from his bedroom window. In early June, Vincent wrote to Theo, "This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big". Researchers have determined that Venus (sometimes referred to as the "morning star") was indeed visible at dawn in Provence in the spring of 1889, and was at that time nearly as bright as possible. So the brightest "star" in the painting, just to the viewer's right of the cypress tree, is actually Venus.The Moon is stylized, as astronomical records indicate that it actually was waning gibbous at the time Van Gogh painted the picture, and even if the phase of the Moon had been its waning crescent at the time, Van Gogh's Moon would not have been astronomically correct. (For other interpretations of the Moon, see below.) The one pictorial element that was definitely not visible from Van Gogh's cell is the village, which is based on a sketch (F1541v) made from a hillside above the village of Saint-Rémy. Pickvance thought F1541v was done later, and the steeple more Dutch than Provençal, a conflation of several Van Gogh had painted and drawn in his Nuenen period, and thus the first of his "reminisces of the North" he was to paint and draw early the following year. Hulsker thought a landscape on the reverse (F1541r) was also a study for the painting. | depicts | 134 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art. | creator | 76 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art. | owned by | 24 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art. | collection | 79 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art. | location | 29 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art. | genre | 85 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art.The painting
Although The Starry Night was painted during the day in Van Gogh's ground-floor studio, it would be inaccurate to state that the picture was painted from memory. The view has been identified as the one from his bedroom window, facing east, a view which Van Gogh painted variations of no fewer than twenty-one times, including The Starry Night. "Through the iron-barred window," he wrote to his brother, Theo, around 23 May 1889, "I can see an enclosed square of wheat ... above which, in the morning, I watch the sun rise in all its glory."Van Gogh depicted the view at different times of the day and under various weather conditions, such as the sunrise, moonrise, sunshine-filled days, overcast days, windy days, and one day with rain. While the hospital staff did not allow Van Gogh to paint in his bedroom, he was able there to make sketches in ink or charcoal on paper; eventually, he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the diagonal line coming in from the right depicting the low rolling hills of the Alpilles mountains. In fifteen of the twenty-one versions, cypress trees are visible beyond the far wall enclosing the wheat field. Van Gogh exaggerated their size in six of these paintings, most notably in F717 Wheat Field with Cypresses and The Starry Night, bringing the trees closer to the picture plane.
One of the first paintings of the view was F611 Mountainous Landscape Behind Saint-Rémy, now in Copenhagen. Van Gogh made a number of sketches for the painting, of which F1547 The Enclosed Wheatfield After a Storm is typical. It is unclear whether the painting was made in his studio or outside. In his 9 June letter describing it, he mentions he had been working outside for a few days. Van Gogh described the second of the two landscapes he mentions he was working on, in a letter to his sister Wil on 16 June 1889. This is F719 Green Wheat Field with Cypress, now in Prague, and the first painting at the asylum he definitely painted en plein air. F1548 Wheatfield, Saint-Rémy de Provence, now in New York, is a study for it. Two days later, Vincent wrote to Theo stating that he had painted "a starry sky".The Starry Night is the only nocturne in the series of views from his bedroom window. In early June, Vincent wrote to Theo, "This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big". Researchers have determined that Venus (sometimes referred to as the "morning star") was indeed visible at dawn in Provence in the spring of 1889, and was at that time nearly as bright as possible. So the brightest "star" in the painting, just to the viewer's right of the cypress tree, is actually Venus.The Moon is stylized, as astronomical records indicate that it actually was waning gibbous at the time Van Gogh painted the picture, and even if the phase of the Moon had been its waning crescent at the time, Van Gogh's Moon would not have been astronomically correct. (For other interpretations of the Moon, see below.) The one pictorial element that was definitely not visible from Van Gogh's cell is the village, which is based on a sketch (F1541v) made from a hillside above the village of Saint-Rémy. Pickvance thought F1541v was done later, and the steeple more Dutch than Provençal, a conflation of several Van Gogh had painted and drawn in his Nuenen period, and thus the first of his "reminisces of the North" he was to paint and draw early the following year. Hulsker thought a landscape on the reverse (F1541r) was also a study for the painting. | depicts | 134 | [
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] | The Starry Night (Dutch: De sterrennacht) is an oil-on-canvas painting by the Dutch Post-Impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an imaginary village. It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Widely regarded as Van Gogh's magnum opus, The Starry Night is one of the most recognizable paintings in Western art.The painting
Although The Starry Night was painted during the day in Van Gogh's ground-floor studio, it would be inaccurate to state that the picture was painted from memory. The view has been identified as the one from his bedroom window, facing east, a view which Van Gogh painted variations of no fewer than twenty-one times, including The Starry Night. "Through the iron-barred window," he wrote to his brother, Theo, around 23 May 1889, "I can see an enclosed square of wheat ... above which, in the morning, I watch the sun rise in all its glory."Van Gogh depicted the view at different times of the day and under various weather conditions, such as the sunrise, moonrise, sunshine-filled days, overcast days, windy days, and one day with rain. While the hospital staff did not allow Van Gogh to paint in his bedroom, he was able there to make sketches in ink or charcoal on paper; eventually, he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the diagonal line coming in from the right depicting the low rolling hills of the Alpilles mountains. In fifteen of the twenty-one versions, cypress trees are visible beyond the far wall enclosing the wheat field. Van Gogh exaggerated their size in six of these paintings, most notably in F717 Wheat Field with Cypresses and The Starry Night, bringing the trees closer to the picture plane.
One of the first paintings of the view was F611 Mountainous Landscape Behind Saint-Rémy, now in Copenhagen. Van Gogh made a number of sketches for the painting, of which F1547 The Enclosed Wheatfield After a Storm is typical. It is unclear whether the painting was made in his studio or outside. In his 9 June letter describing it, he mentions he had been working outside for a few days. Van Gogh described the second of the two landscapes he mentions he was working on, in a letter to his sister Wil on 16 June 1889. This is F719 Green Wheat Field with Cypress, now in Prague, and the first painting at the asylum he definitely painted en plein air. F1548 Wheatfield, Saint-Rémy de Provence, now in New York, is a study for it. Two days later, Vincent wrote to Theo stating that he had painted "a starry sky".The Starry Night is the only nocturne in the series of views from his bedroom window. In early June, Vincent wrote to Theo, "This morning I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big". Researchers have determined that Venus (sometimes referred to as the "morning star") was indeed visible at dawn in Provence in the spring of 1889, and was at that time nearly as bright as possible. So the brightest "star" in the painting, just to the viewer's right of the cypress tree, is actually Venus.The Moon is stylized, as astronomical records indicate that it actually was waning gibbous at the time Van Gogh painted the picture, and even if the phase of the Moon had been its waning crescent at the time, Van Gogh's Moon would not have been astronomically correct. (For other interpretations of the Moon, see below.) The one pictorial element that was definitely not visible from Van Gogh's cell is the village, which is based on a sketch (F1541v) made from a hillside above the village of Saint-Rémy. Pickvance thought F1541v was done later, and the steeple more Dutch than Provençal, a conflation of several Van Gogh had painted and drawn in his Nuenen period, and thus the first of his "reminisces of the North" he was to paint and draw early the following year. Hulsker thought a landscape on the reverse (F1541r) was also a study for the painting. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Himnusz",
"country",
"Hungary"
] | "Himnusz" (Hungarian pronunciation: [ˈhɪmnʊs]; lit. "Hymn" or "Anthem") is the national anthem of Hungary. The lyrics were written by Ferenc Kölcsey, a nationally renowned poet, in 1823, and its currently official musical setting was composed by the romantic composer Ferenc Erkel in 1844, although other less-known musical versions exist. The poem bore the subtitle "A magyar nép zivataros századaiból" ("From the stormy centuries of the Hungarian nation"); it is often argued that this subtitle – by emphasising past rather than contemporary national troubles – was added expressly to enable the poem to pass Habsburg censorship. The full meaning of the poem's text is evident only to those well acquainted with Hungarian history. The first stanza is sung at official ceremonies and as well in common. It was de facto used as hymn of the Kingdom of Hungary from its composition in 1844, and was officially adopted as national anthem of the Third Hungarian Republic in 1989.
The lyrics of "Himnusz" are a prayer beginning with the words Isten, áldd meg a magyart (listen ) (English: "God, bless the Hungarians"). | country | 7 | [
"Nation",
"State",
"Land",
"Territory"
] | null | null |
[
"Himnusz",
"language of work or name",
"Hungarian"
] | "Himnusz" (Hungarian pronunciation: [ˈhɪmnʊs]; lit. "Hymn" or "Anthem") is the national anthem of Hungary. The lyrics were written by Ferenc Kölcsey, a nationally renowned poet, in 1823, and its currently official musical setting was composed by the romantic composer Ferenc Erkel in 1844, although other less-known musical versions exist. The poem bore the subtitle "A magyar nép zivataros századaiból" ("From the stormy centuries of the Hungarian nation"); it is often argued that this subtitle – by emphasising past rather than contemporary national troubles – was added expressly to enable the poem to pass Habsburg censorship. The full meaning of the poem's text is evident only to those well acquainted with Hungarian history. The first stanza is sung at official ceremonies and as well in common. It was de facto used as hymn of the Kingdom of Hungary from its composition in 1844, and was officially adopted as national anthem of the Third Hungarian Republic in 1989.
The lyrics of "Himnusz" are a prayer beginning with the words Isten, áldd meg a magyart (listen ) (English: "God, bless the Hungarians").Title
The title in the original manuscript is "Hymnus" — a Latin word meaning "song of praise", and one which is widely used in languages other than English (e.g., French or German) to mean "anthem". The phonetic transcription "Himnusz" replaced the original Latin spelling over time, and as the poem gained widespread acceptance as the de facto anthem of Hungary, so too the word "himnusz" took on the meaning "national anthem" for other countries as well.History
Although Kölcsey completed the poem on 22 January 1823, it was only published first in 1829 in Károly Kisfaludy's Aurora, without the subtitle, despite it being part of the manuscript. It subsequently appeared in a collection of Kölcsey's works in 1832, this time with the subtitle. A competition for composers to make the poem suitable to be sung by the public was staged in 1844 and won by Erkel's entry. His version was first performed in the National Theatre (where he was conductor) in July 1844, then in front of a larger audience on 10 August 1844, at the inaugural voyage of the steamship Széchenyi. By the end of the 1850s it became customary to sing Himnusz at special occasions either alongside Vörösmarty's Szózat or on its own.In the early 1900s, various members of the Hungarian Parliament proposed making the status of Himnusz as the national anthem of Hungary within Austria-Hungary official, but their efforts never got enough traction for such a law to be passed. Later, in the 1950s, Rákosi made plans to have the anthem replaced by one more suited to the Communist ideology, but the poet and composer he had in mind for the task, Illyés and Kodály, both refused. It wasn't until 1989 that Erkel's musical adaptation of Himnusz finally gained official recognition as Hungary's national anthem, by being mentioned as such in the Constitution of Hungary. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"Himnusz",
"instance of",
"national anthem"
] | "Himnusz" (Hungarian pronunciation: [ˈhɪmnʊs]; lit. "Hymn" or "Anthem") is the national anthem of Hungary. The lyrics were written by Ferenc Kölcsey, a nationally renowned poet, in 1823, and its currently official musical setting was composed by the romantic composer Ferenc Erkel in 1844, although other less-known musical versions exist. The poem bore the subtitle "A magyar nép zivataros századaiból" ("From the stormy centuries of the Hungarian nation"); it is often argued that this subtitle – by emphasising past rather than contemporary national troubles – was added expressly to enable the poem to pass Habsburg censorship. The full meaning of the poem's text is evident only to those well acquainted with Hungarian history. The first stanza is sung at official ceremonies and as well in common. It was de facto used as hymn of the Kingdom of Hungary from its composition in 1844, and was officially adopted as national anthem of the Third Hungarian Republic in 1989.
The lyrics of "Himnusz" are a prayer beginning with the words Isten, áldd meg a magyart (listen ) (English: "God, bless the Hungarians").Title
The title in the original manuscript is "Hymnus" — a Latin word meaning "song of praise", and one which is widely used in languages other than English (e.g., French or German) to mean "anthem". The phonetic transcription "Himnusz" replaced the original Latin spelling over time, and as the poem gained widespread acceptance as the de facto anthem of Hungary, so too the word "himnusz" took on the meaning "national anthem" for other countries as well.History
Although Kölcsey completed the poem on 22 January 1823, it was only published first in 1829 in Károly Kisfaludy's Aurora, without the subtitle, despite it being part of the manuscript. It subsequently appeared in a collection of Kölcsey's works in 1832, this time with the subtitle. A competition for composers to make the poem suitable to be sung by the public was staged in 1844 and won by Erkel's entry. His version was first performed in the National Theatre (where he was conductor) in July 1844, then in front of a larger audience on 10 August 1844, at the inaugural voyage of the steamship Széchenyi. By the end of the 1850s it became customary to sing Himnusz at special occasions either alongside Vörösmarty's Szózat or on its own.In the early 1900s, various members of the Hungarian Parliament proposed making the status of Himnusz as the national anthem of Hungary within Austria-Hungary official, but their efforts never got enough traction for such a law to be passed. Later, in the 1950s, Rákosi made plans to have the anthem replaced by one more suited to the Communist ideology, but the poet and composer he had in mind for the task, Illyés and Kodály, both refused. It wasn't until 1989 that Erkel's musical adaptation of Himnusz finally gained official recognition as Hungary's national anthem, by being mentioned as such in the Constitution of Hungary. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Himnusz",
"composer",
"Ferenc Erkel"
] | "Himnusz" (Hungarian pronunciation: [ˈhɪmnʊs]; lit. "Hymn" or "Anthem") is the national anthem of Hungary. The lyrics were written by Ferenc Kölcsey, a nationally renowned poet, in 1823, and its currently official musical setting was composed by the romantic composer Ferenc Erkel in 1844, although other less-known musical versions exist. The poem bore the subtitle "A magyar nép zivataros századaiból" ("From the stormy centuries of the Hungarian nation"); it is often argued that this subtitle – by emphasising past rather than contemporary national troubles – was added expressly to enable the poem to pass Habsburg censorship. The full meaning of the poem's text is evident only to those well acquainted with Hungarian history. The first stanza is sung at official ceremonies and as well in common. It was de facto used as hymn of the Kingdom of Hungary from its composition in 1844, and was officially adopted as national anthem of the Third Hungarian Republic in 1989.
