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Musée d'Orsay

The Musée d'Orsay (Orsay Museum) is a museum in Paris, France, on the Left Bank of the Seine. It is housed in the former Gare d'Orsay, a Beaux-Arts railway station built between 1898 and 1900. The museum holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography. It houses the largest collection of Impressionist and post-Impressionist masterpieces in the world, by painters including Berthe Morisot, Claude Monet, Édouard Manet, Degas, Renoir, Cézanne, Seurat, Sisley, Gauguin, and van Gogh. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986. It is one of the largest art museums in Europe.

In 2022 the museum had 3.2 million visitors, up from 1.4 million in 2021. It was the sixth-most-visited art museum in the world in 2022, and second-most-visited art museum in France, after the Louvre.

History
The museum building was originally a railway station, Gare d'Orsay, located next to the Seine river. Built on the site of the Palais d'Orsay, its central location was convenient for commuting travelers. The station was constructed for the Chemin de Fer de Paris à Orléans and finished in time for the 1900 Exposition Universelle to the design of three architects: Lucien Magne, Émile Bénard and Victor Laloux. The Gare d'Orsay design was considered to be an "anachronism". Since trains were such a modern innovation for the time architects and designers alike expected a building that would embody the modern traits of this new mode of transportation. Gare d'Orsay instead gained inspiration from the past for the concept of the facade to the point of masking the cutting-edge technology within. It was the terminus for the railways of southwestern France until 1939.

By 1939 the station's short platforms had become unsuitable for the longer trains that had come to be used for mainline services. After 1939 it was used for suburban services and part of it became a mailing centre during World War II. It was then used as a set for several films, such as Kafka's The Trial adapted by Orson Welles, and as a haven for the Renaud–Barrault Theatre Company and for auctioneers, while the Hôtel Drouot was being rebuilt.

In the 1970s work began on building a 1 km-long tunnel under the station as part of the creation of line C of the Réseau Express Régional with a new station under the old station. In 1970, permission was granted to demolish the station but Jacques Duhamel, Minister for Cultural Affairs, ruled against plans to build a new hotel in its stead. The station was put on the supplementary list of Historic Monuments and finally listed in 1978. The suggestion to turn the station into a museum came from the Directorate of the Museum of France. The idea was to build a museum that would bridge the gap between the Louvre and the National Museum of Modern Art at the Georges Pompidou Centre. The plan was accepted by Georges Pompidou and a study was commissioned in 1974. In 1978, a competition was organized to design the new museum. ACT Architecture, a team of three young architects (Pierre Colboc, Renaud Bardon and Jean-Paul Philippon), were awarded the contract which involved creating 20,000 m2 of new floorspace on four floors. The construction work was carried out by Bouygues. In 1981, the Italian architect Gae Aulenti was chosen to design the interior including the internal arrangement, decoration, furniture and fittings of the museum. The arrangement of the galleries she designed was elaborate and inhabited the three main levels that are under the museum's barrel vault atrium. On the main level of the building, a central nave was formed by the surrounding stone structures that were previously the building's train platforms. The central nave's structures break up the immense sculpture and gallery spaces and provided more organized units for viewing the art. In July 1986, the museum was ready to receive its exhibits. It took 6 months to install the 2,000 or so paintings, 600 sculptures and other works. The museum officially opened in December 1986 by then-president François Mitterrand.

At any time about 3,000 art pieces are on display within Musée d'Orsay. Within the museum is a 1:100 scale model created by Richard Peduzzi of an aerial view of Paris Opera and surrounding area encapsulated underneath glass flooring that viewers walk on as they proceed through the museum. This installation allows the viewers to understand the city planning of Paris at the time, which has made this attraction one of the most popular within the museum.

Another exhibit within the museum is "A Passion for France: The Marlene and Spencer Hays Collection". This collection was donated by an Marlene and Spencer Hays, art collectors who reside in Texas and have been collecting art since the early 1970s. In 2016 the museum complied to keeping the collection of about 600 art pieces in one collection rather than dispersed throughout other exhibits. Since World War II, France has not been donated a collection of foreign art this large. The collection favors mostly post-impressionist works. Artists featured in this collection are Bonnard, Vuillard, Maurice Denis, Odilon Redon, Aristide Maillol, André Derain, Edgar Degas, and Jean-Baptiste-Camille Corot. To make room for the art that has been donated, the Musée d'Orsay is scheduled to undergo a radical transformation over the next decade, 2020 on. This remodel is funded in part by an anonymous US patron who donated €20 million to a building project known as Orsay Grand Ouvert (Orsay Wide Open). The gift was made via the American Friends of the Musées d'Orsay et de l'Orangerie. The projected completion date is 2026, implementing new galleries and education opportunities to endorse a conductive experience.

