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Georges-Eugène Haussmann

Georges-Eugène Haussmann, commonly known as Baron Haussmann (27 March 1809 – 11 January 1891), was a French official who served as prefect of Seine (1853–1870), chosen by Emperor Napoleon III to carry out a massive urban renewal programme of new boulevards, parks and public works in Paris commonly referred to as Haussmann's renovation of Paris.

Critics forced his resignation for extravagance, but his vision of the city still dominates central Paris.

Origins and early career
Haussmann was born on 27 March 1809, at 53 Rue du Faubourg-du-Roule, in the Beaujon neighbourhood of Paris, the son of Nicolas-Valentin Haussmann and of Ève-Marie-Henriette-Caroline Dentzel, both of German families. His paternal grandfather Nicolas Haussmann was a deputy of the Legislative Assembly and National Convention, an administrator of the department of Seine-et-Oise and a commissioner to the army. His maternal grandfather was a general and a deputy of the National Convention: Georges Frédéric Dentzel, a baron of Napoleon's First Empire.

He began his schooling at the Collège Henri-IV and at the Lycée Condorcet in Paris, and then began to study law. At the same time, he studied music as a student at the Paris Conservatory, as he was a talented musician. Haussmann joined his father as an insurgent in the July Revolution of 1830, which deposed the Bourbon king Charles X in favor of his cousin, Louis Philippe, Duke of Orléans.

He was married on 17 October 1838 in Bordeaux to Octavie de Laharpe. They had two daughters: Henriette, who married the banker Camille Dollfus in 1860, and Valentine, who married Vicomte Maurice Pernéty, the chief of staff of his department, in 1865. Valentine divorced Pernéty in 1891. She then married Georges Renouard (1843–1897).

On 21 May 1831, Haussmann began his career in public administration; he was named the secretary-general of the prefecture of the Department of Vienne at Poitiers; then, on 15 June 1832, he became the deputy prefect of Yssingeaux. Despite proving himself as a hard worker and able representative of the government, his arrogance, dictatorial manner, and habit of impeding his superiors led to his being continually passed over for promotion to prefect. He was posted as deputy prefect to the Lot-et-Garonne Department at Nérac beginning on 9 October 1832; the Ariège Department at Saint-Girons on 19 February 1840; and the Gironde Department at Blaye on 23 November 1841.

Only after the 1848 Revolution swept away the July Monarchy, establishing the Second Republic in its place, did Haussmann's fortunes change. Louis-Napoleon Bonaparte, the nephew of Napoleon Bonaparte, became the first elected president of France in 1848. Haussmann travelled to Paris in January 1849 to meet the Minister of the Interior and the new president. He was deemed to be a loyal holdover from the civil service of the July Monarchy, and shortly after their meeting Louis Napoléon granted Haussmann a promotion to prefect of the Var Department at Draguignan. He became prefect of the Yonne Department in 1850, and in 1851 was appointed as prefect of the Gironde out of Bordeaux.

In 1850, Louis Napoléon started an ambitious project to connect the Louvre to the Hôtel de Ville in Paris by extending the Rue de Rivoli and create a new park, the Bois de Boulogne, on the outskirts of the city, but he was exasperated by the slow progress made by the incumbent prefect of the Seine, Jean-Jacques Berger. Louis-Napoleon was highly popular, but he was blocked from running for re-election by the constitution of the Second French Republic. While he had a majority of the votes in the legislature at his disposal, he did not have the two-thirds majority needed to change the constitution. At the end of December 1851, he staged a coup d'état, and in 1852 declared himself Emperor of the French under the title Napoleon III. A plebiscite in November 1852 overwhelmingly approved Napoleon's assumption of the throne, and he soon began searching for a new prefect of the Seine to carry out his Paris reconstruction program.