The lyrics of "Himnusz" are a prayer beginning with the words Isten, áldd meg a magyart (listen ) (English: "God, bless the Hungarians"). | composer | 142 | [
"author",
"songwriter",
"creator",
"maker",
"writer"
] | null | null |
[
"Incandescent light bulb",
"discoverer or inventor",
"Thomas Alva Edison"
] | Thomas Edison began serious research into developing a practical incandescent lamp in 1878. Edison filed his first patent application for "Improvement in Electric Lights" on 14 October 1878. After many experiments, first with carbon in the early 1880s and then with platinum and other metals, in the end Edison returned to a carbon filament. The first successful test was on 22 October 1879, and lasted 13.5 hours. Edison continued to improve this design and by 4 November 1879, filed for a US patent for an electric lamp using "a carbon filament or strip coiled and connected ... to platina contact wires." Although the patent described several ways of creating the carbon filament including using "cotton and linen thread, wood splints, papers coiled in various ways," Edison and his team later discovered that a carbonized bamboo filament could last more than 1200 hours. In 1880, the Oregon Railroad and Navigation Company steamer, Columbia, became the first application for Edison's incandescent electric lamps (it was also the first ship to use a dynamo).Albon Man, a New York lawyer, started Electro-Dynamic Light Company in 1878 to exploit his patents and those of William Sawyer. Weeks later the United States Electric Lighting Company was organized. This company did not make their first commercial installation of incandescent lamps until the fall of 1880 at the Mercantile Safe Deposit Company in New York City, about six months after the Edison incandescent lamps had been installed on the Columbia. Hiram S. Maxim was the chief engineer at the United States Electric Lighting Company. After the great success in the United States, the incandescent light bulb patented by Edison also began to gain widespread popularity in Europe as well; among other places, the first Edison light bulbs in the Nordic countries were installed at the weaving hall of the Finlayson's textile factory in Tampere, Finland in March 1882.Lewis Latimer, employed at the time by Edison, developed an improved method of heat-treating carbon filaments which reduced breakage and allowed them to be molded into novel shapes, such as the characteristic "M" shape of Maxim filaments. On 17 January 1882, Latimer received a patent for the "Process of Manufacturing Carbons", an improved method for the production of light bulb filaments, which was purchased by the United States Electric Light Company. Latimer patented other improvements such as a better way of attaching filaments to their wire supports.In Britain, the Edison and Swan companies merged into the Edison and Swan United Electric Company (later known as Ediswan, and ultimately incorporated into Thorn Lighting Ltd). Edison was initially against this combination, but after Swan sued him and won, Edison was eventually forced to cooperate, and the merger was made. Eventually, Edison acquired all of Swan's interest in the company. Swan sold his US patent rights to the Brush Electric Company in June 1882. | discoverer or inventor | 110 | [
"discoverer",
"inventor",
"creator",
"pioneer",
"innovator"
] | null | null |
[
"Incandescent light bulb",
"made from material",
"glass"
] | Commercialization
Carbon filament and vacuum
Joseph Swan (1828–1914) was a British physicist and chemist. In 1850, he began working with carbonized paper filaments in an evacuated glass bulb. By 1860, he was able to demonstrate a working device but the lack of a good vacuum and an adequate supply of electricity resulted in a short lifetime for the bulb and an inefficient source of light. By the mid-1870s better pumps had become available, and Swan returned to his experiments.Bulbs
Most light bulbs have either clear or coated glass. Coated glass bulbs have kaolin clay blown in and electrostatically deposited on the interior of the bulb. The powder layer diffuses the light from the filament. Pigments may be added to the clay to adjust the color of the light emitted. Kaolin diffused bulbs are used extensively in interior lighting because of their comparatively gentle light. Other kinds of colored bulbs are also made, including the various colors used for "party bulbs", Christmas tree lights and other decorative lighting. These are created by coloring the glass with a dopant; which is often a metal like cobalt (blue) or chromium (green). Neodymium-containing glass is sometimes used to provide a more natural-appearing light.The glass bulb of a general service lamp can reach temperatures between 200 and 260 °C (392 and 500 °F). Lamps intended for high power operation or used for heating purposes will have envelopes made of hard glass or fused quartz.If a light bulb envelope leaks, the hot tungsten filament reacts with air, yielding an aerosol of brown tungsten nitride, brown tungsten dioxide, violet-blue tungsten pentoxide, and yellow tungsten trioxide that then gets deposited on the nearby surfaces or the bulb interior.Ribbon machine
Corning continued developing automated bulb-production machines, installing the Ribbon Machine in 1926 in its Wellsboro, Pennsylvania, factory. The Ribbon Machine surpassed any previous attempts to automate bulb production and was used to produce incandescent bulbs into the 21st century. The inventor, William Woods, along with his colleague at Corning Glass Works, David E. Gray, had created a machine that by 1939 was turning out 1,000 bulbs per minute.The Ribbon Machine works by passing a continuous ribbon of glass along a conveyor belt, heated in a furnace, and then blown by precisely aligned air nozzles through holes in the conveyor belt into molds. Thus the glass bulbs or envelopes are created. A typical machine of this sort can produce anywhere from 50,000 to 120,000 bulbs per hour, depending on the size of the bulb. By the 1970s, 15 ribbon machines installed in factories around the world produced the entire supply of incandescent bulbs. The filament and its supports are assembled on a glass stem, which is then fused to the bulb. The air is pumped out of the bulb, and the evacuation tube in the stem press is sealed by a flame. The bulb is then inserted into the lamp base, and the whole assembly tested. The 2016 closing of Osram-Sylvania's Wellsboro, Pennsylvania plant meant that one of the last remaining ribbon machines in the United States was shut down. | made from material | 98 | [
"constructed from material",
"fabricated from material",
"composed of material",
"formed from material",
"manufactured from material"
] | null | null |
[
"Incandescent light bulb",
"has part(s)",
"electrical filament"
] | Early pre-commercial research
In 1761, Ebenezer Kinnersley demonstrated heating a wire to incandescence.In 1802, Humphry Davy used what he described as "a battery of immense size", consisting of 2,000 cells housed in the basement of the Royal Institution of Great Britain, to create an incandescent light by passing the current through a thin strip of platinum, chosen because the metal had an extremely high melting point. It was not bright enough nor did it last long enough to be practical, but it was the precedent behind the efforts of scores of experimenters over the next 75 years.Over the first three-quarters of the 19th century, many experimenters worked with various combinations of platinum or iridium wires, carbon rods, and evacuated or semi-evacuated enclosures. Many of these devices were demonstrated and some were patented.In 1835, James Bowman Lindsay demonstrated a constant electric light at a public meeting in Dundee, Scotland. He stated that he could "read a book at a distance of one and a half feet". However he did not develop the electric light any further.In 1838, Belgian lithographer Marcellin Jobard invented an incandescent light bulb with a vacuum atmosphere using a carbon filament.In 1840, British scientist Warren De la Rue enclosed a coiled platinum filament in a vacuum tube and passed an electric current through it. The design was based on the concept that the high melting point of platinum would allow it to operate at high temperatures and that the evacuated chamber would contain fewer gas molecules to react with the platinum, improving its longevity. Although a workable design, the cost of the platinum made it impractical for commercial use.
In 1841, Frederick de Moleyns of England was granted the first patent for an incandescent lamp, with a design using platinum wires contained within a vacuum bulb. He also used carbon.In 1845, American John W. Starr patented an incandescent light bulb using carbon filaments. His invention was never produced commercially.In 1851, Jean Eugène Robert-Houdin publicly demonstrated incandescent light bulbs on his estate in Blois, France. His light bulbs are on display in the museum of the Château de Blois.In 1859, Moses G. Farmer built an electric incandescent light bulb using a platinum filament. Thomas Edison later saw one of these bulbs in a shop in Boston, and asked Farmer for advice on the electric light business.With the help of Charles Stearn, an expert on vacuum pumps, in 1878, Swan developed a method of processing that avoided the early bulb blackening. This received a British Patent in 1880. On 18 December 1878, a lamp using a slender carbon rod was shown at a meeting of the Newcastle Chemical Society, and Swan gave a working demonstration at their meeting on 17 January 1879. It was also shown to 700 who attended a meeting of the Literary and Philosophical Society of Newcastle upon Tyne on 3 February 1879. These lamps used a carbon rod from an arc lamp rather than a slender filament. Thus they had low resistance and required very large conductors to supply the necessary current, so they were not commercially practical, although they did furnish a demonstration of the possibilities of incandescent lighting with relatively high vacuum, a carbon conductor, and platinum lead-in wires. This bulb lasted about 40 hours. Swan then turned his attention to producing a better carbon filament and the means of attaching its ends. He devised a method of treating cotton to produce 'parchmentised thread' in the early 1880s and obtained British Patent 4933 that same year. From this year he began installing light bulbs in homes and landmarks in England. His house, Underhill, Low Fell, Gateshead, was the first in the world to be lit by a lightbulb. In the early 1880s he had started his company. In 1881, the Savoy Theatre in the City of Westminster, London was lit by Swan incandescent lightbulbs, which was the first theatre, and the first public building in the world, to be lit entirely by electricity. The first street in the world to be lit by an incandescent lightbulb was Mosley Street, Newcastle upon Tyne, United Kingdom. It was lit by Joseph Swan's incandescent lamp on 3 February 1879.Thomas Edison began serious research into developing a practical incandescent lamp in 1878. Edison filed his first patent application for "Improvement in Electric Lights" on 14 October 1878. After many experiments, first with carbon in the early 1880s and then with platinum and other metals, in the end Edison returned to a carbon filament. The first successful test was on 22 October 1879, and lasted 13.5 hours. Edison continued to improve this design and by 4 November 1879, filed for a US patent for an electric lamp using "a carbon filament or strip coiled and connected ... to platina contact wires." Although the patent described several ways of creating the carbon filament including using "cotton and linen thread, wood splints, papers coiled in various ways," Edison and his team later discovered that a carbonized bamboo filament could last more than 1200 hours. In 1880, the Oregon Railroad and Navigation Company steamer, Columbia, became the first application for Edison's incandescent electric lamps (it was also the first ship to use a dynamo).Albon Man, a New York lawyer, started Electro-Dynamic Light Company in 1878 to exploit his patents and those of William Sawyer. Weeks later the United States Electric Lighting Company was organized. This company did not make their first commercial installation of incandescent lamps until the fall of 1880 at the Mercantile Safe Deposit Company in New York City, about six months after the Edison incandescent lamps had been installed on the Columbia. Hiram S. Maxim was the chief engineer at the United States Electric Lighting Company. After the great success in the United States, the incandescent light bulb patented by Edison also began to gain widespread popularity in Europe as well; among other places, the first Edison light bulbs in the Nordic countries were installed at the weaving hall of the Finlayson's textile factory in Tampere, Finland in March 1882.Lewis Latimer, employed at the time by Edison, developed an improved method of heat-treating carbon filaments which reduced breakage and allowed them to be molded into novel shapes, such as the characteristic "M" shape of Maxim filaments. On 17 January 1882, Latimer received a patent for the "Process of Manufacturing Carbons", an improved method for the production of light bulb filaments, which was purchased by the United States Electric Light Company. Latimer patented other improvements such as a better way of attaching filaments to their wire supports.In Britain, the Edison and Swan companies merged into the Edison and Swan United Electric Company (later known as Ediswan, and ultimately incorporated into Thorn Lighting Ltd). Edison was initially against this combination, but after Swan sued him and won, Edison was eventually forced to cooperate, and the merger was made. Eventually, Edison acquired all of Swan's interest in the company. Swan sold his US patent rights to the Brush Electric Company in June 1882. | has part(s) | 19 | [
"contains",
"comprises",
"includes",
"consists of",
"has components"
] | null | null |
[
"Incandescent light bulb",
"instance of",
"invention"
] | Early pre-commercial research
In 1761, Ebenezer Kinnersley demonstrated heating a wire to incandescence.In 1802, Humphry Davy used what he described as "a battery of immense size", consisting of 2,000 cells housed in the basement of the Royal Institution of Great Britain, to create an incandescent light by passing the current through a thin strip of platinum, chosen because the metal had an extremely high melting point. It was not bright enough nor did it last long enough to be practical, but it was the precedent behind the efforts of scores of experimenters over the next 75 years.Over the first three-quarters of the 19th century, many experimenters worked with various combinations of platinum or iridium wires, carbon rods, and evacuated or semi-evacuated enclosures. Many of these devices were demonstrated and some were patented.In 1835, James Bowman Lindsay demonstrated a constant electric light at a public meeting in Dundee, Scotland. He stated that he could "read a book at a distance of one and a half feet". However he did not develop the electric light any further.In 1838, Belgian lithographer Marcellin Jobard invented an incandescent light bulb with a vacuum atmosphere using a carbon filament.In 1840, British scientist Warren De la Rue enclosed a coiled platinum filament in a vacuum tube and passed an electric current through it. The design was based on the concept that the high melting point of platinum would allow it to operate at high temperatures and that the evacuated chamber would contain fewer gas molecules to react with the platinum, improving its longevity. Although a workable design, the cost of the platinum made it impractical for commercial use.