The square next to the museum displays six bronze allegorical sculptural groups in a row, originally produced for the Exposition Universelle:

 * South America by Aimé Millet
 * Asia by Alexandre Falguière
 * Oceania by Mathurin Moreau
 * Europe by Alexandre Schoenewerk
 * North America by Ernest-Eugène Hiolle
 * Africa by Eugène Delaplanche

Paintings: major painters and works represented

 * Frédéric Bazille – 6 paintings including The Family Reunion, The Improvised Field Hospital, The Pink Dress, Studio in Rue de La Condamine
 * Cecilia Beaux – Sita and Sarita (Jeune Fille au Chat)
 * Rosa Bonheur - Ploughing in the Nivernais
 * Pierre Bonnard – 60 paintings including The Chequered Blouse
 * Eugène Boudin – 33 paintings including Trouville Beach
 * William-Adolphe Bouguereau – 12 paintings including The Birth of Venus, La Danse, Dante and Virgil
 * Louise Catherine Breslau - 4 paintings including Portrait of Henry Davison
 * Alexandre Cabanel – The Birth of Venus, The Death of Francesca da Rimini and Paolo Malatesta
 * Gustave Caillebotte – 7 paintings including The Floor Scrapers, Vue de toits (Effet de neige)
 * Eugène Carrière – 86 paintings including The Painting Family, The Sick Child, Intimacy
 * Mary Cassatt – 1 painting
 * Paul Cézanne – 56 paintings including Apples and Oranges, The Hanged Man's House, The Card Players, Portrait of Gustave Geffroy
 * Théodore Chassériau – 5 paintings (the main collection of his paintings is in the Louvre)
 * Pierre Puvis de Chavannes – Young Girls by the Seaside, The Young Mother also known as Charity, View on the Château de Versailles and the Orangerie
 * Gustave Courbet – 48 paintings including The Artist's Studio, A Burial at Ornans, Young Man Sitting, L'Origine du monde, Le ruisseau noir, Still-Life with Fruit, The Wave, The Wounded Man
 * Jean-Baptiste-Camille Corot – 32 paintings (the main collection of his paintings is in the Louvre) including A Morning. The Dance of the Nymphs
 * Henri-Edmond Cross – 10 paintings including The Cypresses in Cagnes
 * Leon Dabo – 1 paintings Moore Park
 * Henri-Camille Danger - Fleau!
 * Charles-François Daubigny - The Harvest
 * Honoré Daumier – 8 paintings including The Laundress
 * Edgar Degas – 43 works including paintings such as The Parade, also known as Race Horses in front of the Tribunes, The Bellelli Family, The Tub, Portrait of Édouard Manet, Portraits, At the Stock Exchange, L'Absinthe, and pastels like Café-Concert at Les Ambassadeurs and Les Choristes
 * Alfred Dehodencq - Boabdil's Farewell to Granada
 * Eugène Delacroix – 5 paintings (the main collection of his paintings is in the Louvre)
 * Maurice Denis – Portrait of the Artist Aged Eighteen, Princess Maleine's Minuet or Marthe Playing the Piano, The Green Trees or Beech Trees in Kerduel, October Night (panel for the decoration of a girl's room), Homage to Cézanne
 * André Derain – Charing Cross Bridge, also known as Westminster Bridge
 * Édouard Detaille – The Dream
 * Albert Edelfelt - Pasteur's portrait by Edelfelt
 * Henri Fantin-Latour - Around the Piano, A Studio at Les Batignolles
 * Paul Gauguin – 24 paintings including Arearea, Tahitian Women on the Beach
 * Jean-Léon Gérôme – Portrait of the Baroness Nathaniel de Rothschild, Reception of Condé in Versailles, La Comtesse de Keller, The Cock Fight, Jerusalem
 * Vincent van Gogh – 24 paintings including L'Arlésienne, Bedroom in Arles, Self Portrait, portrait of his friend Eugène Boch, The Siesta, The Church at Auvers, View from the Chevet, The Italian Woman, Starry Night, Portrait of Dr. Gachet, Doctor Gachet's Garden in Auvers, Imperial Fritillaries in a Copper Vase, Saint-Paul Asylum, Saint-Rémy, Self Portrait
 * Armand Guillaumin – 44 paintings
 * Ferdinand Hodler – Der Holzfäller (The Woodcutter)
 * Jean Auguste Dominique Ingres – 4 paintings (the main collection of his paintings is in the Louvre) including The Source
 * Eugène Jansson – Proletarian Lodgings
 * Johan Barthold Jongkind – 9 paintings
 * Gustav Klimt – 1 painting
 * Maximilien Luce - The Quai Saint-Michel and Notre-Dame
 * Édouard Manet – 34 paintings including Olympia, The Balcony, Berthe Morisot With a Bouquet of Violets, The Luncheon on the Grass, The Fifer, The Reading
 * Henri Matisse - Luxe, Calme et Volupté
 * Gustave Doré - Master of Imagination collection
 * Jean-François Millet – 27 paintings including The Angelus, Spring, The Gleaners
 * Piet Mondrian – 2 paintings
 * Claude Monet – 86 paintings (another main collection of his paintings is in the Musée Marmottan Monet) including The Saint-Lazare Station, The Rue Montorgueil in Paris. Celebration of 30 June 1878, Wind Effect, Series of The Poplars, Rouen Cathedral. Harmony in Blue, Blue Water Lilies, Le Déjeuner sur l'herbe, Haystacks, The Magpie, Women in the Garden
 * Gustave Moreau – 8 paintings including L'Apparition
 * Berthe Morisot – 9 paintings
 * Henri-Paul Motte - The Fiancée of Belus
 * Edvard Munch – 1 painting
 * Henri Ottmann - The Luxembourg Station in Brussels
 * Camille Pissarro – 46 paintings including White Frost
 * Odilon Redon – 106 paintings including Caliban
 * Henri Regnault - Summary Execution under the Moorish Kings of Granada
 * Pierre-Auguste Renoir – 81 paintings including Bal au moulin de la Galette, Montmartre, The Bathers, Dance in the City, Dance in the Country, Frédéric Bazille at his Easel, Girls at the Piano, The Swing
 * Henri Rousseau – 3 paintings
 * Théo van Rysselberghe – 6 paintings
 * Paul Sérusier – The Talisman, the Aven River at the Bois d'Amour
 * Georges Seurat – 19 paintings including The Circus
 * Paul Signac – 16 paintings including Women at the Well
 * Alfred Sisley – 46 paintings including Inondation at Port-Marly
 * Henri de Toulouse-Lautrec – 18 paintings including La Toilette
 * Félix Vallotton – Misia at Her Dressing Table
 * Édouard Vuillard – 70 paintings
 * Fonds_Ganne_-_La_Nature_se_dévoilant,_Luxembourg,_Paris_(g0911).jpg, 1899 ]]Porte de l'enfer Musée d'Orsay 01.jpg, The Gates of Hell ]]James McNeill Whistler – 3 paintings including Arrangement in Grey and Black: The Artist's Mother, also known as Whistler's Mother