The emperor's minister of the interior, Victor de Persigny, interviewed the prefects of Rouen, Lille, Lyon, Marseille and Bordeaux for the Paris post. In his memoirs, he described his interview with Haussmann:

"'It was Monsieur Haussmann who impressed me the most. It was a strange thing, but it was less his talents and his remarkable intelligence that appealed to me, but the defects in his character. I had in front of me one of the most extraordinary men of our time; big, strong, vigorous, energetic, and at the same time clever and devious, with a spirit full of resources. This audacious man wasn't afraid to show who he was. ... He told me all of his accomplishments during his administrative career, leaving out nothing; he could have talked for six hours without a break, since it was his favourite subject, himself. I wasn't at all displeased. ... It seemed to me that he was exactly the man I needed to fight against the ideas and prejudices of a whole school of economics, against devious people and skeptics coming from the Stock Market, against those who were not very scrupulous about their methods; he was just the man. Whereas a gentleman of the most elevated spirit, cleverness, with the most straight and noble character, would inevitably fail, this vigorous athlete ... full of audacity and skill, capable of opposing expedients with better expedients, traps with more clever traps, would certainly succeed. I told him about the Paris works and offered to put him in charge.'"

Persigny sent him to Napoleon III with the recommendation that he was exactly the man needed to carry out his renewal plans for Paris. Napoleon made him prefect of the Seine on 22 June 1853, and on 29 June, the emperor gave him the mission of making the city healthier, less congested and grander. Haussmann held this post until 1870.

Rebuilding of Paris
Napoleon III and Haussmann launched a series of enormous public works projects in Paris, hiring tens of thousands of workers to improve the sanitation, water supply and traffic circulation of the city. Napoleon III installed a huge map of Paris in his office, marked with coloured lines where he wanted new boulevards to be. To a degree the boulevard system was planned as a mechanism for the easy deployment of troops and artillery, but its main purpose was to help relieve traffic congestion in a dense city and interconnect its landmark buildings. He and Haussmann met almost every day to discuss the projects and overcome the enormous obstacles and opposition they faced as they built the new Paris.

The population of Paris had doubled since 1815, with no increase in its area. To accommodate the growing population and those who would be forced from the centre by the new boulevards and squares Napoleon III planned to build, he issued a decree annexing eleven surrounding communes, and increasing the number of arrondissements from twelve to twenty, which enlarged the city to its modern boundaries.

For the nearly two decades of Napoleon III's reign, and for a decade afterwards, most of Paris was an enormous construction site. To bring fresh water to the city, his hydraulic engineer, Eugène Belgrand, built a new aqueduct to bring clean water from the Vanne River in Champagne, and a new huge reservoir near the future Parc Montsouris. These two works increased the water supply of Paris from 87,000 to 400,000 cubic metres of water a day. He laid hundreds of kilometres of pipes to distribute the water throughout the city, and built a second network, using the less-clean water from the Ourq and the Seine, to wash the streets and water the new park and gardens. He completely rebuilt the Paris sewers, and installed miles of pipes to distribute gas for thousands of new streetlights along the Paris streets.

Beginning in 1854, in the centre of the city, Haussmann's workers tore down hundreds of old buildings and cut eighty kilometres of new avenues, connecting the central points of the city. Buildings along these avenues were required to be the same height and in a similar style, and to be faced with cream-coloured stone, creating the uniform look of Paris boulevards. Victor Hugo mentioned that it was hardly possible to distinguish what the house in front of you was for: theatre, shop or library. Haussmann managed to rebuild the city in 17 years. "On his own estimation the new boulevards and open spaces displaced 350,000 people; ... by 1870 one-fifth of the streets in central Paris were his creation; he had spent ... 2.5 billion francs on the city; ... one in five Parisian workers was employed in the building trade". To connect the city with the rest of France, Napoleon III built two new railroad stations: the Gare de Lyon (1855) and the Gare du Nord (1864). He completed Les Halles, the great iron and glass produce market in the centre of the city, and built a new municipal hospital, the Hôtel-Dieu, in the place of crumbling medieval buildings on the Ile de la Cité. The signature architectural landmark was the Paris Opera, the largest theatre in the world, designed by Charles Garnier, crowning the center of Napoleon III's new Paris. When the Empress Eugenie saw the model of the opera house, and asked the architect what the style was, Garnier said simply, "Napoleon the Third."

Napoleon III also wanted to build new parks and gardens for the recreation and relaxation of the Parisians, particularly those in the new neighbourhoods of the expanding city.