In 1841, Frederick de Moleyns of England was granted the first patent for an incandescent lamp, with a design using platinum wires contained within a vacuum bulb. He also used carbon.In 1845, American John W. Starr patented an incandescent light bulb using carbon filaments. His invention was never produced commercially.In 1851, Jean Eugène Robert-Houdin publicly demonstrated incandescent light bulbs on his estate in Blois, France. His light bulbs are on display in the museum of the Château de Blois.In 1859, Moses G. Farmer built an electric incandescent light bulb using a platinum filament. Thomas Edison later saw one of these bulbs in a shop in Boston, and asked Farmer for advice on the electric light business.With the help of Charles Stearn, an expert on vacuum pumps, in 1878, Swan developed a method of processing that avoided the early bulb blackening. This received a British Patent in 1880. On 18 December 1878, a lamp using a slender carbon rod was shown at a meeting of the Newcastle Chemical Society, and Swan gave a working demonstration at their meeting on 17 January 1879. It was also shown to 700 who attended a meeting of the Literary and Philosophical Society of Newcastle upon Tyne on 3 February 1879. These lamps used a carbon rod from an arc lamp rather than a slender filament. Thus they had low resistance and required very large conductors to supply the necessary current, so they were not commercially practical, although they did furnish a demonstration of the possibilities of incandescent lighting with relatively high vacuum, a carbon conductor, and platinum lead-in wires. This bulb lasted about 40 hours. Swan then turned his attention to producing a better carbon filament and the means of attaching its ends. He devised a method of treating cotton to produce 'parchmentised thread' in the early 1880s and obtained British Patent 4933 that same year. From this year he began installing light bulbs in homes and landmarks in England. His house, Underhill, Low Fell, Gateshead, was the first in the world to be lit by a lightbulb. In the early 1880s he had started his company. In 1881, the Savoy Theatre in the City of Westminster, London was lit by Swan incandescent lightbulbs, which was the first theatre, and the first public building in the world, to be lit entirely by electricity. The first street in the world to be lit by an incandescent lightbulb was Mosley Street, Newcastle upon Tyne, United Kingdom. It was lit by Joseph Swan's incandescent lamp on 3 February 1879.Thomas Edison began serious research into developing a practical incandescent lamp in 1878. Edison filed his first patent application for "Improvement in Electric Lights" on 14 October 1878. After many experiments, first with carbon in the early 1880s and then with platinum and other metals, in the end Edison returned to a carbon filament. The first successful test was on 22 October 1879, and lasted 13.5 hours. Edison continued to improve this design and by 4 November 1879, filed for a US patent for an electric lamp using "a carbon filament or strip coiled and connected ... to platina contact wires." Although the patent described several ways of creating the carbon filament including using "cotton and linen thread, wood splints, papers coiled in various ways," Edison and his team later discovered that a carbonized bamboo filament could last more than 1200 hours. In 1880, the Oregon Railroad and Navigation Company steamer, Columbia, became the first application for Edison's incandescent electric lamps (it was also the first ship to use a dynamo).Albon Man, a New York lawyer, started Electro-Dynamic Light Company in 1878 to exploit his patents and those of William Sawyer. Weeks later the United States Electric Lighting Company was organized. This company did not make their first commercial installation of incandescent lamps until the fall of 1880 at the Mercantile Safe Deposit Company in New York City, about six months after the Edison incandescent lamps had been installed on the Columbia. Hiram S. Maxim was the chief engineer at the United States Electric Lighting Company. After the great success in the United States, the incandescent light bulb patented by Edison also began to gain widespread popularity in Europe as well; among other places, the first Edison light bulbs in the Nordic countries were installed at the weaving hall of the Finlayson's textile factory in Tampere, Finland in March 1882.Lewis Latimer, employed at the time by Edison, developed an improved method of heat-treating carbon filaments which reduced breakage and allowed them to be molded into novel shapes, such as the characteristic "M" shape of Maxim filaments. On 17 January 1882, Latimer received a patent for the "Process of Manufacturing Carbons", an improved method for the production of light bulb filaments, which was purchased by the United States Electric Light Company. Latimer patented other improvements such as a better way of attaching filaments to their wire supports.In Britain, the Edison and Swan companies merged into the Edison and Swan United Electric Company (later known as Ediswan, and ultimately incorporated into Thorn Lighting Ltd). Edison was initially against this combination, but after Swan sued him and won, Edison was eventually forced to cooperate, and the merger was made. Eventually, Edison acquired all of Swan's interest in the company. Swan sold his US patent rights to the Brush Electric Company in June 1882. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Incandescent light bulb",
"discoverer or inventor",
"Joseph Swan"
] | Commercialization
Carbon filament and vacuum
Joseph Swan (1828–1914) was a British physicist and chemist. In 1850, he began working with carbonized paper filaments in an evacuated glass bulb. By 1860, he was able to demonstrate a working device but the lack of a good vacuum and an adequate supply of electricity resulted in a short lifetime for the bulb and an inefficient source of light. By the mid-1870s better pumps had become available, and Swan returned to his experiments.With the help of Charles Stearn, an expert on vacuum pumps, in 1878, Swan developed a method of processing that avoided the early bulb blackening. This received a British Patent in 1880. On 18 December 1878, a lamp using a slender carbon rod was shown at a meeting of the Newcastle Chemical Society, and Swan gave a working demonstration at their meeting on 17 January 1879. It was also shown to 700 who attended a meeting of the Literary and Philosophical Society of Newcastle upon Tyne on 3 February 1879. These lamps used a carbon rod from an arc lamp rather than a slender filament. Thus they had low resistance and required very large conductors to supply the necessary current, so they were not commercially practical, although they did furnish a demonstration of the possibilities of incandescent lighting with relatively high vacuum, a carbon conductor, and platinum lead-in wires. This bulb lasted about 40 hours. Swan then turned his attention to producing a better carbon filament and the means of attaching its ends. He devised a method of treating cotton to produce 'parchmentised thread' in the early 1880s and obtained British Patent 4933 that same year. From this year he began installing light bulbs in homes and landmarks in England. His house, Underhill, Low Fell, Gateshead, was the first in the world to be lit by a lightbulb. In the early 1880s he had started his company. In 1881, the Savoy Theatre in the City of Westminster, London was lit by Swan incandescent lightbulbs, which was the first theatre, and the first public building in the world, to be lit entirely by electricity. The first street in the world to be lit by an incandescent lightbulb was Mosley Street, Newcastle upon Tyne, United Kingdom. It was lit by Joseph Swan's incandescent lamp on 3 February 1879. | discoverer or inventor | 110 | [
"discoverer",
"inventor",
"creator",
"pioneer",
"innovator"
] | null | null |
[
"Mein Kampf",
"author",
"Adolf Hitler"
] | Mein Kampf (German: [maɪn ˈkampf]; lit. 'My Struggle') is a 1925 autobiographical manifesto by Nazi Party leader Adolf Hitler. The work describes the process by which Hitler became antisemitic and outlines his political ideology and future plans for Germany. Volume 1 of Mein Kampf was published in 1925 and Volume 2 in 1926. The book was edited first by Emil Maurice, then by Hitler's deputy Rudolf Hess.Hitler began Mein Kampf while imprisoned following his failed coup in Munich in November 1923 and a trial in February 1924 for high treason, in which he received a sentence of five years. Although he received many visitors initially, he soon devoted himself entirely to the book. As he continued, he realized that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that "he [Hitler] hopes the book will run into many editions, thus enabling him to fulfill his financial obligations and to defray the expenses incurred at the time of his trial." After slow initial sales, the book became a bestseller in Germany following Hitler's rise to power in 1933.After Hitler's death, copyright of Mein Kampf passed to the state government of Bavaria, which refused to allow any copying or printing of the book in Germany. In 2016, following the expiration of the copyright held by the Bavarian state government, Mein Kampf was republished in Germany for the first time since 1945, which prompted public debate and divided reactions from Jewish groups. A team of scholars from the Institute of Contemporary History in Munich published a German language two-volume almost 2,000-page edition annotated with about 3,500 notes. This was followed in 2021 by a 1,000-page French edition based on the German annotated version, with about twice as much commentary as text. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Mein Kampf",
"place of publication",
"Germany"
] | Antisemitism
While historians dispute the exact date Hitler decided to exterminate the Jewish people, few place the decision before the mid-1930s. First published in 1925, Mein Kampf shows Hitler's personal grievances and his ambitions for creating a New Order. Hitler also wrote that The Protocols of the Elders of Zion, a fabricated text which purported to expose the Jewish plot to control the world, was an authentic document. This later became a part of the Nazi propaganda effort to justify persecution and annihilation of the Jews.The historian Ian Kershaw observed that several passages in Mein Kampf are undeniably of a genocidal nature. Hitler wrote "the nationalization of our masses will succeed only when, aside from all the positive struggle for the soul of our people, their international poisoners are exterminated", and he suggested that, "If at the beginning of the war and during the war twelve or fifteen thousand of these Hebrew corrupters of the nation had been subjected to poison gas, such as had to be endured in the field by hundreds of thousands of our very best German workers of all classes and professions, then the sacrifice of millions at the front would not have been in vain."The racial laws to which Hitler referred resonate directly with his ideas in Mein Kampf. In the first edition, Hitler stated that the destruction of the weak and sick is far more humane than their protection. Apart from this allusion to humane treatment, Hitler saw a purpose in destroying "the weak" in order to provide the proper space and purity for the "strong". | place of publication | 123 | [
"location of publication",
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"publication location",
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] | null | null |
[
"Mein Kampf",
"genre",
"autobiography"
] | Mein Kampf (German: [maɪn ˈkampf]; lit. 'My Struggle') is a 1925 autobiographical manifesto by Nazi Party leader Adolf Hitler. The work describes the process by which Hitler became antisemitic and outlines his political ideology and future plans for Germany. Volume 1 of Mein Kampf was published in 1925 and Volume 2 in 1926. The book was edited first by Emil Maurice, then by Hitler's deputy Rudolf Hess.Hitler began Mein Kampf while imprisoned following his failed coup in Munich in November 1923 and a trial in February 1924 for high treason, in which he received a sentence of five years. Although he received many visitors initially, he soon devoted himself entirely to the book. As he continued, he realized that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that "he [Hitler] hopes the book will run into many editions, thus enabling him to fulfill his financial obligations and to defray the expenses incurred at the time of his trial." After slow initial sales, the book became a bestseller in Germany following Hitler's rise to power in 1933.After Hitler's death, copyright of Mein Kampf passed to the state government of Bavaria, which refused to allow any copying or printing of the book in Germany. In 2016, following the expiration of the copyright held by the Bavarian state government, Mein Kampf was republished in Germany for the first time since 1945, which prompted public debate and divided reactions from Jewish groups. A team of scholars from the Institute of Contemporary History in Munich published a German language two-volume almost 2,000-page edition annotated with about 3,500 notes. This was followed in 2021 by a 1,000-page French edition based on the German annotated version, with about twice as much commentary as text. | genre | 85 | [
"category",
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[
"Mein Kampf",
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] | Mein Kampf (German: [maɪn ˈkampf]; lit. 'My Struggle') is a 1925 autobiographical manifesto by Nazi Party leader Adolf Hitler. The work describes the process by which Hitler became antisemitic and outlines his political ideology and future plans for Germany. Volume 1 of Mein Kampf was published in 1925 and Volume 2 in 1926. The book was edited first by Emil Maurice, then by Hitler's deputy Rudolf Hess.Hitler began Mein Kampf while imprisoned following his failed coup in Munich in November 1923 and a trial in February 1924 for high treason, in which he received a sentence of five years. Although he received many visitors initially, he soon devoted himself entirely to the book. As he continued, he realized that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that "he [Hitler] hopes the book will run into many editions, thus enabling him to fulfill his financial obligations and to defray the expenses incurred at the time of his trial." After slow initial sales, the book became a bestseller in Germany following Hitler's rise to power in 1933.After Hitler's death, copyright of Mein Kampf passed to the state government of Bavaria, which refused to allow any copying or printing of the book in Germany. In 2016, following the expiration of the copyright held by the Bavarian state government, Mein Kampf was republished in Germany for the first time since 1945, which prompted public debate and divided reactions from Jewish groups. A team of scholars from the Institute of Contemporary History in Munich published a German language two-volume almost 2,000-page edition annotated with about 3,500 notes. This was followed in 2021 by a 1,000-page French edition based on the German annotated version, with about twice as much commentary as text. | language of work or name | 125 | [
"language",
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] | null | null |
[
"Mein Kampf",