Sculptures
Sculpture was in high demand in the 19th century and became widely used as a way to display a person's social and political standings. The style and ideology represented by many of the sculptures were out of fashion by the mid-20th century, and the sculptures were put into storage and no longer displayed. It wasn't until the conversion of the Orsay railway station into the Musée d'Orsay museum in the 1970s that many sculptures from the 19th century were placed on exhibit again. The substantial nave inside the new museum offered a perfect area for the display of sculptures. During the grand opening in December 1986 of the museum, 1,200 sculptures were present, brought in from collections such as the Louvre, state loans, and Musée du Luxembourg. The museum also obtained more than 200 sculptures before opening though donations of art connoisseurs, the lineage of artists, and people in support of the Musée d'Orsay.

Since the grand opening in 1986 the museum has collected works from exchanges that other museums or institutions once showcased such as Nature Unveiling Herself Before Science by Louis-Ernest Barrias that was initially commissioned for Conservatoire des Arts et Métiers, as well as The Thinker and The Gates of Hell by Auguste Rodin. The museum also purchases specific works to fill gaps and finish the collections already in the museum such as one of the panels of Be Mysterious by Paul Gauguin, the full set of Honoré Daumier's Célébrités du Juste Milieu, and Maturity by Camille Claudel. There are currently more than 2,200 sculptures in the Musée d'Orsay.

Major sculptors represented in the collection include Alfred Barye, François Rude, Jules Cavelier, Jean-Baptiste Carpeaux, Émile-Coriolan Guillemin, Auguste Rodin, Paul Gauguin, Camille Claudel, Sarah Bernhardt, Aristide Maillol and Honoré Daumier.

Other works
It also holds collections of:
 * architecture and decorative arts
 * photography

Management
The Directors have been:
 * Françoise Cachin: 1986 – 1994
 * Henri Loyrette: 1994 – 2001
 * Serge Lemoine: 2001 – 2008
 * Guy Cogeval: March 2008 – March 2017
 * Laurence des Cars: March 2017 – September 2021
 * Christophe Leribault: October 2021 – present

title: Musée d'Orsay


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Beaulieu, Hampshire

Beaulieu is a village located on the southeastern edge of the New Forest in Hampshire, England. It is home to both Palace House and the National Motor Museum. In 2020, it was named the fifth most beautiful village in the UK and Ireland by Condé Nast Traveler.

History
The name "Beaulieu" comes from the French beau lieu, which means "beautiful place". It is derived from Beaulieu Abbey, which was populated by 30 monks sent from the French abbey of Cîteaux, the mother house of the Cistercian order. The medieval Latin name of the monastery was Bellus Locus Regis ("the beautiful place of the king") or monasterium Belli loci Regis.

During the Second World War, the Beaulieu Estate of Lord Montagu in the New Forest was the site of group B schools for agents operated by the Special Operations Executive (SOE) between 1941 and 1945. One of the trainers was Kim Philby, who was later found to be spying for the Soviets. In 2005, a special exhibition was installed at the Beaulieu Estate, with a video showing photographs from that era as well as voice recordings of former SOE trainers and agents.

The village has remained largely unspoilt by industrial progress and is a favourite stop for tourists in the area, as well as birdwatchers seeking local species like the Dartford warbler, European honey buzzard, and Eurasian hobby.

Transport
The nearest railway station is Beaulieu Road, about 4 mi away on the London-Weymouth main line. While the station previously had infrequent service, 20 trains a day now stop there. Wilts & Dorset bus service 112 serves the village on its way between Hythe and Lymington. In the summer, Beaulieu is served by the New Forest Tour, an hourly open-top bus service.

Palace House
Palace House, not to be confused with the Palace of Beaulieu in Essex, overlooks the village from across the Beaulieu River and began in 1204 as the gatehouse to Beaulieu Abbey. It has been the ancestral home of a branch of the Montagu family since 1538, when it was seized from the monks and sold during Henry VIII's Dissolution of the Monasteries.

The house was extended in the 16th century, and again in the 19th century; today, it is a fine example of a Gothic country house. Although still home to the current Lord and Lady Montagu, parts of the house and gardens are open to the public every day. It is a member of the Treasure Houses of England consortium.