Napoleon III's new parks were inspired by his memories of the parks in London, especially Hyde Park, where he had strolled and promenaded in a carriage while in exile but he wanted to build on a much larger scale. Working with Haussmann and Adolphe Alphand, the engineer who headed the new Service of Promenades and Plantations, he laid out a plan for four major parks at the cardinal points of the compass around the city. Thousands of workers and gardeners began to dig lakes, build cascades, plant lawns, flowerbeds, trees, and construct chalets and grottoes. Napoleon III created the Bois de Boulogne (1852–58) to the west of Paris: the Bois de Vincennes (1860–65) to the east; the Parc des Buttes Chaumont (1865–67) to the north, and Parc Montsouris (1865–78) to the south.

In addition to building the four large parks, Haussmann had the city's older parks, including Parc Monceau, formerly owned by the Orleans family, and the Jardin du Luxembourg, refurbished and replanted. He created twenty small parks and gardens in the neighbourhoods, as miniature versions of his large parks. Alphand termed these small parks "green and flowering salons." The intention of Napoleon's plan was to have one park in each of the eighty neighbourhoods of Paris, so no one was more than 10 minutes walk from a park. The parks were an immediate success with all classes of Parisians.

"Baron Haussmann"
To thank Haussmann for his work, Napoleon III proposed in 1857 to make Haussmann a member of the French Senate and to give him an honorary title, as he had done for some of his generals. Haussmann asked for the title of baron, which, as he said in his memoirs, had been the title of his maternal grandfather, Georges Frédéric, Baron Dentzel, a general under Napoleon I, of whom Haussmann was the only living male descendant. According to his memoirs, he joked that he might consider the title aqueduc (a pun on the French words for 'duke' and 'aqueduct') but that no such title existed. This use of baron, however, was not officially sanctioned, and he remained, legally, Monsieur Haussmann.

Downfall
During the first half of the reign of Napoleon III, the French legislature had little real power; all decisions were made by the Emperor. Beginning in 1860, however, Napoleon decided to liberalise the Empire and give legislators power. The members of the opposition in the parliament increasingly aimed their criticism of Napoleon III at Haussmann, criticising his spending and high-handed attitude toward the parliament.

The cost of the reconstruction projects was also rising rapidly. In December 1858 the Council of State ruled that a property owner whose land was expropriated could retain the land that was not specifically needed for the street, greatly increasing the cost of expropriation. Property owners also became much more clever in claiming higher payments for their buildings, often by creating sham shops and businesses within their buildings. The cost of expropriations jumped from 70 million francs for the first projects to about 230 million francs for the second wave of projects. In 1858, the Cour des Comptes, which oversaw the finances of the Empire, ruled that the Caisses des Grands Travaux was operating illegally by making "disguised loans" to private companies. The court ruled that such loans had to be approved by the parliament. The parliament was asked to approve a loan of 250 millions francs in 1865, and another 260 million francs in 1869. The members of the opposition were particularly outraged when in 1866 he took away part of the Luxembourg to make room for the new avenue between the Luxembourg Gardens and the Observatory, and destroyed the old garden nursery which lay between rue Auguste Comte, rue d'Assas and the avenue de l'Observatoire. When the Emperor and Empress attended a performance at the Odeon Theater, near the Luxembourg gardens, members of the audience shouted "Dismiss Haussmann!" and jeered the Emperor. Nonetheless, the Emperor stood by Haussmann.

One of the leaders of the parliamentary opposition to Napoleon, Jules Ferry, ridiculed the accounting practices of Haussmann as Les Comptes fantastiques de Haussmann, or "The fantastic accounts of Haussmann", in 1867 (a play on words of "Les Contes Fantastiques de Hoffmann", The Fantastical Tales of Hoffmann). The republican opposition to Napoleon III won many parliamentary seats in the 1869 elections, and increased its criticism of Haussmann. Napoleon III gave in to the criticism and named an opposition leader and fierce critic of Haussmann, Emile Ollivier, as his new prime minister. Haussmann was invited to resign. Haussmann refused to resign, and was relieved of his duties by the Emperor. Six months later, during the Franco-German War, Napoleon III was captured by the Germans, and the Empire was overthrown.