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] | Mein Kampf (German: [maɪn ˈkampf]; lit. 'My Struggle') is a 1925 autobiographical manifesto by Nazi Party leader Adolf Hitler. The work describes the process by which Hitler became antisemitic and outlines his political ideology and future plans for Germany. Volume 1 of Mein Kampf was published in 1925 and Volume 2 in 1926. The book was edited first by Emil Maurice, then by Hitler's deputy Rudolf Hess.Hitler began Mein Kampf while imprisoned following his failed coup in Munich in November 1923 and a trial in February 1924 for high treason, in which he received a sentence of five years. Although he received many visitors initially, he soon devoted himself entirely to the book. As he continued, he realized that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that "he [Hitler] hopes the book will run into many editions, thus enabling him to fulfill his financial obligations and to defray the expenses incurred at the time of his trial." After slow initial sales, the book became a bestseller in Germany following Hitler's rise to power in 1933.After Hitler's death, copyright of Mein Kampf passed to the state government of Bavaria, which refused to allow any copying or printing of the book in Germany. In 2016, following the expiration of the copyright held by the Bavarian state government, Mein Kampf was republished in Germany for the first time since 1945, which prompted public debate and divided reactions from Jewish groups. A team of scholars from the Institute of Contemporary History in Munich published a German language two-volume almost 2,000-page edition annotated with about 3,500 notes. This was followed in 2021 by a 1,000-page French edition based on the German annotated version, with about twice as much commentary as text. | depicts | 134 | [
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] | null | null |
[
"Mein Kampf",
"main subject",
"Adolf Hitler"
] | Mein Kampf (German: [maɪn ˈkampf]; lit. 'My Struggle') is a 1925 autobiographical manifesto by Nazi Party leader Adolf Hitler. The work describes the process by which Hitler became antisemitic and outlines his political ideology and future plans for Germany. Volume 1 of Mein Kampf was published in 1925 and Volume 2 in 1926. The book was edited first by Emil Maurice, then by Hitler's deputy Rudolf Hess.Hitler began Mein Kampf while imprisoned following his failed coup in Munich in November 1923 and a trial in February 1924 for high treason, in which he received a sentence of five years. Although he received many visitors initially, he soon devoted himself entirely to the book. As he continued, he realized that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that "he [Hitler] hopes the book will run into many editions, thus enabling him to fulfill his financial obligations and to defray the expenses incurred at the time of his trial." After slow initial sales, the book became a bestseller in Germany following Hitler's rise to power in 1933.After Hitler's death, copyright of Mein Kampf passed to the state government of Bavaria, which refused to allow any copying or printing of the book in Germany. In 2016, following the expiration of the copyright held by the Bavarian state government, Mein Kampf was republished in Germany for the first time since 1945, which prompted public debate and divided reactions from Jewish groups. A team of scholars from the Institute of Contemporary History in Munich published a German language two-volume almost 2,000-page edition annotated with about 3,500 notes. This was followed in 2021 by a 1,000-page French edition based on the German annotated version, with about twice as much commentary as text. | main subject | 130 | [
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[
"Mein Kampf",
"place of publication",
"Nazi Germany"
] | Antisemitism
While historians dispute the exact date Hitler decided to exterminate the Jewish people, few place the decision before the mid-1930s. First published in 1925, Mein Kampf shows Hitler's personal grievances and his ambitions for creating a New Order. Hitler also wrote that The Protocols of the Elders of Zion, a fabricated text which purported to expose the Jewish plot to control the world, was an authentic document. This later became a part of the Nazi propaganda effort to justify persecution and annihilation of the Jews.The historian Ian Kershaw observed that several passages in Mein Kampf are undeniably of a genocidal nature. Hitler wrote "the nationalization of our masses will succeed only when, aside from all the positive struggle for the soul of our people, their international poisoners are exterminated", and he suggested that, "If at the beginning of the war and during the war twelve or fifteen thousand of these Hebrew corrupters of the nation had been subjected to poison gas, such as had to be endured in the field by hundreds of thousands of our very best German workers of all classes and professions, then the sacrifice of millions at the front would not have been in vain."The racial laws to which Hitler referred resonate directly with his ideas in Mein Kampf. In the first edition, Hitler stated that the destruction of the weak and sick is far more humane than their protection. Apart from this allusion to humane treatment, Hitler saw a purpose in destroying "the weak" in order to provide the proper space and purity for the "strong". | place of publication | 123 | [
"location of publication",
"publishing location",
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"publication location",
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] | null | null |
[
"Mein Kampf",
"main subject",
"Nazism"
] | Contemporary observations
Mein Kampf, in essence, lays out the ideological program Hitler established for the Holocaust, by identifying the Jews and "Bolsheviks" as racially and ideologically inferior and threatening, and "Aryans" and National Socialists as racially superior and politically progressive. Hitler's revolutionary goals included expulsion of the Jews from Greater Germany and the unification of German peoples into one Greater Germany. Hitler desired to restore German lands to their greatest historical extent, real or imagined.
Due to its racist content and the historical effect of Nazism upon Europe during World War II and the Holocaust, it is considered a highly controversial book. Criticism has not come solely from opponents of Nazism. Italian Fascist dictator and Nazi ally Benito Mussolini was also critical of the book, saying that it was "a boring tome that I have never been able to read" and remarking that Hitler's beliefs, as expressed in the book, were "little more than commonplace clichés".The German journalist Konrad Heiden, an early critic of the Nazi Party, observed that the content of Mein Kampf is essentially a political argument with other members of the Nazi Party who had appeared to be Hitler's friends, but whom he was actually denouncing in the book's content – sometimes by not even including references to them.The American literary theorist and philosopher Kenneth Burke wrote a 1939 rhetorical analysis of the work, The Rhetoric of Hitler's "Battle", which revealed an underlying message of aggressive intent.The American journalist John Gunther said in 1940 that compared to autobiographies such as Leon Trotsky's My Life or Henry Adams's The Education of Henry Adams, Mein Kampf was "vapid, vain, rhetorical, diffuse, prolix." However, he added that "it is a powerful and moving book, the product of great passionate feeling". He suggested that the book exhausted curious German readers, but its "ceaseless repetition of the argument, left impregnably in their minds, fecund and germinating".In March 1940, British writer George Orwell reviewed a then-recently published uncensored translation of Mein Kampf for The New English Weekly. Orwell suggested that the force of Hitler's personality shone through the often "clumsy" writing, capturing the magnetic allure of Hitler for many Germans. In essence, Orwell notes, Hitler offers only visions of endless struggle and conflict in the creation of "a horrible brainless empire" that "stretch[es] to Afghanistan or thereabouts". He wrote, "Whereas Socialism, and even capitalism in a more grudging way, have said to people 'I offer you a good time,' Hitler has said to them, 'I offer you struggle, danger, and death,' and as a result a whole nation flings itself at his feet." Orwell's review was written in the aftermath of the 1939 Molotov–Ribbentrop Pact, when Hitler made peace with USSR after more than a decade of vitriolic rhetoric and threats between the two nations; with the pact in place, Orwell believed, England was now facing a risk of Nazi attack and the UK must not underestimate the appeal of Hitler's ideas.In his 1943 book The Menace of the Herd, Austrian scholar Erik von Kuehnelt-Leddihn described Hitler's ideas in Mein Kampf and elsewhere as "a veritable reductio ad absurdum of 'progressive' thought" and betraying "a curious lack of original thought" that shows Hitler offered no innovative or original ideas but was merely "a virtuoso of commonplaces which he may or may not repeat in the guise of a 'new discovery.'" Hitler's stated aim, Kuehnelt-Leddihn writes, is to quash individualism in furtherance of political goals: | main subject | 130 | [
"focus",
"central theme",
"central topic",
"main theme",
"primary subject"
] | null | null |
[
"Mein Kampf",
"place of publication",
"Weimar Republic"
] | Antisemitism
While historians dispute the exact date Hitler decided to exterminate the Jewish people, few place the decision before the mid-1930s. First published in 1925, Mein Kampf shows Hitler's personal grievances and his ambitions for creating a New Order. Hitler also wrote that The Protocols of the Elders of Zion, a fabricated text which purported to expose the Jewish plot to control the world, was an authentic document. This later became a part of the Nazi propaganda effort to justify persecution and annihilation of the Jews.The historian Ian Kershaw observed that several passages in Mein Kampf are undeniably of a genocidal nature. Hitler wrote "the nationalization of our masses will succeed only when, aside from all the positive struggle for the soul of our people, their international poisoners are exterminated", and he suggested that, "If at the beginning of the war and during the war twelve or fifteen thousand of these Hebrew corrupters of the nation had been subjected to poison gas, such as had to be endured in the field by hundreds of thousands of our very best German workers of all classes and professions, then the sacrifice of millions at the front would not have been in vain."The racial laws to which Hitler referred resonate directly with his ideas in Mein Kampf. In the first edition, Hitler stated that the destruction of the weak and sick is far more humane than their protection. Apart from this allusion to humane treatment, Hitler saw a purpose in destroying "the weak" in order to provide the proper space and purity for the "strong". | place of publication | 123 | [
"location of publication",
"publishing location",
"place published",
"publication location",
"publishing place"
] | null | null |
[
"Mein Kampf",
"genre",
"memoir"
] | Mein Kampf (German: [maɪn ˈkampf]; lit. 'My Struggle') is a 1925 autobiographical manifesto by Nazi Party leader Adolf Hitler. The work describes the process by which Hitler became antisemitic and outlines his political ideology and future plans for Germany. Volume 1 of Mein Kampf was published in 1925 and Volume 2 in 1926. The book was edited first by Emil Maurice, then by Hitler's deputy Rudolf Hess.Hitler began Mein Kampf while imprisoned following his failed coup in Munich in November 1923 and a trial in February 1924 for high treason, in which he received a sentence of five years. Although he received many visitors initially, he soon devoted himself entirely to the book. As he continued, he realized that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that "he [Hitler] hopes the book will run into many editions, thus enabling him to fulfill his financial obligations and to defray the expenses incurred at the time of his trial." After slow initial sales, the book became a bestseller in Germany following Hitler's rise to power in 1933.After Hitler's death, copyright of Mein Kampf passed to the state government of Bavaria, which refused to allow any copying or printing of the book in Germany. In 2016, following the expiration of the copyright held by the Bavarian state government, Mein Kampf was republished in Germany for the first time since 1945, which prompted public debate and divided reactions from Jewish groups. A team of scholars from the Institute of Contemporary History in Munich published a German language two-volume almost 2,000-page edition annotated with about 3,500 notes. This was followed in 2021 by a 1,000-page French edition based on the German annotated version, with about twice as much commentary as text. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Mein Kampf",
"genre",
"political philosophy"
] | Mein Kampf (German: [maɪn ˈkampf]; lit. 'My Struggle') is a 1925 autobiographical manifesto by Nazi Party leader Adolf Hitler. The work describes the process by which Hitler became antisemitic and outlines his political ideology and future plans for Germany. Volume 1 of Mein Kampf was published in 1925 and Volume 2 in 1926. The book was edited first by Emil Maurice, then by Hitler's deputy Rudolf Hess.Hitler began Mein Kampf while imprisoned following his failed coup in Munich in November 1923 and a trial in February 1924 for high treason, in which he received a sentence of five years. Although he received many visitors initially, he soon devoted himself entirely to the book. As he continued, he realized that it would have to be a two-volume work, with the first volume scheduled for release in early 1925. The governor of Landsberg noted at the time that "he [Hitler] hopes the book will run into many editions, thus enabling him to fulfill his financial obligations and to defray the expenses incurred at the time of his trial." After slow initial sales, the book became a bestseller in Germany following Hitler's rise to power in 1933.After Hitler's death, copyright of Mein Kampf passed to the state government of Bavaria, which refused to allow any copying or printing of the book in Germany. In 2016, following the expiration of the copyright held by the Bavarian state government, Mein Kampf was republished in Germany for the first time since 1945, which prompted public debate and divided reactions from Jewish groups. A team of scholars from the Institute of Contemporary History in Munich published a German language two-volume almost 2,000-page edition annotated with about 3,500 notes. This was followed in 2021 by a 1,000-page French edition based on the German annotated version, with about twice as much commentary as text. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Mein Kampf",
"followed by",
"Zweites Buch"
] | HitlerHitler, A. (1925). Mein Kampf, Band 1, Verlag Franz Eher Nachfahren, München. (Volume 1, publishing company Fritz Eher and descendants, Munich).
Hitler, A. (1927). Mein Kampf, Band 2, Verlag Franz Eher Nachfahren, München. (Volume 2, after 1930 both volumes were only published in one book).
Hitler, A. (1935). Zweites Buch (trans.) Hitler's Second Book: The Unpublished Sequel to Mein Kampf by Adolf Hitler. Enigma Books. ISBN 978-1-929631-61-2.
Hitler, A. (1945). My Political Testament. Wikisource Version.
Hitler, A. (1945). My Private Will and Testament. Wikisource Version.
Hitler, A., et al. (1971). Unmasked: two confidential interviews with Hitler in 1931. Chatto & Windus. ISBN 0-7011-1642-0.
Hitler, A., et al. (1974). Hitler's Letters and Notes. Harper & Row. ISBN 0-06-012832-1.
Hitler, A., et al. (2008). Hitler's Table Talk. Enigma Books. ISBN 978-1-929631-66-7.
A. Hitler. Mein Kampf, Munich: Franz Eher Nachfolger, 1930
A. Hitler, Außenpolitische Standortbestimmung nach der Reichtagswahl Juni–Juli 1928 (1929; first published as Hitlers Zweites Buch, 1961), in Hitler: Reden, Schriften, Anordnungen, Februar 1925 bis Januar 1933, Vol IIA, with an introduction by G. L. Weinberg; G. L. Weinberg, C. Hartmann and K. A. Lankheit, eds (Munich: K. G. Saur, 1995)
Christopher Browning, Initiating the Final Solution: The Fateful Months of September–October 1941, Miles Lerman Center for the Study of Jewish Resistance, U.S. Holocaust Memorial Museum (Washington, D.C.: USHMM, 2003).
Gunnar Heinsohn, "What Makes the Holocaust a Uniquely Unique Genocide", Journal of Genocide Research, vol. 2, no. 3 (2000): 411–430.