Culture
The village is home to the National Motor Museum, opened in 1952 as the Montagu Motor Museum before becoming a charitable trust in 1972. It contains an important collection of historic motor vehicles, including four world land speed record holders: Sir Malcolm Campbell's 1920 Sunbeam 350hp, his son Donald Campbell's 1961 Bluebird-Proteus CN7, the 1927 Sunbeam 1000hp (the first motor car to reach 200 mph), and the 1929 Irving-Napier Special 'Golden Arrow'. The latter two were both driven by Major Henry Segrave.

In the late 1950s, Beaulieu was the surprising location for one of Britain's first experiments in pop festival culture, with the annual Beaulieu Jazz Festival, which quickly expanded to become a significant event in the burgeoning jazz and youth pop music scene of the period. Camping overnight, a rural invasion, eccentric dress, wild music and sometimes wilder behaviour; these now familiar features of pop festivals happened at Beaulieu each summer, culminating in the so-called 'Battle of Beaulieu' at the 1960 festival, when rival gangs of modern and traditional jazz fans indulged in a spot of what sociologists went on to call 'subcultural contestation'.

In popular culture
Palace House was featured in the comedy-drama film Mrs Palfrey at the Claremont (2005).

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Beaulieu, Hampshire


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User talk:Andrewthorne

Hello there, welcome to the 'pedia! I hope you like the place and decide to stay. If you need any questions answered about the project then check out Help or drop me a line. Cheers! --maveric149

Hello there. Welcome to the Wikipedia. Good to have another musician around! -- Tarquin 00:40 Oct 1, 2002 (UTC)

Another hello and welcome from me. It is indeed good to have another musician, especially one taking an interest in the composer article, which I've been doing my best to not look at for weeks now. Just one thing - when you made an edit to composer just now, your browser seems to have turned all the accented characters into question marks. Not sure how that happened, or if there's a fix for it. I'll change them into unicode for now, I think. Otherwise, keep up the good work, and have fun! --Camembert 00:45 Oct 1, 2002 (UTC)

title: User talk:Andrewthorne


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User:Bobn

I intend to contribute more to the Ulysses page as time permits.

Oops. I lost my account details, so I'm now at User:Rnewson...

title: User:Bobn


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Arms and the Man

Arms and the Man is a comedy by George Bernard Shaw, whose title comes from the opening words of Virgil's Aeneid, in Latin: Arma virumque cano ("Of arms and the man I sing").

The play was first produced on 21 April 1894 at the Avenue Theatre and published in 1898 as part of Shaw's Plays Pleasant volume, which also included Candida, You Never Can Tell, and The Man of Destiny. Arms and the Man was one of Shaw's first commercial successes. He was called on to stage after the curtain, where he received enthusiastic applause. Amidst the cheers, one audience member booed. Shaw replied, in characteristic fashion, "My dear fellow, I quite agree with you, but what are we two against so many?"

Arms and the Man is a humorous play that shows the futility of war and deals comedically with the hypocrisies of human nature.

Plot summary
The play takes place during the 1885 Serbo-Bulgarian War. Its heroine, Raina Petkoff, is a young Bulgarian woman engaged to Sergius Saranoff, one of the heroes of that war, whom she idolizes. On the night after the Battle of Slivnitza, a Swiss mercenary soldier in the Serbian army, Captain Bluntschli, climbs in through her bedroom balcony window and threatens to shoot Raina if she gives the alarm. When Russian and Bulgarian troops burst in to search the house for him, Raina hides him so that he would not be killed. He asks her to remember that "nine soldiers out of ten are born fools." In a conversation after the soldiers have left, Bluntschli's pragmatic and cynical attitude towards war and soldiering shocks the idealistic Raina, especially after he admits that he uses his ammunition pouches to carry chocolates rather than cartridges for his pistol. When the search dies down, Raina and her mother Catherine sneak Bluntschli out of the house, disguised in one of Raina's father's old coats.

The war ends, and the Bulgarians and Serbians sign a peace treaty. Raina's father (Major Paul Petkoff) and Sergius both return home. Raina begins to find Sergius both foolhardy and tiresome, but she hides it. Sergius also finds Raina's romantic ideals tiresome, and flirts with Raina's insolent servant girl Louka (a soubrette role), who is engaged to Nicola, the Petkoffs' manservant. Bluntschli unexpectedly returns so that he can give back the old coat, but also so that he can see Raina. Raina and Catherine are shocked, especially when Major Petkoff and Sergius reveal that they have met Bluntschli before and invite him to stay for lunch (and to help them figure out how to send the troops home).

Left alone with Bluntschli, Raina realizes that he sees through her romantic posturing, but that he respects her as a woman, as Sergius does not. She reveals that she left a photograph of herself in the pocket of the coat, inscribed "To my chocolate-cream soldier", but Bluntschli says that he did not find it and that it must still be in the coat pocket. Bluntschli gets a telegram informing him of his father's death: he must now take over the family business, several luxury hotels in Switzerland.

Louka tells Sergius that Raina protected Bluntschli when he burst into her room and that Raina is really in love with him. Sergius challenges Bluntschli to a duel, but Bluntschli avoids fighting and Sergius and Raina break off their engagement, with some relief on both sides. Major Petkoff discovers the photograph in the pocket of his old coat; Raina and Bluntschli try to remove it before he finds it again, but Petkoff is determined to learn the truth and claims that the "chocolate-cream soldier" is Sergius. After Bluntschli reveals the whole story to Major Petkoff, Sergius proposes marriage to Louka (to Major Petkoff and Catherine's horror); Nicola quietly and gallantly lets Sergius have her, and Bluntschli, recognising Nicola's dedication and ability, offers him a job as hotel manager.