In his memoires, Haussmann had this comment on his dismissal: "In the eyes of the Parisians, who like routine in things but are changeable when it comes to people, I committed two great wrongs; over the course of seventeen years I disturbed their daily habits by turning Paris upside down, and they had to look at the same face of the Prefect in the Hotel de Ville. These were two unforgivable complaints."

After the fall of Napoleon III, Haussmann spent about a year abroad, but he re-entered public life in 1877, when he became Bonapartist deputy for Ajaccio. His later years were occupied with the preparation of his Mémoires (three volumes, 1890–1893).

Death
Haussmann died in Paris on 11 January 1891 at age 81 and was buried in Père Lachaise Cemetery. His wife, Louise-Octavie de la Harpe, had died just eighteen days earlier. At the time of their deaths, they had resided in an apartment at 12 rue Boissy d'Anglas, near the Place de la Concorde. The will transferred their estate to the family of their only surviving daughter, Valentine Haussmann.

Legacy
Haussmann's plan for Paris inspired the urban planning and creation of similar boulevards, squares and parks in Cairo, Buenos Aires, Brussels, Rome, Vienna, Stockholm, Madrid, and Barcelona. After the Paris International Exposition of 1867, William I, the King of Prussia, carried back to Berlin a large map showing Haussmann's projects, which influenced the future planning of that city. His work also inspired the City Beautiful Movement in the United States. Frederick Law Olmsted, the designer of Central Park in New York, visited the Bois de Boulogne eight times during his 1859 study trip to Europe, and was also influenced by the innovations of the Parc des Buttes Chaumont. The American architect Daniel Burnham borrowed liberally from Haussmann's plan and incorporated the diagonal street designs in his 1909 Plan of Chicago.

Haussmann had been made senator in 1857, member of the Academy of Fine Arts in 1867, and grand cross of the Legion of Honour in 1862. His name is preserved in the Boulevard Haussmann.

Financing the reconstruction of Paris
The reconstruction of the centre of Paris was the largest such public works project ever undertaken in Europe; never before had a major city been completely rebuilt when it was still intact; London, Rome, Copenhagen and Lisbon had been rebuilt after major fires or earthquakes. Napoleon III began his grand projects when he was prince-president, when the government had a full treasury. In his plan of 1851 he proposed to extend the Rue de Rivoli to connect the Louvre with the Hôtel de Ville; to build a wide new avenue, the Boulevard de Strasbourg, on a north-south axis; and to complete the central produce market, Les Halles, long unfinished. He approached the Parliament and received authorisation to borrow fifty million francs. However, the Emperor's ambitions were much greater; he also wanted to finish the building of the Louvre and to create an enormous new park, the Bois de Boulogne, to the west of the city. His prefect of the Seine, Berger, protested that the city did not have the money. At this point, Napoleon dismissed Berger and hired Haussmann, and Haussmann looked for a better way to finance his projects.

Napoleon III was especially anxious to finish the extension of rue de Rivoli from the Louvre to the Hotel de Ville, before the opening of the Paris Universal Exposition of 1855. Napoleon III demanded the construction of a new luxury hotel, to house his imperial guests during the Exposition. Napoleon III and Haussmann turned for funding to two Parisian bankers, Emile Pereire and Isaac Pereire, who had created a bank called Crédit Mobilier.