Eberhard Jäckel/Ellen Latzin, Mein Kampf (Adolf Hitler, 1925/26), published 11 May 2006, English version published 3 March 2020; in: Historisches Lexikon BayernsOthersBarnes, James J.; Barnes, Patience P. (1980). Hitler Mein Kampf in Britain and America. Cambridge: Cambridge University Press.
Jäckel, Eberhard (1972). Hitler's Weltanschauung: A Blueprint For Power. Middletown, Conn.: Wesleyan University Press. ISBN 0-8195-4042-0.
Hauner, Milan (1978). "Did Hitler Want World Domination?". Journal of Contemporary History. Journal of Contemporary History, Vol. 13, No. 1. 13 (1): 15–32. doi:10.1177/002200947801300102. JSTOR 260090. S2CID 154865385.
Hillgruber, Andreas (1981). Germany and the Two World Wars. Cambridge, Mass.: Harvard University Press. ISBN 0-674-35321-8.
Littauer-Apt, Rudolf M. (1939–1940). "The Copyright in Hitler's 'Mein Kampf'". Copyright. 5: 57 et seq.
Michaelis, Meir (1972). "World Power Status or World Dominion? A Survey of the Literature on Hitler's 'Plan of World Dominion' (1937–1970)". The Historical Journal. 15 (2): 331–360. doi:10.1017/s0018246x00002624. JSTOR 2638127. S2CID 162629479.
Rich, Norman (1973). Hitler's War Aims. New York: Norton. ISBN 0-393-05454-3.
Trevor-Roper, Hugh (1960). "Hitlers Kriegsziele". Vierteljahrshefte für Zeitgeschichte. 8: 121–133. ISSN 0042-5702.
Zusak, Markus (2006). The Book Thief. New York: Knopf. ISBN 0-375-83100-2. | followed by | 17 | [
"succeeded by",
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"came after"
] | null | null |
[
"Orlando Furioso",
"characters",
"Angelica"
] | Plot
The action of Orlando Furioso takes place against the background of the war between the Christian emperor Charlemagne and the Saracen king of Africa, Agramante, who has invaded Europe to avenge the death of his father Troiano. Agramante and his allies – who include Marsilio, the King of Spain, and the boastful warrior Rodomonte – besiege Charlemagne in Paris.
Meanwhile, Orlando, Charlemagne's most famous paladin, has been tempted to forget his duty to protect the emperor because of his love for the pagan princess Angelica. At the beginning of the poem, Angelica escapes from the castle of the Bavarian Duke Namo, and Orlando sets off in pursuit. The two meet with various adventures until Angelica saves a wounded Saracen infantryman, Medoro, falls in love, and elopes with him to Cathay.
When Orlando learns the truth, he goes mad with despair and rampages through Europe and Africa destroying everything in his path. The English knight Astolfo journeys to Ethiopia on the hippogriff to find a cure for Orlando's madness.
He flies up in Elijah's flaming chariot to the Moon, where everything lost on Earth is to be found, including Orlando's wits. He brings them back in a bottle and makes Orlando sniff them, thus restoring him to sanity. (At the same time Orlando falls out of love with Angelica, as the author explains that love is itself a form of insanity.)
Orlando joins with Brandimarte and Oliver to fight Agramante, Sobrino and Gradasso on the island of Lampedusa. There Orlando kills King Agramante. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Orlando Furioso",
"author",
"Ludovico Ariosto"
] | Art
Orlando Furioso has been the inspiration for many works of art, including paintings by Eugène Delacroix, Tiepolo, Ingres, Redon, and a series of illustrations by Gustave Doré.
In his poem Ludovico Ariosto relates how Marphise, the woman warrior, knocks the knight Pinabello off his horse after his lady had mocked Marphise's companion, the old woman Gabrina. In Marphise by Eugène Delacroix, Pinabello lies on the ground, and his horse gallops off in the distance. The knight's lady, meanwhile, is forced to disrobe and give her fancy clothing to Gabrina. Marphise's horse, undisturbed by the drama, nonchalantly munches on the leaves overhead. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Orlando Furioso",
"genre",
"chivalric romance"
] | Orlando furioso (Italian pronunciation: [orˈlando fuˈrjoːzo, -so]; The Frenzy of Orlando) is an Italian epic poem by Ludovico Ariosto which has exerted a wide influence on later culture. The earliest version appeared in 1516, although the poem was not published in its complete form until 1532. Orlando furioso is a continuation of Matteo Maria Boiardo's unfinished romance Orlando innamorato (Orlando in Love, published posthumously in 1495). In its historical setting and characters, it shares some features with the Old French Chanson de Roland of the eleventh century, which tells of the death of Roland. The story is also a chivalric romance which stemmed from a tradition beginning in the late Middle Ages and continuing in popularity in the 16th century and well into the 17th.
Orlando is the Christian knight known in French (and subsequently English) as Roland. The story takes place against the background of the war between Charlemagne's Christian paladins and the Saracen army that has invaded Europe and is attempting to overthrow the Christian empire. The poem is about war and love and the romantic ideal of chivalry. It mixes realism and fantasy, humor and tragedy. The stage is the entire world, plus a trip to the Moon. The large cast of characters features Christians and Saracens, soldiers and sorcerers, and fantastic creatures including a gigantic sea monster called the Orc and a flying horse called the hippogriff. Many themes are interwoven in its complicated episodic structure, but the most important are the paladin Orlando's unrequited love for the pagan princess Angelica, which drives him mad; the love between the female Christian warrior Bradamante and the Saracen Ruggiero, who are supposed to be the ancestors of Ariosto's patrons, the House of Este of Ferrara; and the war between Christian and Infidel.The poem is divided into forty-six cantos, each containing a variable number of eight-line stanzas in ottava rima (a rhyme scheme of abababcc). Ottava rima had been used in previous Italian romantic epics, including Luigi Pulci's Morgante and Boiardo's Orlando Innamorato. Ariosto's work is 38,736 lines long in total, making it one of the longest poems in European literature. | genre | 85 | [
"category",
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] | null | null |
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] | Orlando furioso (Italian pronunciation: [orˈlando fuˈrjoːzo, -so]; The Frenzy of Orlando) is an Italian epic poem by Ludovico Ariosto which has exerted a wide influence on later culture. The earliest version appeared in 1516, although the poem was not published in its complete form until 1532. Orlando furioso is a continuation of Matteo Maria Boiardo's unfinished romance Orlando innamorato (Orlando in Love, published posthumously in 1495). In its historical setting and characters, it shares some features with the Old French Chanson de Roland of the eleventh century, which tells of the death of Roland. The story is also a chivalric romance which stemmed from a tradition beginning in the late Middle Ages and continuing in popularity in the 16th century and well into the 17th.
Orlando is the Christian knight known in French (and subsequently English) as Roland. The story takes place against the background of the war between Charlemagne's Christian paladins and the Saracen army that has invaded Europe and is attempting to overthrow the Christian empire. The poem is about war and love and the romantic ideal of chivalry. It mixes realism and fantasy, humor and tragedy. The stage is the entire world, plus a trip to the Moon. The large cast of characters features Christians and Saracens, soldiers and sorcerers, and fantastic creatures including a gigantic sea monster called the Orc and a flying horse called the hippogriff. Many themes are interwoven in its complicated episodic structure, but the most important are the paladin Orlando's unrequited love for the pagan princess Angelica, which drives him mad; the love between the female Christian warrior Bradamante and the Saracen Ruggiero, who are supposed to be the ancestors of Ariosto's patrons, the House of Este of Ferrara; and the war between Christian and Infidel.The poem is divided into forty-six cantos, each containing a variable number of eight-line stanzas in ottava rima (a rhyme scheme of abababcc). Ottava rima had been used in previous Italian romantic epics, including Luigi Pulci's Morgante and Boiardo's Orlando Innamorato. Ariosto's work is 38,736 lines long in total, making it one of the longest poems in European literature.Art
Orlando Furioso has been the inspiration for many works of art, including paintings by Eugène Delacroix, Tiepolo, Ingres, Redon, and a series of illustrations by Gustave Doré.
In his poem Ludovico Ariosto relates how Marphise, the woman warrior, knocks the knight Pinabello off his horse after his lady had mocked Marphise's companion, the old woman Gabrina. In Marphise by Eugène Delacroix, Pinabello lies on the ground, and his horse gallops off in the distance. The knight's lady, meanwhile, is forced to disrobe and give her fancy clothing to Gabrina. Marphise's horse, undisturbed by the drama, nonchalantly munches on the leaves overhead. | instance of | 5 | [
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[
"Orlando Furioso",
"instance of",
"literary work"
] | Orlando furioso (Italian pronunciation: [orˈlando fuˈrjoːzo, -so]; The Frenzy of Orlando) is an Italian epic poem by Ludovico Ariosto which has exerted a wide influence on later culture. The earliest version appeared in 1516, although the poem was not published in its complete form until 1532. Orlando furioso is a continuation of Matteo Maria Boiardo's unfinished romance Orlando innamorato (Orlando in Love, published posthumously in 1495). In its historical setting and characters, it shares some features with the Old French Chanson de Roland of the eleventh century, which tells of the death of Roland. The story is also a chivalric romance which stemmed from a tradition beginning in the late Middle Ages and continuing in popularity in the 16th century and well into the 17th.
Orlando is the Christian knight known in French (and subsequently English) as Roland. The story takes place against the background of the war between Charlemagne's Christian paladins and the Saracen army that has invaded Europe and is attempting to overthrow the Christian empire. The poem is about war and love and the romantic ideal of chivalry. It mixes realism and fantasy, humor and tragedy. The stage is the entire world, plus a trip to the Moon. The large cast of characters features Christians and Saracens, soldiers and sorcerers, and fantastic creatures including a gigantic sea monster called the Orc and a flying horse called the hippogriff. Many themes are interwoven in its complicated episodic structure, but the most important are the paladin Orlando's unrequited love for the pagan princess Angelica, which drives him mad; the love between the female Christian warrior Bradamante and the Saracen Ruggiero, who are supposed to be the ancestors of Ariosto's patrons, the House of Este of Ferrara; and the war between Christian and Infidel.The poem is divided into forty-six cantos, each containing a variable number of eight-line stanzas in ottava rima (a rhyme scheme of abababcc). Ottava rima had been used in previous Italian romantic epics, including Luigi Pulci's Morgante and Boiardo's Orlando Innamorato. Ariosto's work is 38,736 lines long in total, making it one of the longest poems in European literature.Art
Orlando Furioso has been the inspiration for many works of art, including paintings by Eugène Delacroix, Tiepolo, Ingres, Redon, and a series of illustrations by Gustave Doré.
In his poem Ludovico Ariosto relates how Marphise, the woman warrior, knocks the knight Pinabello off his horse after his lady had mocked Marphise's companion, the old woman Gabrina. In Marphise by Eugène Delacroix, Pinabello lies on the ground, and his horse gallops off in the distance. The knight's lady, meanwhile, is forced to disrobe and give her fancy clothing to Gabrina. Marphise's horse, undisturbed by the drama, nonchalantly munches on the leaves overhead. | instance of | 5 | [
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] | null | null |
[
"La Comédie humaine",
"has part(s)",
"Studies of manners"
] | Structure of La Comédie humaine
Balzac's final plan (1845) of the Comédie Humaine is as follows (projected works are not included; dates are those of initial publication, whether or not the work was initially conceived as part of the Comédie Humaine):Studies of manners (Études de moeurs)
Scenes from private life (Scènes de la vie privée)
At the Sign of the Cat and Racket (La Maison du chat-qui-pelote, 1830)
The Ball at Sceaux (Le Bal de Sceaux, 1830)
Letters of Two Brides (Mémoires de deux jeunes mariées, 1842)
The Purse (La Bourse, 1832)
Modeste Mignon (1844)
A Start in Life (Un début dans la vie, 1845; first published as Le danger des mystifications, 1842)
Albert Savarus (1842)
The Vendetta (La Vendetta, 1830)
A Second Home (Une double famille, 1830)
Domestic Bliss (La Paix du ménage, 1830)
Madame Firmiani (1832)
Study of a Woman (Étude de femme, 1830)
The Imaginary Mistress (La fausse maîtresse, 1842, a.k.a. Paz)
A Daughter of Eve (Une fille d'Ève, 1838–39)
The Message (Le Message, 1832)
La Grande Bretèche (1832)
La Grenadière (1832)
The Deserted Woman (La Femme abandonnée, 1832)
Honorine (1843)
Béatrix (1839)
Gobseck (1830)
A Woman of Thirty (La Femme de trente ans, 1832)
Old Goriot (le Père Goriot, 1835)
Le Colonel Chabert (1844, first published as La transaction, 1832)
The Atheist's Mass (La Messe de l'athée, 1836)
L'Interdiction (1836, a.k.a. The Commission in Lunacy)
A Marriage Contract (Le Contrat de mariage, 1835)
Another Study of a Woman (Autre étude de femme, 1842) | has part(s) | 19 | [
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[
"La Comédie humaine",
"has part(s)",
"Analytical studies"
] | La Comédie humaine (French: [la kɔmedi ymɛn]; English: The Human Comedy) is Honoré de Balzac's 1829–48 multi-volume collection of interlinked novels and stories depicting French society in the period of the Restoration (1815–30) and the July Monarchy (1830–48).
La Comédie humaine consists of 91 finished works (stories, novels, or analytical essays) and 46 unfinished works (some of which exist only as titles). It does not include Balzac's five theatrical plays or his collection of humorous tales: "Les Cent Contes drolatiques" (1832–37).