While Raina is now unattached, Bluntschli protests that—being 34 and believing she is 17—he is too old for her. On learning that she is actually 23, he immediately proposes marriage and proves his wealth and position by listing his inheritance from the telegram. Raina, realizing the hollowness of her romantic ideals, protests that she would prefer her poor "chocolate-cream soldier" to this wealthy businessman. Bluntschli says that he is still the same person, and the play ends with Raina proclaiming her love for him and Bluntschli, with Swiss precision, clears up the major's troop movement problems and informs everyone that he will return to be married to Raina exactly two weeks from that day.

Critical reception
George Orwell said that Arms and the Man was written when Shaw was at the height of his powers as a dramatist. "It is probably the wittiest play he ever wrote, the most flawless technically, and in spite of being a very light comedy, the most telling." His other plays of the period, equally well written, are about issues no longer controversial. For example, the theme of Mrs. Warren's Profession, which so shocked audiences at the time, was that the causes of prostitution are mainly economic, today a common opinion, and the play Widowers' Houses was an attack on slum landlords, who to many are now held in such low esteem that the matter is hardly controversial.

Subsequent productions

 * The first Broadway production opened on 17 September 1894 at New York City's Herald Square Theatre. Since then there have been six Broadway revivals, two of which are listed below.
 * The most prestigious London revival was directed by John Burrell for The Old Vic Company at the New Theatre, which opened on 5 September 1944, starring Ralph Richardson (Bluntschli), Margaret Leighton (Raina Petkoff), Joyce Redman (Louka), and Laurence Olivier (Major Sergius Saranoff). "Olivier thought Sergius a humbug, a buffoon, a blackguard, a coward, 'a bloody awful part' until Tyrone Guthrie said he would never succeed in the role until he learned to love Sergius. Olivier, spurred and moustachioed, was high camp": Robert Tanitch.
 * A revival production ran at New York City's Arena Theatre from 19 October 1950 to 21 January 1951, for a total of 108 performances. The cast included Lee Grant as Raina, Francis Lederer as Bluntschli and Sam Wanamaker as Sergius.
 * Marlon Brando's final stage appearance was in Arms and the Man in 1953. He gathered friends who were fellow actors into a company for a summer stock production. He chose to play Sergius while William Redfield starred as Bluntschli. The show was produced on the college circuit as well in the 1950s.
 * Carroll Baker, following her enormous success in Baby Doll, toured in the play in the summer of 1957.
 * The play was produced in 1982 at the Stratford Shakespeare Festival, with Brian Bedford as Bluntschli and Len Cariou as Sergius.
 * The Studio Arena Theater in Buffalo, New York, put on a production of Arms and the Man in 1983 with Kelsey Grammer as Sergius.
 * A Channel 4 television production in 1983 starring Richard Briers as Captain Bluntschli, Peter Egan as Major Sergius Saranoff, Alice Krige as Raina and Anna Nygh as Louka.
 * In 1985 John Malkovich directed a revival production at New York City's Circle in the Square Theatre starring Kevin Kline as Bluntschli (later replaced by Malkovich after Kline's departure), Glenne Headly as Raina and Raul Julia as Sergius. The production ran from 30 May to 1 September 1985, for a total of 109 performances.
 * The BBC produced a second made-for-TV version in 1989, directed by James Cellan Jones, starring Helena Bonham Carter as Raina, Pip Torrens as Bluntschli, Patrick Ryecart as Sergius and Patsy Kensit as Louka.
 * The 1991 production by Channel Theatre Company opened the Malvern Festival before touring the UK. Directed by Philip Dart it featured Sebastian Abineri, Steven Pinner, Juliette Kaplan, Charles Stapley, Mary Woodvine, Andrew Wheaton, Susan Gott and Colin Atkins.
 * In 2011 the play was presented by the Guthrie Theater in Minneapolis, Minnesota; The Seattle Public Theater; and the Constellation Theatre Company in Washington, D.C.
 * In the summer of 2013, Odyssey Theatre in Ottawa, Ontario, Canada performed a masked performance of this play.
 * The Shaw Festival at Niagara-on-the-Lake, Ontario, has performed the play a number of times: in 1967, 1976, 1986, 1994, 2006 and 2014, the last directed by Morris Panych.
 * The play opened at the American Shakespeare Center's Blackfriars Playhouse in Staunton, Virginia, on 29 April 2016 and ran until 11 June.
 * In 2023, the play is produced Off-Broadway in New York City at Theatre Row, by Gingold Theatrical Group, and directed by David Staller.