A pioneer of the modern novel, Balzac aims to describe the totality of reality and is interested in realities hitherto ignored in literature, because they were ugly or vulgar. He shows in its various forms the rise of capitalism and the omnipotence of money, leading to the disappearance of nobility and the dissolution of social ties. The title was chosen in reference to Dante's Divine Comedy. But instead of a theological enterprise, the author wanted to be a sociologist and created a non-Manichean universe, where love and friendship hold a great place, and which highlights the complexity of beings and the deep immorality of a social mechanism where the weak are crushed while the crooked banker and the venal politician triumph.
Gifted with a genius for observation, Balzac created human types that are strikingly true. Some of his characters are so vivid that they have become archetypes, such as Rastignac, the ambitious young provincial, Grandet, the miserly domestic tyrant, or Father Goriot, the icon of fatherhood. He gives an important place to financiers and notaries, but also to the character of Vautrin, the outlaw with multiple identities. His work includes a large proportion of courtesans and grisettes, alongside admirable and angelic women. The importance he gives to these women and their psychology earned him an enthusiastic female readership very early on.
In spite of the opposition of the Church, this work quickly became a printing phenomenon and obtained an immense repercussion in France and in Europe, deeply influencing the genre of the novel. Translated into many languages, it is still published today and has often been adapted for film and television.Characters
Recurring characters
Eugène de Rastignac – student, dandy, financier, politician (appears in 28 works)
Lucien Chardon de Rubempré (the use of "de Rubempré" is contested) – journalist, parvenu
Jacques Collin a.k.a. Abbé Carlos Herrera a.k.a. Vautrin a.k.a. Trompe-la-Mort – a criminal run away from forced labour
Camusot – examining magistrate (The Collection of Antiquities, A Commission in Lunacy, Scenes from a Courtesan's Life; his father also appears in A Distinguished Provincial at Paris)
Blondet, Emile – journalist, man of letters, prefect (The Collection of Antiquities, A Distinguished Provincial at Paris, Scenes from a Courtesan's Life). Compare and contrast with Raoul Nathan.
Raoul Nathan – in 19 works, writer, politician
Daniel d'Arthez
Delphine de Nucingen née Goriot
Roger de Granville
Louis Lambert
la duchesse de Langeais
la comtesse de Mortsauf
Jean-Jacques Bixiou – in 19 works, artist
Joseph Bridau – in 13 works, painter
Marquis de Ronquerolles – in 20 works
la comtesse Hugret de Sérisy – in 20 works
Félix-Amédée de Vandenesse
Horace Bianchon – in 24 works, doctor
des Lupeaulx – public servant
Salon leaders: the Duchesse de Maufrigneuse, the Marquise d'Espard
Dandies: Maxime de Trailles, Henri de Marsay
Courtesans: La Torpille (Esther van Gobseck), Madame du Val-Noble
Financiers: Ferdinand du Tillet, Frédérick de Nucingen, Keller brothers
Actresses: Florine (Sophie Grignault), Coralie
Publishers/Journalists/Critics: Finot, Etienne Lousteau, Felicien Vernou
Money lenders: Jean-Esther van Gobseck, Bidault a.k.a. GigonnetCharacters who appear in several titles but only significantly in one of themBirotteau
Goriot
Claude Vignon
Mademoiselle des Touches (aka Camille Maupin) | has part(s) | 19 | [
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[
"Doctor Faustus (play)",
"language of work or name",
"English"
] | The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust. It was probably written in 1592 or 1593, shortly before Marlowe's death. Two different versions of the play were published in the Jacobean era several years later.Text
Given its source in the Historia von D. Johann Fausten, published as a chapbook in Germany in 1587, and the fact that the earliest known translation of the latter work into English was in 1592, the play was probably written in 1592 or 1593. It may have been entered into the Stationers' Register on 18 December 1592, though the records are confused and appear to indicate a conflict over the rights to the play. A subsequent Stationers' Register entry, dated 7 January 1601, assigns the play to the bookseller Thomas Bushnell, the publisher of the 1604 first edition. Bushnell transferred his rights to the play to John Wright on 13 September 1610. | language of work or name | 125 | [
"language",
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] | null | null |
[
"Doctor Faustus (play)",
"form of creative work",
"play"
] | The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust. It was probably written in 1592 or 1593, shortly before Marlowe's death. Two different versions of the play were published in the Jacobean era several years later. | form of creative work | 126 | [
"artistic creation",
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] | null | null |
[
"Doctor Faustus (play)",
"author",
"Christopher Marlowe"
] | The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust. It was probably written in 1592 or 1593, shortly before Marlowe's death. Two different versions of the play were published in the Jacobean era several years later. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Doctor Faustus (play)",
"genre",
"tragedy"
] | The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust. It was probably written in 1592 or 1593, shortly before Marlowe's death. Two different versions of the play were published in the Jacobean era several years later. | genre | 85 | [
"category",
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] | null | null |
[
"Doctor Faustus (play)",
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"Historia von D. Johann Fausten"
] | Text
Given its source in the Historia von D. Johann Fausten, published as a chapbook in Germany in 1587, and the fact that the earliest known translation of the latter work into English was in 1592, the play was probably written in 1592 or 1593. It may have been entered into the Stationers' Register on 18 December 1592, though the records are confused and appear to indicate a conflict over the rights to the play. A subsequent Stationers' Register entry, dated 7 January 1601, assigns the play to the bookseller Thomas Bushnell, the publisher of the 1604 first edition. Bushnell transferred his rights to the play to John Wright on 13 September 1610. | based on | 133 | [
"derived from",
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] | null | null |
[
"Doctor Faustus (play)",
"instance of",
"literary work"
] | The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust. It was probably written in 1592 or 1593, shortly before Marlowe's death. Two different versions of the play were published in the Jacobean era several years later. | instance of | 5 | [
"type of",
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] | null | null |
[
"Eugene Onegin",
"genre",
"verse novel"
] | Eugene Onegin, A Novel in Verse (pre-reform Russian: Евгеній Онѣгинъ, романъ въ стихахъ; post-reform Russian: Евгений Оне́гин, ромáн в стихáх, tr. Yevgeniy Onegin, roman v stikhakh, IPA: [jɪvˈɡʲenʲɪj ɐˈnʲeɡʲɪn]) is a novel in verse written by Alexander Pushkin. Onegin is considered a classic of Russian literature, and its eponymous protagonist has served as the model for a number of Russian literary heroes (so-called superfluous men). It was published in serial form between 1825 and 1832. The first complete edition was published in 1833, and the currently accepted version is based on the 1837 publication.
Almost the entire work is made up of 389 fourteen-line stanzas (5,446 lines in all) of iambic tetrameter with the unusual rhyme scheme AbAbCCddEffEgg, where the uppercase letters represent feminine rhymes while the lowercase letters represent masculine rhymes. This form has come to be known as the "Onegin stanza" or the "Pushkin sonnet". The innovative rhyme scheme, the natural tone and diction, and the economical transparency of presentation all demonstrate the virtuosity which has been instrumental in proclaiming Pushkin as the undisputed master of Russian poetry.
The story is told by a narrator (a lightly fictionalized version of Pushkin's public image), whose tone is educated, worldly, and intimate. The narrator digresses at times, usually to expand on aspects of this social and intellectual world. This narrative style allows for a development of the characters and emphasizes the drama of the plot despite its relative simplicity. The book is admired for the artfulness of its verse narrative as well as for its exploration of life, death, love, ennui, convention, and passion. | genre | 85 | [
"category",
"style",
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"class"
] | null | null |
[
"Eugene Onegin",
"author",
"Alexander Pushkin"
] | Eugene Onegin, A Novel in Verse (pre-reform Russian: Евгеній Онѣгинъ, романъ въ стихахъ; post-reform Russian: Евгений Оне́гин, ромáн в стихáх, tr. Yevgeniy Onegin, roman v stikhakh, IPA: [jɪvˈɡʲenʲɪj ɐˈnʲeɡʲɪn]) is a novel in verse written by Alexander Pushkin. Onegin is considered a classic of Russian literature, and its eponymous protagonist has served as the model for a number of Russian literary heroes (so-called superfluous men). It was published in serial form between 1825 and 1832. The first complete edition was published in 1833, and the currently accepted version is based on the 1837 publication.
Almost the entire work is made up of 389 fourteen-line stanzas (5,446 lines in all) of iambic tetrameter with the unusual rhyme scheme AbAbCCddEffEgg, where the uppercase letters represent feminine rhymes while the lowercase letters represent masculine rhymes. This form has come to be known as the "Onegin stanza" or the "Pushkin sonnet". The innovative rhyme scheme, the natural tone and diction, and the economical transparency of presentation all demonstrate the virtuosity which has been instrumental in proclaiming Pushkin as the undisputed master of Russian poetry.
The story is told by a narrator (a lightly fictionalized version of Pushkin's public image), whose tone is educated, worldly, and intimate. The narrator digresses at times, usually to expand on aspects of this social and intellectual world. This narrative style allows for a development of the characters and emphasizes the drama of the plot despite its relative simplicity. The book is admired for the artfulness of its verse narrative as well as for its exploration of life, death, love, ennui, convention, and passion. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Eugene Onegin",
"instance of",
"literary work"
] | Eugene Onegin, A Novel in Verse (pre-reform Russian: Евгеній Онѣгинъ, романъ въ стихахъ; post-reform Russian: Евгений Оне́гин, ромáн в стихáх, tr. Yevgeniy Onegin, roman v stikhakh, IPA: [jɪvˈɡʲenʲɪj ɐˈnʲeɡʲɪn]) is a novel in verse written by Alexander Pushkin. Onegin is considered a classic of Russian literature, and its eponymous protagonist has served as the model for a number of Russian literary heroes (so-called superfluous men). It was published in serial form between 1825 and 1832. The first complete edition was published in 1833, and the currently accepted version is based on the 1837 publication.
Almost the entire work is made up of 389 fourteen-line stanzas (5,446 lines in all) of iambic tetrameter with the unusual rhyme scheme AbAbCCddEffEgg, where the uppercase letters represent feminine rhymes while the lowercase letters represent masculine rhymes. This form has come to be known as the "Onegin stanza" or the "Pushkin sonnet". The innovative rhyme scheme, the natural tone and diction, and the economical transparency of presentation all demonstrate the virtuosity which has been instrumental in proclaiming Pushkin as the undisputed master of Russian poetry.
The story is told by a narrator (a lightly fictionalized version of Pushkin's public image), whose tone is educated, worldly, and intimate. The narrator digresses at times, usually to expand on aspects of this social and intellectual world. This narrative style allows for a development of the characters and emphasizes the drama of the plot despite its relative simplicity. The book is admired for the artfulness of its verse narrative as well as for its exploration of life, death, love, ennui, convention, and passion.Major themes
One of the main themes of Eugene Onegin is the relationship between fiction and real life. People are often shaped by art, and the work is packed with allusions to other major literary works.
Another major element is Pushkin's creation of a woman of intelligence and depth in Tatyana, whose vulnerable sincerity and openness on the subject of love has made her the heroine of countless Russian women, despite her apparent naïveté. Pushkin, in the final chapter, fuses his Muse and Tatyana's new 'form' in society after a lengthy description of how she has guided him in his works. | instance of | 5 | [
"type of",
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[
"Eugene Onegin",
"form of creative work",
"novel"
] | Eugene Onegin, A Novel in Verse (pre-reform Russian: Евгеній Онѣгинъ, романъ въ стихахъ; post-reform Russian: Евгений Оне́гин, ромáн в стихáх, tr. Yevgeniy Onegin, roman v stikhakh, IPA: [jɪvˈɡʲenʲɪj ɐˈnʲeɡʲɪn]) is a novel in verse written by Alexander Pushkin. Onegin is considered a classic of Russian literature, and its eponymous protagonist has served as the model for a number of Russian literary heroes (so-called superfluous men). It was published in serial form between 1825 and 1832. The first complete edition was published in 1833, and the currently accepted version is based on the 1837 publication.
Almost the entire work is made up of 389 fourteen-line stanzas (5,446 lines in all) of iambic tetrameter with the unusual rhyme scheme AbAbCCddEffEgg, where the uppercase letters represent feminine rhymes while the lowercase letters represent masculine rhymes. This form has come to be known as the "Onegin stanza" or the "Pushkin sonnet". The innovative rhyme scheme, the natural tone and diction, and the economical transparency of presentation all demonstrate the virtuosity which has been instrumental in proclaiming Pushkin as the undisputed master of Russian poetry.
The story is told by a narrator (a lightly fictionalized version of Pushkin's public image), whose tone is educated, worldly, and intimate. The narrator digresses at times, usually to expand on aspects of this social and intellectual world. This narrative style allows for a development of the characters and emphasizes the drama of the plot despite its relative simplicity. The book is admired for the artfulness of its verse narrative as well as for its exploration of life, death, love, ennui, convention, and passion. | form of creative work | 126 | [
"artistic creation",
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] | null | null |
[
"Eugene Onegin",
"characters",
"Tatyana Larina"
] | Main characters
Eugene Onegin: A dandy from Saint Petersburg, about 26. An arrogant, selfish, and world-weary cynic.
Vladimir Lensky: A young poet, about 18. A very romantic and naïve dreamer.
Tatyana Larina: A shy and quiet, but passionate, landowner's daughter. Pushkin referred to her as aged 17 in a letter to Pyotr Vyazemsky.