Adaptations

 * When Shaw gave the rights to adapt the play into what became the operetta The Chocolate Soldier (1908) with music by Oscar Straus, he provided three conditions: none of Shaw's dialogue nor any of his character's names could be used, the libretto must be advertised as a parody of Shaw's work, and Shaw would accept no monetary compensation. Nonetheless, Shaw's original plot, and with it the central message of the play, remained more or less untouched. Shaw despised the result, calling it "a putrid opéra bouffe in the worst taste of 1860", but grew to regret not accepting payment when, despite his opinion of the work, it became a lucrative international success.
 * When Shaw heard, in 1921, that Franz Lehár wanted to set his play Pygmalion to music, he sent word to Vienna that Lehár be instructed that he could not touch Pygmalion without infringing Shaw's copyright and that Shaw had "no intention of allowing the history of The Chocolate Soldier to be repeated." Only after Shaw's death was Pygmalion eventually adapted by Lerner and Loewe as My Fair Lady (1956).
 * A 1932 British film adaptation (now believed lost) was directed by Cecil Lewis. It starred Barry Jones as Bluntschli and Anne Grey as Raina.
 * A filmed version of Arms and the Man in German entitled Helden (Heroes) starring O. W. Fischer and Liselotte Pulver was runner up for the Academy Award for Best Foreign Language Film in 1958.
 * An audio version was produced by the BBC in 1975 starring Ralph Richardson as Captain Bluntschli, John Gielgud as Major Sergius Saranoff, Vanessa Redgrave as Raina and Judi Dench as Louka.
 * A second BBC radio production was produced in 1984 and broadcast on BBC Radio 7 in February 2009 starring Andrew Sachs as Captain Bluntschli, Jackie Smith-Wood as Raina and Gary Bond as Major Saranoff.
 * A third BBC Radio production was broadcast on BBC Radio 3 on 21 March 2010 starring Rory Kinnear as Captain Bluntschli, Lydia Leonard as Raina and Tom Mison as Major Saranoff. This production was produced by Nicolas Soames and directed by David Timson.
 * An audio version was produced in 1999 by the CBC starring Simon Bradbury as Captain Bluntschli, Elizabeth Brown as Raina and Andrew Gillies as Major Saranoff.
 * Another audio version was produced in 2006 by the L.A. Theatre Works starring Jeremy Sisto as Captain Bluntschli, Anne Heche as Raina and Teri Garr as Catherine.
 * A musical by Udo Jürgens, Helden, Helden, also based on Shaw's play, premiered at the Theater an der Wien, Vienna, Austria in 1973.

Pejorative military use of the term "chocolate soldier"
The chocolate-cream soldier of the play has inspired a pejorative military use of the term. In Israel, soldiers use the term "chocolate soldier" (Hayal Shel Shokolad, חייל של שוקולד) to describe a soft soldier who is unable to fight well. Similarly, members of the Australian Citizens Military Force were derided by the regular army as "chokos" or chocolate soldiers, the implication being that they were not real soldiers.

title: Arms and the Man


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Lucan

Marcus Annaeus Lucanus (3 November AD 39 – 30 April AD 65), better known in English as Lucan, was a Roman poet, born in Corduba, Hispania Baetica (present-day Córdoba, Spain). He is regarded as one of the outstanding figures of the Imperial Latin period, known in particular for his epic Pharsalia. His youth and speed of composition set him apart from other poets.

Life
Three brief ancient accounts allow for the reconstruction of a modest biography – the earliest attributed to Suetonius, another to an otherwise unknown Vacca, and the third anonymous and undated – along with references in Martial, Cassius Dio, Tacitus's Annals, and one of Statius's Silvae. Lucan was the son of Marcus Annaeus Mela and grandson of Seneca the Elder; he grew up under the tutelage of his uncle Seneca the Younger. Born into a wealthy family, he studied rhetoric at Athens and was probably provided with a philosophical and Stoic education by his uncle. His wife was Polla Argentaria, who is said to have assisted him with his Pharsalia.

He found success under Nero, became one of the emperor's close friends and was rewarded with a quaestorship in advance of the legal age. In AD 60, he won a prize for extemporizing Orpheus and Laudes Neronis at the quinquennial Neronia, and was again rewarded when the emperor appointed him to the augurate. During this time he circulated the first three books of his epic poem Pharsalia (labelled De Bello civili in the manuscripts), which told the story of the civil war between Julius Caesar and Pompey.

At some point, a feud began between Nero and Lucan. Two very different accounts of the events have survived that both trivialize the feud. According to Tacitus, Nero became jealous of Lucan and forbade him to publish his poems. According to Suetonius, Nero disrupted a public reading by Lucan, by leaving and calling a meeting of the senate, and Lucan responded by writing insulting poems about Nero.

Other works, though, point to a more serious basis to the feud. Works by the grammarian Vacca and the poet Statius may support the claim that Lucan wrote insulting poems about Nero. Vacca mentions that one of Lucan's works was entitled De Incendio Urbis (On the Burning of the City). Statius's ode to Lucan mentions that Lucan described how the "unspeakable flames of the criminal tyrant roamed the heights of Remus." Additionally, the later books of Pharsalia are anti-Imperial and pro-Republic. This criticism of Nero and office of the Emperor may have been the true cause of the ban.

Lucan later joined the conspiracy of Gaius Calpurnius Piso against Nero. The conspiracy was discovered and he was obliged, at the age of 25, to commit suicide by opening a vein, but not before incriminating his mother, among others, in the hopes of a pardon. According to Tacitus, as Lucan bled to death, "(he) recalled some poetry he had composed in which he had told the story of a wounded soldier dying a similar kind of death and he recited the very lines. These were his last words." An alternative interpretation of events is that his death was not by suicide, but was an execution carried out at Nero's command.

His father was involved in the proscription, but his mother escaped. Statius's poem about Lucan was addressed to his widow, Polla Argentaria, upon the occasion of his birthday during the reign of Domitian (Silvae, ii.7, the Genethliacon Lucani).

Works
According to Vacca and Statius, Lucan's works included:

Surviving work:
 * Pharsalia or De Bello Civili (On the Civil War), on the wars between Julius Caesar and Pompey

Often attributed to him (but to others as well):
 * Laus Pisonis (Praise of Piso), a panegyric of a member of the Piso family

Lost works:
 * Catachthonion
 * Iliacon from the Trojan cycle
 * Epigrammata
 * Adlocutio ad Pollam
 * Silvae
 * Saturnalia
 * Medea
 * Salticae Fabulae
 * Laudes Neronis, a praise of Nero
 * Orpheus
 * Prosa oratio in Octavium Sagittam
 * Epistulae ex Campania
 * De Incendio Urbis, on the Roman fire of 64, perhaps accusing Nero of arson

title: Lucan


text:
User:G from B

Hi, I'm Guy from Belgium and I joined Wikipedia in May 2002.

I find the idea of creating an encyclopedia with so many contributors with different interests and backgrounds fascinating and challenging. My main personal fields of interest are Australia, geography, national parks, travelling, Flanders/Belgium and Dutch (my mother tongue). So I guess you'll mainly see me contributing to and writing about these subjects.

Lately I have been contributing more to the Dutch Wikipedia (where you can find me too) than to this one, but I'd like to balance that more evenly.

I have introduced a proposal for a WikiProject Protected Areas. If you're interested in it I'd appreciate to know what you think of it.

For the moment I'm mainly working on the WikiProject Protected Areas (more specifically the Australian PA's):
 * Protected areas of Australia
 * Protected areas of the Australian Capital Territory
 * Protected areas of New South Wales (Australia)
 * Protected areas of the Northern Territory (Australia)
 * Protected areas of Queensland (Australia)
 * Protected areas of South Australia
 * Protected areas of Tasmania (Australia)
 * Protected areas of Victoria (Australia)
 * Protected areas of Western Australia

Last update: October 14, 2002

User:G_from_B/Sandbox

title: User:G from B


text:
Greibach normal form

In formal language theory, a context-free grammar is in Greibach normal form (GNF) if the right-hand sides of all production rules start with a terminal symbol, optionally followed by some variables. A non-strict form allows one exception to this format restriction for allowing the empty word (epsilon, ε) to be a member of the described language. The normal form was established by Sheila Greibach and it bears her name.

More precisely, a context-free grammar is in Greibach normal form, if all production rules are of the form:
 * $$A \to a A_1 A_2 \cdots A_n$$

where $$A$$ is a nonterminal symbol, $$a$$ is a terminal symbol, and $$A_1 A_2 \ldots A_n$$ is a (possibly empty) sequence of nonterminal symbols.

Observe that the grammar does not have left recursions.

Every context-free grammar can be transformed into an equivalent grammar in Greibach normal form. Various constructions exist. Some do not permit the second form of rule and cannot transform context-free grammars that can generate the empty word. For one such construction the size of the constructed grammar is O(n4) in the general case and O(n3) if no derivation of the original grammar consists of a single nonterminal symbol, where n is the size of the original grammar. This conversion can be used to prove that every context-free language can be accepted by a real-time (non-deterministic) pushdown automaton, i.e., the automaton reads a letter from its input every step.

Given a grammar in GNF and a derivable string in the grammar with length n, any top-down parser will halt at depth n.

title: Greibach normal form


text:
CYK algorithm

In computer science, the Cocke–Younger–Kasami algorithm (alternatively called CYK, or CKY) is a parsing algorithm for context-free grammars published by Itiroo Sakai in 1961. The algorithm is named after some of its rediscoverers: John Cocke, Daniel Younger, Tadao Kasami, and Jacob T. Schwartz. It employs bottom-up parsing and dynamic programming.

The standard version of CYK operates only on context-free grammars given in Chomsky normal form (CNF). However any context-free grammar may be algorithmically transformed into a CNF grammar expressing the same language.

The importance of the CYK algorithm stems from its high efficiency in certain situations. Using big O notation, the worst case running time of CYK is $$\mathcal{O}\left( n^3 \cdot \left| G \right| \right)$$, where $$n$$ is the length of the parsed string and $$\left| G \right|$$ is the size of the CNF grammar $$G$$. This makes it one of the most efficient parsing algorithms in terms of worst-case asymptotic complexity, although other algorithms exist with better average running time in many practical scenarios.

Standard form
The dynamic programming algorithm requires the context-free grammar to be rendered into Chomsky normal form (CNF), because it tests for possibilities to split the current sequence into two smaller sequences. Any context-free grammar that does not generate the empty string can be represented in CNF using only production rules of the forms $$A\rightarrow \alpha$$, $$A\rightarrow B C$$, and $$S\to \varepsilon$$ where $$S$$ is the start symbol.

As pseudocode
The algorithm in pseudocode is as follows:

let the input be a string I consisting of n characters: a1 ... an. let the grammar contain r nonterminal symbols R1 ... Rr, with start symbol R1. let P[n,n,r] be an array of booleans. Initialize all elements of P to false. let back[n,n,r] be an array of lists of backpointing triples. Initialize all elements of back to the empty list. for each s = 1 to n for each unit production Rv → as        set P[1,s,v] = true for each l = 2 to n -- Length of span for each s = 1 to n-l+1 -- Start of span for each p = 1 to l-1 -- Partition of span for each production Ra   → Rb Rc                 if P[p,s,b] and P[l-p,s+p,c] then set P[l,s,a] = true, append  to back[l,s,a] if P[n,1,1] is true then I is member of language return back -- by retracing the steps through back, one can easily construct all possible parse trees of the string. else return "not a member of language"

Probabilistic CYK (for finding the most probable parse)
Allows to recover the most probable parse given the probabilities of all productions.