Olga Larina: Tatyana's younger sister. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Eugene Onegin (opera)",
"characters",
"Larina"
] | 1936, Vasiliy Nebolsin (conductor), Bolshoi Theatre Orchestra and Chorus, Panteleimon Nortsov (Onegin), Sergei Lemeshev (Lensky), Lavira Zhukovskaya (Tatyana), Bronislava Zlatogorova (Olga), Maria Botienina (Larina), Konkordiya Antarova (Filipyevna), Aleksandr Pirogov (Gremin), I. Kovalenko (Triquet)
1937, Alexander Melik-Pashayev, Bolshoi Theatre Orchestra and Chorus, Panteleimon Nortsov (Onegin), Ivan Kozlovsky (Lensky), Elena Kruglikova (Tatyana), Elizaveta Antonova (Olga), Ludmila Rudnitskaya (Larina), Vera Makarova (Filipyevna), Maxim Mikhailov (Gremin), Sergei Ostrumov (Triquet)
1948, Aleksander Orlov (conductor), Bolshoi Theatre Orchestra and Chorus, Andrey Ivanov (Onegin), Ivan Kozlovsky (Lensky), Yelena Kruglikova (Tatyana), Maria Maksakova (Olga), B. Amborskaya (Larina), Fayina Petrova (Filipyevna), Mark Reyzen (Gremin), I. Kovalenko (Triquet)
1955, Oskar Danon (conductor), Chorus and Orchestra of the National Theatre, Belgrade, Dušan Popović (Onegin), Drago Starc (Lensky), Valerija Heybal (Tatyana), Biserka Cvejić (Olga), Mira Verčević (Larina), Melanija Bugarinović (Filipyevna), Miroslav Čangalović (Gremin), Stepan Andrashevich (Triquet)
1956, Boris Khaikin (conductor), Bolshoi Theatre Orchestra and Chorus, Yevgeniy Belov (Onegin), Sergei Lemeshev (Lensky), Galina Vishnevskaya (Tatyana), Larisa Avdeyeva (Olga), Valentina Petrova (Larina), Yevgeniya Verbitskaya (Filipyevna), Ivan Petrov (Gremin), Andrey Sokolov (Triquet), Igor Mikhaylov (Zaretsky)
1957 Dmitri Mitropoulos (conductor), The Metropolitan Opera, George London (Onegin), Richard Tucker (Lensky), Lucine Amara (Tatiana), Rosalind Elias (Olga), Martha Lipton (Larina), Belén Amparám (Filipyevna), Giorgio Tozzi (Gremin), Alessio De Paolis (Triquet), George Cehanovsky (Zaretsky)
1961, Lovro von Matacic (conductor), Wiener Staatsoper, Dietrich Fischer-Dieskau (Onegin), Anton Dermota (Lensky), Sena Jurinac (Tatyana), Biserca Cvejic (Olga), Hilde Konetzni (Marina), Hilde Rössel-Majdan (Filipyevna), Walter Krempel (Gremin), Peter Klein (Triquet)
1970, Mstislav Rostropovich (conductor), Bolshoi Theatre Orchestra and Chorus, Yuri Mazurok (Onegin), Vladimir Atlantov (Lensky), Galina Vishnevskaya (Tatyana), Tamara Sinyavskaya (Olga), Alexander Ognivtsev (Gremin), Tatiana Tugarinova (Larina), Larisa Avdeyeva (Filipyevna), Vitaly Vlasov (Triquet) Le Chant du Monde
1974, Sir Georg Solti (conductor), Orchestra of The Royal Opera House, Covent Garden and John Alldis Choir, Bernd Weikl (Onegin), Stuart Burrows (Lensky), Teresa Kubiak (Tatyana), Julia Hamari (Olga), Nicolai Ghiaurov (Gremin), Michel Senechal (Triquet) Decca 417 413-2
1979, Mark Ermler (conductor), Bolshoi Theatre Orchestra and Chorus, Yuri Mazurok (Onegin), Vladimir Atlantov (Lensky), Tamara Milashkina (Tatyana), Tamara Sinyavskaya (Olga), Evgeny Nesterenko (Gremin), Tatiana Tugarinova (Larina), Larisa Avdeyeva (Filipyevna), Lev Kuznetsov (Triquet) Melodiya
1986, Vladimir Fedoseyev (conductor), Moscow Radio and TV Symphony Orchestra and Choir, Yuri Mazurok (Onegin), Alexander Fedin (Lensky), Lidiya Chernikh (Tatyana), Tamara Sinyavskaya (Olga), Alexander Vedernikov (Gremin), Yannis Sprogis (Triquet) APC 101.751
1987, James Levine (conductor), Staatskapelle Dresden and Rundfunkchor Leipzig, Sir Thomas Allen (Onegin), Neil Shicoff (Lensky), Mirella Freni (Tatyana), Anne Sofie von Otter (Olga), Rosemarie Lang (Larina), Ruthild Engert (Filipyevna), Paata Burchuladze (Gremin), Michel Senechal (Triquet) DG 423 959-2
1993 Semyon Bychkov (conductor), Orchestre de Paris, Dmitri Hvorostovsky (Onegin), Neil Shicoff (Lensky), Nuccia Focile (Tatyana), Olga Borodina (Olga), Sarah Walker (Larina), Irina Arkhipova (Filipyevna), Alexander Anisimov (Gremin)
1994 Andrew Davis (conductor), London Philharmonic, Wojciech Drabowicz (Onegin), Elena Prokina (Tatyana), Louise Winter (Olga), Yvonne Minton (Madame Larina), Martin Thompson (Lensky), John Fryatt (Monsieur Triquet), Ludmilla Filatova (Filipyevna), Frode Olsen (Gremin), Christopher Thornton-Holmes (Zaretsky) (DVD recording of the Graham Vick production)
2007 Valery Gergiev (conductor), The Metropolitan Opera Orchestra and Chorus, Dmitri Hvorostovsky (Onegin), Ramón Vargas (Lensky), Renee Fleming (Tatyana), Elena Zaremba (Olga), Svetlana Volkova (Larina), Larisa Shevchenko (Filipyevna), Sergei Aleksashkin (Gremin), Jean-Paul Fouchécourt (Triquet), Richard Bernstein (Zaretsky), Keith Miller (A captain), Stage Director: Robert Carsen (DVD recording of the 24 February 2007 live transmission to movie theatres)
2011 Mariss Jansons (conductor), Royal Concertgebouw Orchestra, Bo Skovhus (Onegin), Andrej Dunaev (Lensky), Krassimira Stoyanova (Tatyana), Elena Maximofa (Olga), Olga Savova (Marina), Nina Romanova (Filipyevna), Mikhail Petrenko (Gremin), Guy de Mey (Triquet), Roger Smeets (Zaretsky) Stage Director: Stefan Herheim, Muziektheater (Label: Opus Arte)
2013 Valery Gergiev (conductor), The Metropolitan Opera Orchestra and Chorus, Mariusz Kwiecień (Onegin), Piotr Beczała (Lensky), Anna Netrebko (Tatyana), Oksana Volkova (Olga), Elena Zaremba (Larina), Larissa Diadkova (Filipyevna), Alexei Tanovitsky (Gremin), John Graham-Hall (Triquet), Richard Bernstein (Zaretsky), David Crawford (A captain), Stage Director: Deborah Warner (DVD recording of the 5 October 2013 live transmission to movie theatres)
2013 Robin Ticciati (conductor), Royal Opera House, Covent Garden, Simon Keenlyside (Onegin), Pavol Breslik (Lensky), Krassimira Stoyanova (Tatyana), Elena Maximova (Olga), Diana Montague (Larina), Kathleen Wilkinson (Filipyevna), Peter Rose (Gremin), Christophe Mortagne (Triquet), Jihoon Kim (Zaretsky), Stage Director: Kasper HoltenSung in German: | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Eugene Onegin (opera)",
"characters",
"Tatyana"
] | Act 1
Scene 1: The garden of the Larin country estate
Madame Larina and the nurse Filippyevna are sitting outside in the garden. They can hear Madame Larina's two daughters, Tatyana and her younger sister Olga, singing a love song. Madame Larina begins to reminisce about her own courtship and marriage. A group of peasants enter, and celebrate the harvest with songs and dances. Tatyana and Olga watch. Tatyana has been reading a romantic novel and is absorbed by the story; her carefree sister, on the other hand, wants to join in the celebrations. Madame Larina tells Tatyana that real life is very different from her novels. Filippyevna announces that visitors have arrived: Olga's fiancé Lensky, a young poet, and his friend Eugene Onegin, visiting the area from St Petersburg. The pair are shown in and Lensky introduces Onegin to the Larin family. Onegin is initially surprised that Lensky has chosen the extrovert Olga rather than her more subtle elder sister as his fiancée. Tatyana for her part is immediately and strongly attracted to Onegin. Lensky expresses his delight at seeing Olga and she responds flirtatiously. Onegin tells Tatyana of his boredom in the country and describes the death of his uncle and his subsequent inheritance of a nearby estate. Filippyevna recognizes that Onegin has had a profound effect on Tatyana.
Scene 2: Tatyana's room
Tatyana is dressed for bed. Restless and unable to sleep, she asks her nurse Filippyevna to tell her about her youth and early marriage. Tatyana confesses that she is in love. Left alone, Tatyana pours out her feelings in a letter to Onegin. She tells him that she loves him and believes that she will never feel this way about anyone else, and begs him to understand and help her. She finishes writing the letter at dawn. A shepherd's pipe is heard in the distance. Filippyevna enters the room to wake Tatyana. Tatyana persuades her to send her grandson to deliver the letter to Onegin.
Scene 3: Another part of the estate
Servant girls pick fruit and sing as they work. Tatyana waits anxiously for Onegin's arrival. Onegin enters to see Tatyana and give her his answer to her letter. He explains, not unkindly, that he is not a man who loves easily and is unsuited to marriage. He is unworthy of her love and can only offer her brotherly affection. He warns Tatyana to be less emotionally open in the future. The voices of the servant girls singing are heard again. Tatyana is crushed and unable to reply.Screen versions
In 1958 Lenfilm (USSR) produced a film Eugene Onegin. It was directed by Roman Tikhomirov and starred Vadim Medvedev as Onegin, Ariadna Shengelaya as Tatyana and Igor Ozerov as Lensky. The principal solo parts were performed by notable opera singers of the Bolshoi Theatre. The film was well received by critics and viewers.
In 1988 Decca/Channel 4 (Great Britain) produced a film adaptation of the opera, directed by Petr Weigl. Sir Georg Solti was the conductor, while the cast featured Michal Docolomanský as Onegin and Magdaléna Vášáryová as Tatyana (sung by Teresa Kubiak). | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Eugene Onegin (opera)",
"characters",
"Filippyevna"
] | Act 1
Scene 1: The garden of the Larin country estate
Madame Larina and the nurse Filippyevna are sitting outside in the garden. They can hear Madame Larina's two daughters, Tatyana and her younger sister Olga, singing a love song. Madame Larina begins to reminisce about her own courtship and marriage. A group of peasants enter, and celebrate the harvest with songs and dances. Tatyana and Olga watch. Tatyana has been reading a romantic novel and is absorbed by the story; her carefree sister, on the other hand, wants to join in the celebrations. Madame Larina tells Tatyana that real life is very different from her novels. Filippyevna announces that visitors have arrived: Olga's fiancé Lensky, a young poet, and his friend Eugene Onegin, visiting the area from St Petersburg. The pair are shown in and Lensky introduces Onegin to the Larin family. Onegin is initially surprised that Lensky has chosen the extrovert Olga rather than her more subtle elder sister as his fiancée. Tatyana for her part is immediately and strongly attracted to Onegin. Lensky expresses his delight at seeing Olga and she responds flirtatiously. Onegin tells Tatyana of his boredom in the country and describes the death of his uncle and his subsequent inheritance of a nearby estate. Filippyevna recognizes that Onegin has had a profound effect on Tatyana.
Scene 2: Tatyana's room
Tatyana is dressed for bed. Restless and unable to sleep, she asks her nurse Filippyevna to tell her about her youth and early marriage. Tatyana confesses that she is in love. Left alone, Tatyana pours out her feelings in a letter to Onegin. She tells him that she loves him and believes that she will never feel this way about anyone else, and begs him to understand and help her. She finishes writing the letter at dawn. A shepherd's pipe is heard in the distance. Filippyevna enters the room to wake Tatyana. Tatyana persuades her to send her grandson to deliver the letter to Onegin.
Scene 3: Another part of the estate
Servant girls pick fruit and sing as they work. Tatyana waits anxiously for Onegin's arrival. Onegin enters to see Tatyana and give her his answer to her letter. He explains, not unkindly, that he is not a man who loves easily and is unsuited to marriage. He is unworthy of her love and can only offer her brotherly affection. He warns Tatyana to be less emotionally open in the future. The voices of the servant girls singing are heard again. Tatyana is crushed and unable to reply. | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Eugene Onegin (opera)",
"characters",
"Zaretsky"
] | 1962 Joseph Keilberth (conductor), Bayerische Staatsoper, Hermann Prey (Onegin), Fritz Wunderlich (Lensky), Ingeborg Bremert (Tatyana), Brigitte Fassbaender (Olga), Herta Töpper (Larina), Lillian Benningsen (Filipyevna), Mino Yahia (Gremin), Ferry Gruber (Triquet), Josef Knapp (Zaretsky)Sung in English:1992 Sir Charles Mackerras (conductor), Orchestra and Chorus of Welsh National Opera, Thomas Hampson (Onegin), Neil Rosenshein (Lensky), Dame Kiri Te Kanawa (Tatiana), Patricia Bardon (Olga), Linda Finnie (Larina), Elizabeth Bainbridge (Filipyevna), John Connell (Gremin), Nicolai Gedda (Triquet), Richard Van Allan (Zaretsky/A captain) | characters | 128 | [
"roles",
"protagonists",
"personalities",
"figures",
"casts"
] | null | null |
[
"Eugene Onegin (1911 film)",
"instance of",
"film"
] | Eugene Onegin, (Russian: Евгений Онегин) is a 1911 Russian short film directed by Vasili Goncharov.Plot
The film is based on the 1825-1832 poem Eugene Onegin by Alexander Pushkin.Starring
Lyubov Varyagina as Tatyana
Aleksandra Goncharova as Ol'ga
Pyotr Chardynin as Onegin
Aleksandr Gromov as Lensky
Arseny Bibikov as Gremin
Petr Birjukov
Andrey GromovReferences
External links
Eugene Onegin at IMDb | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Eugene Onegin (1911 film)",
"director",
"Vasily Goncharov"
] | Eugene Onegin, (Russian: Евгений Онегин) is a 1911 Russian short film directed by Vasili Goncharov. | director | 145 | [
"filmmaker",
"movie director",
"film director",
"motion picture director",
"cinema director"
] | null | null |
[
"Dei Sepolcri",
"instance of",
"poem"
] | "Dei Sepolcri" ("Sepulchres") is a poem written by the Italian poet, Ugo Foscolo, in 1806, and published in 1807. It consists of 295 hendecasyllabic verses. The carme (as the author defined it) is dedicated to another poet, Ippolito Pindemonte, with whom Foscolo had been discussing the recent Napoleonic law regarding tombs.