let the input be a string I consisting of n characters: a1 ... an. let the grammar contain r nonterminal symbols R1 ... Rr, with start symbol R1. let P[n,n,r] be an array of real numbers. Initialize all elements of P to zero. let back[n,n,r] be an array of backpointing triples. for each s = 1 to n for each unit production Rv →as    set P[1,s,v] = Pr(Rv →as) for each l = 2 to n -- Length of span for each s = 1 to n-l+1 -- Start of span for each p = 1 to l-1 -- Partition of span for each production Ra → Rb Rc        prob_splitting = Pr(Ra →Rb Rc) * P[p,s,b] * P[l-p,s+p,c] if prob_splitting > P[l,s,a] then set P[l,s,a] = prob_splitting set back[l,s,a] =  if P[n,1,1] > 0 then find the parse tree by retracing through back return the parse tree else return "not a member of language"

As prose
In informal terms, this algorithm considers every possible substring of the input string and sets $$P[l,s,v]$$ to be true if the substring of length $$l$$ starting from $$s$$ can be generated from the nonterminal $$R_v$$. Once it has considered substrings of length 1, it goes on to substrings of length 2, and so on. For substrings of length 2 and greater, it considers every possible partition of the substring into two parts, and checks to see if there is some production $$A \to B \; C$$ such that $$B$$ matches the first part and $$C$$ matches the second part. If so, it records $$A$$ as matching the whole substring. Once this process is completed, the input string is generated by the grammar if the substring containing the entire input string is matched by the start symbol.

Example
This is an example grammar:

Now the sentence she eats a fish with a fork is analyzed using the CYK algorithm. In the following table, in $$P[i,j,k]$$, $i$ is the number of the row (starting at the bottom at 1), and $j$ is the number of the column (starting at the left at 1).

For readability, the CYK table for P is represented here as a 2-dimensional matrix M containing a set of non-terminal symbols, such that $R_{k}$ is in $M[i,j]$ if, and only if, $P[i,j,k]$. In the above example, since a start symbol S is in $M[7,1]$, the sentence can be generated by the grammar.

Generating a parse tree
The above algorithm is a recognizer that will only determine if a sentence is in the language. It is simple to extend it into a parser that also constructs a parse tree, by storing parse tree nodes as elements of the array, instead of the boolean 1. The node is linked to the array elements that were used to produce it, so as to build the tree structure. Only one such node in each array element is needed if only one parse tree is to be produced. However, if all parse trees of an ambiguous sentence are to be kept, it is necessary to store in the array element a list of all the ways the corresponding node can be obtained in the parsing process. This is sometimes done with a second table B[n,n,r] of so-called backpointers. The end result is then a shared-forest of possible parse trees, where common trees parts are factored between the various parses. This shared forest can conveniently be read as an ambiguous grammar generating only the sentence parsed, but with the same ambiguity as the original grammar, and the same parse trees up to a very simple renaming of non-terminals, as shown by.

Parsing non-CNF context-free grammars
As pointed out by, the drawback of all known transformations into Chomsky normal form is that they can lead to an undesirable bloat in grammar size. The size of a grammar is the sum of the sizes of its production rules, where the size of a rule is one plus the length of its right-hand side. Using $$g$$ to denote the size of the original grammar, the size blow-up in the worst case may range from $$g^2$$ to $$2^{2 g}$$, depending on the transformation algorithm used. For the use in teaching, Lange and Leiß propose a slight generalization of the CYK algorithm, "without compromising efficiency of the algorithm, clarity of its presentation, or simplicity of proofs".

Parsing weighted context-free grammars
It is also possible to extend the CYK algorithm to parse strings using weighted and stochastic context-free grammars. Weights (probabilities) are then stored in the table P instead of booleans, so P[i,j,A] will contain the minimum weight (maximum probability) that the substring from i to j can be derived from A. Further extensions of the algorithm allow all parses of a string to be enumerated from lowest to highest weight (highest to lowest probability).

Numerical stability
When the probabilistic CYK algorithm is applied to a long string, the splitting probability can become very small due to multiplying many probabilities together. This can be dealt with by summing log-probability instead of multiplying probabilities.

Valiant's algorithm
The worst case running time of CYK is $$\Theta(n^3 \cdot |G|)$$, where n is the length of the parsed string and |G| is the size of the CNF grammar G. This makes it one of the most efficient algorithms for recognizing general context-free languages in practice. gave an extension of the CYK algorithm. His algorithm computes the same parsing table as the CYK algorithm; yet he showed that algorithms for efficient multiplication of matrices with 0-1-entries can be utilized for performing this computation.

Using the Coppersmith–Winograd algorithm for multiplying these matrices, this gives an asymptotic worst-case running time of $$O(n^{2.38} \cdot |G|)$$. However, the constant term hidden by the Big O Notation is so large that the Coppersmith–Winograd algorithm is only worthwhile for matrices that are too large to handle on present-day computers, and this approach requires subtraction and so is only suitable for recognition. The dependence on efficient matrix multiplication cannot be avoided altogether: has proved that any parser for context-free grammars working in time $$O(n^{3-\varepsilon} \cdot |G|)$$ can be effectively converted into an algorithm computing the product of $$(n \times n)$$-matrices with 0-1-entries in time $$O(n^{3 - \varepsilon/3})$$, and this was extended by Abboud et al. to apply to a constant-size grammar.

title: CYK algorithm