The idea behind the poem can be traced to 1804, when the Napoleonic edict of Saint-Cloud was issued. On September 5, 1806, the edict was applied to Italy. In short, it stated that all burials must take place outside the city walls; that, for democratic reasons, the burial monuments must all be of the same size; and that their inscriptions would be controlled by a special commission. The edict's implementation caused Foscolo to meditate upon the nature and philosophy of death.
Irreligious, Foscolo did not share the view of his fellow poet Pindemonte, who defended the Christian view, as opposed to the new Enlightenment ideas introduced by the French regime. Even so, Foscolo was critical of the decree, mostly for civic reasons; he acknowledges that human beings aspire to transcend death. Tombs, monuments for fallen heroes and virtuous men from the past, may inspire those living today, including artists and poets. He affirmed the value of tombs as memorials to noble souls or bright intellects. Long after the marble monuments are destroyed by time, those memorialized can survive in artworks they have inspired, and can in turn inspire virtue in new generations. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"The Two Noble Kinsmen",
"country of origin",
"England"
] | The Two Noble Kinsmen is a Jacobean tragicomedy, first published in 1634 and attributed jointly to John Fletcher and William Shakespeare. Its plot derives from "The Knight's Tale" in Geoffrey Chaucer's The Canterbury Tales, which had already been dramatised at least twice before. This play is believed to have been William Shakespeare's final play before he retired to Stratford-upon-Avon and died three years later.
Formerly a point of controversy, the dual attribution is now generally accepted by scholarly consensus. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
[
"The Two Noble Kinsmen",
"language of work or name",
"English"
] | The Two Noble Kinsmen is a Jacobean tragicomedy, first published in 1634 and attributed jointly to John Fletcher and William Shakespeare. Its plot derives from "The Knight's Tale" in Geoffrey Chaucer's The Canterbury Tales, which had already been dramatised at least twice before. This play is believed to have been William Shakespeare's final play before he retired to Stratford-upon-Avon and died three years later.
Formerly a point of controversy, the dual attribution is now generally accepted by scholarly consensus. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"The Two Noble Kinsmen",
"form of creative work",
"play"
] | The Two Noble Kinsmen is a Jacobean tragicomedy, first published in 1634 and attributed jointly to John Fletcher and William Shakespeare. Its plot derives from "The Knight's Tale" in Geoffrey Chaucer's The Canterbury Tales, which had already been dramatised at least twice before. This play is believed to have been William Shakespeare's final play before he retired to Stratford-upon-Avon and died three years later.
Formerly a point of controversy, the dual attribution is now generally accepted by scholarly consensus. | form of creative work | 126 | [
"artistic creation",
"creative composition",
"artistic production",
"work of art",
"creative piece"
] | null | null |
[
"The Two Noble Kinsmen",
"based on",
"The Knight's Tale"
] | The Two Noble Kinsmen is a Jacobean tragicomedy, first published in 1634 and attributed jointly to John Fletcher and William Shakespeare. Its plot derives from "The Knight's Tale" in Geoffrey Chaucer's The Canterbury Tales, which had already been dramatised at least twice before. This play is believed to have been William Shakespeare's final play before he retired to Stratford-upon-Avon and died three years later.
Formerly a point of controversy, the dual attribution is now generally accepted by scholarly consensus.Sources
Before the composition of The Two Noble Kinsmen, Chaucer's "Knight's Tale"—itself based on Giovanni Boccaccio's Teseida—had been adapted for the stage twice before, although both versions are now lost. The first was by Richard Edwardes in Palamon and Arcite (1566). This play was commissioned for a one-off performance before Queen Elizabeth in Oxford. It was never published, and it is unlikely to have served as a basis for The Two Noble Kinsmen.
Another play on the topic, the authorship of which is not known, would certainly have been known to Shakespeare and Fletcher. It was performed by the Admiral's Men in September 1594, which had then recently been formed after a split in Shakespeare's own company. Philip Henslowe commissioned the play, which may have influenced Shakespeare's own A Midsummer Night's Dream, which is usually considered to have been written around this time.The comic sub-plot involving the jailer's daughter has no direct source, but is similar to scenes in The Masque of the Inner Temple and Gray's Inn (1613), by Francis Beaumont, from which the performance by the yokels is derived. The Schoolmaster who organises it recalls Rombus in Sir Philip Sidney's one-act play The Lady of May (1579?). In other respects, he resembles Peter Quince in A Midsummer Night's Dream. | based on | 133 | [
"derived from",
"inspired by",
"modeled after",
"constructed from",
"built upon"
] | null | null |
[
"The Two Noble Kinsmen",
"instance of",
"literary work"
] | The Two Noble Kinsmen is a Jacobean tragicomedy, first published in 1634 and attributed jointly to John Fletcher and William Shakespeare. Its plot derives from "The Knight's Tale" in Geoffrey Chaucer's The Canterbury Tales, which had already been dramatised at least twice before. This play is believed to have been William Shakespeare's final play before he retired to Stratford-upon-Avon and died three years later.
Formerly a point of controversy, the dual attribution is now generally accepted by scholarly consensus. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"Vathek",
"language of work or name",
"French"
] | Vathek (alternatively titled Vathek, an Arabian Tale or The History of the Caliph Vathek) is a Gothic novel written by William Beckford. It was composed in French beginning in 1782, and then translated into English by Reverend Samuel Henley in which form it was first published in 1786 without Beckford's name as An Arabian Tale, From an Unpublished Manuscript, claiming to be translated directly from Arabic. The first French edition, titled simply as Vathek, was published in December 1786 (postdated 1787). In the twentieth century some editions include The Episodes of Vathek (Vathek et ses épisodes), three related tales intended by Beckford to be so incorporated, but omitted from the original edition and published separately long after his death.Description
William Beckford wrote Vathek in French in 1782, when he was 21. He often stated that Vathek was written as an emotional response to "the events that happened at Fonthill at Christmas 1781", when he had prepared an elaborate Orientally-inspired entertainment at his lavish country estate with the assistance of renowned painter and set designer Philip James de Loutherbourg. Beckford said that it took him only two to three days and the intervening nights to write the entire book.
Vathek was written during a time when part of European culture was influenced by Orientalism. It is an Arabian tale because of the oriental setting and characters and the depiction of oriental cultures, societies, and myth. Vathek is also a Gothic novel with its emphasis on the supernatural, ghosts, and spirits, as well as the terror it tries to induce in the reader.
The title character is inspired by al-Wathiq (Arabic: الواثق), son of al-Mu'tasim, an Abbasid caliph who reigned in 842–847 (227–232 AH in the Islamic calendar) who had a great thirst for knowledge and became a great patron to scholars and artists. During his reign, a number of revolts broke out. He took an active role in quelling them. He died of fever on 10 August 847.
The narrative of Vathek uses a third person, omniscient, semi-intrusive narrator. The novel, while it may lend itself to be divided into chapters, is one complete manuscript without pause. | language of work or name | 125 | [
"language",
"dialect",
"jargon"
] | null | null |
[
"Vathek",
"author",
"William Beckford"
] | Description
William Beckford wrote Vathek in French in 1782, when he was 21. He often stated that Vathek was written as an emotional response to "the events that happened at Fonthill at Christmas 1781", when he had prepared an elaborate Orientally-inspired entertainment at his lavish country estate with the assistance of renowned painter and set designer Philip James de Loutherbourg. Beckford said that it took him only two to three days and the intervening nights to write the entire book.
Vathek was written during a time when part of European culture was influenced by Orientalism. It is an Arabian tale because of the oriental setting and characters and the depiction of oriental cultures, societies, and myth. Vathek is also a Gothic novel with its emphasis on the supernatural, ghosts, and spirits, as well as the terror it tries to induce in the reader.
The title character is inspired by al-Wathiq (Arabic: الواثق), son of al-Mu'tasim, an Abbasid caliph who reigned in 842–847 (227–232 AH in the Islamic calendar) who had a great thirst for knowledge and became a great patron to scholars and artists. During his reign, a number of revolts broke out. He took an active role in quelling them. He died of fever on 10 August 847.
The narrative of Vathek uses a third person, omniscient, semi-intrusive narrator. The novel, while it may lend itself to be divided into chapters, is one complete manuscript without pause. | author | 124 | [
"writer",
"novelist"
] | null | null |
[
"Vathek",
"genre",
"Oriental fantasy"
] | Plot introduction
Vathek capitalised on the eighteenth (and early nineteenth) century obsession with all things Oriental (see Orientalism), which was inspired by Antoine Galland's translation of The Arabian Nights (itself retranslated, into English, in 1708). Beckford was also influenced by similar works from the French writer Voltaire. His originality lay in combining the popular Oriental elements with the Gothic stylings of Horace Walpole's The Castle of Otranto (1764). The result stands alongside Walpole's novel and Mary Shelley's Frankenstein (1818) in the first rank of early Gothic fiction.Description
William Beckford wrote Vathek in French in 1782, when he was 21. He often stated that Vathek was written as an emotional response to "the events that happened at Fonthill at Christmas 1781", when he had prepared an elaborate Orientally-inspired entertainment at his lavish country estate with the assistance of renowned painter and set designer Philip James de Loutherbourg. Beckford said that it took him only two to three days and the intervening nights to write the entire book.
Vathek was written during a time when part of European culture was influenced by Orientalism. It is an Arabian tale because of the oriental setting and characters and the depiction of oriental cultures, societies, and myth. Vathek is also a Gothic novel with its emphasis on the supernatural, ghosts, and spirits, as well as the terror it tries to induce in the reader.
The title character is inspired by al-Wathiq (Arabic: الواثق), son of al-Mu'tasim, an Abbasid caliph who reigned in 842–847 (227–232 AH in the Islamic calendar) who had a great thirst for knowledge and became a great patron to scholars and artists. During his reign, a number of revolts broke out. He took an active role in quelling them. He died of fever on 10 August 847.
The narrative of Vathek uses a third person, omniscient, semi-intrusive narrator. The novel, while it may lend itself to be divided into chapters, is one complete manuscript without pause. | genre | 85 | [
"category",
"style",
"type",
"kind",
"class"
] | null | null |
[
"Vathek",
"instance of",
"literary work"
] | Plot introduction
Vathek capitalised on the eighteenth (and early nineteenth) century obsession with all things Oriental (see Orientalism), which was inspired by Antoine Galland's translation of The Arabian Nights (itself retranslated, into English, in 1708). Beckford was also influenced by similar works from the French writer Voltaire. His originality lay in combining the popular Oriental elements with the Gothic stylings of Horace Walpole's The Castle of Otranto (1764). The result stands alongside Walpole's novel and Mary Shelley's Frankenstein (1818) in the first rank of early Gothic fiction.Description
William Beckford wrote Vathek in French in 1782, when he was 21. He often stated that Vathek was written as an emotional response to "the events that happened at Fonthill at Christmas 1781", when he had prepared an elaborate Orientally-inspired entertainment at his lavish country estate with the assistance of renowned painter and set designer Philip James de Loutherbourg. Beckford said that it took him only two to three days and the intervening nights to write the entire book.
Vathek was written during a time when part of European culture was influenced by Orientalism. It is an Arabian tale because of the oriental setting and characters and the depiction of oriental cultures, societies, and myth. Vathek is also a Gothic novel with its emphasis on the supernatural, ghosts, and spirits, as well as the terror it tries to induce in the reader.
The title character is inspired by al-Wathiq (Arabic: الواثق), son of al-Mu'tasim, an Abbasid caliph who reigned in 842–847 (227–232 AH in the Islamic calendar) who had a great thirst for knowledge and became a great patron to scholars and artists. During his reign, a number of revolts broke out. He took an active role in quelling them. He died of fever on 10 August 847.
The narrative of Vathek uses a third person, omniscient, semi-intrusive narrator. The novel, while it may lend itself to be divided into chapters, is one complete manuscript without pause. | instance of | 5 | [
"type of",
"example of",
"manifestation of",
"representation of"
] | null | null |
[
"The Adventures of Anton",
"country of origin",
"Poland"
] | The Adventures of Anton (Polish:Przygody pana Antoniego) is a 1913 Polish silent comedy film directed by Wiktor Biegański and starring Antoni Siemaszko and Wanda Jarszewska. It is likely that the film and Biegański's previous production were never put on general release. | country of origin | 80 | [
"place of origin",
"homeland",
"native land",
"motherland",
"fatherland"
] | null | null |
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