In December 1854, with no time to lose before the opening of the exposition, the Pereire brothers created a new company to construct the street and the hotel. They sold 240,000 shares for one hundred francs each, with 106,665 shares purchased by Credit Mobilier, 42,220 by the Pereire brothers, and the rest to private investors. At Napoleon's request, new laws had been passed in 1850 and 1851 making it easier for the city to expropriate private land for public purposes. They also allowed the city to expropriate, in the public interest, not only land for new streets, but all of the building sites on both sides of the new streets, an asset of enormous value. The government expropriated the land, with buildings, that it needed to build the new street and hotel; the owners were paid a price set by an arbitration board. The government then in turn sold the land and buildings to the company established by the Pereire brothers, which tore down the old buildings, constructed a new street, sidewalks and a new square, the Place du Palais Royale; built new buildings along the new street, and sold them or rented them to new owners. They constructed the Hotel du Louvre, one of the largest buildings in the city and one of the first modern luxury hotels in Paris. The company also built rows of luxury shops under a covered arcade along the Rue de Rivoli and around the hotel, which they rented to shopkeepers. Construction began immediately. Three thousand workers laboured both day and night for two years to complete the street and hotel, which were finished in time for the Exposition. This was the basic method adopted by Haussmann to finance the reconstruction of Paris; the government expropriated the old buildings, compensated the owners, and private companies built the new streets and buildings, following the standards set by Haussmann. The private companies were often paid for the construction work they did with city land, which they could then develop and sell. In 1854 the Parliament approved another loan of sixty million francs, but Haussmann needed far more for his future projects. On 14 November 1858, Napoleon and Haussmann created the Caisse des travaux de la Ville, specifically to finance the reconstruction projects. It borrowed money at a higher rate of interest than regular city bonds, and used the money to pay private companies, such as that of Pereire brothers, to rebuild the city. "It was a great relief for the city's finances," Haussmann wrote later in his Memoirs "which allowed the city to carry out several grand operations at the same time, with rapid execution, in short more economically." It also functioned entirely independently of the parliament, which greatly irritated the members of parliament.

Criticism of the renovation
Haussmann spent 2.5 billion francs on rebuilding Paris, a sum that staggered his critics. Jules Ferry and other political rivals of Napoleon alleged that Haussmann had recklessly squandered money, and planned poorly. They further alleged he had falsified accounts. While Napoleon had hired Haussmann, the political attacks were so intense that he forced Haussmann to become a scapegoat, hoping his resignation would satisfy the bourgeois parties which had become increasingly angered during the economic depression of the late 1860s.

Haussmann's plans, with their radical redevelopment, coincided with a time of intense political activity in Paris. Many Parisians were troubled by the destruction of "old roots". Historian Robert Herbert says that "the impressionist movement depicted this loss of connection in such paintings as Manet's A Bar at the Folies-Bergère." The subject of the painting is talking to a man, seen in the mirror behind her, but seems disengaged. According to Herbert, this is a symptom of living in Paris at this time: the citizens became detached from one another. "The continuous destruction of physical Paris led to a destruction of social Paris as well." The poet Charles Baudelaire witnessed these changes and wrote the poem "The Swan" in response. The poem is a lament for, and critique of the destruction of the medieval city in the name of "progress":

Old Paris is gone (no human heart changes half so fast as a city's face) ... There used to be a poultry market here, and one cold morning ... I saw a swan that had broken out of its cage, webbed feet clumsy on the cobblestones, white feathers dragging through uneven ruts, and obstinately pecking at the drains ... Paris changes ... but in sadness like mine nothing stirs—new buildings, old neighbourhoods turn to allegory, and memories weigh more than stone.

Haussmann was also criticized for the great cost of his project. Napoleon III deposed Haussmann on 5 January 1870 in order to improve his own flagging popularity. And Haussmann was a favourite target of the Situationist's critique; besides pointing out the repressive aims that were achieved by Haussmann's urbanism, Guy Debord and his friends (who considered urbanism to be a "state science" or inherently "capitalist" science) also underlined that he nicely separated leisure areas from work places, thus announcing modern functionalism, as illustrated by Le Corbusier's precise zone tripartition (one zone for circulation, another one for accommodations, and the last one for labour).

Some of the contemporary critics of Haussmann softened their views over time. Jules Simon was an ardent republican who had refused to take an oath to Napoleon III, and had been a fierce critic of Haussmann in parliament but in 1882, he wrote of Haussmann in the Gaulois: "He tried to make Paris a magnificent city, and he succeeded completely.  When he took Paris in hand and managed our affairs, rue Saint-Honore and rue Saint-Antoine were still the largest streets in the city.   We had no other promenades than the Grands Boulevards and the Tuileries; the Champs-Élysées was most of the time a sewer; the Bois-de-Boulogne was at the end of the world.  We were lacking water, markets, light, in those far-off times, which are only thirty years past.   He demolished neighbourhoods- one could say, entire cities.  They cried that he would create a plague; he let us cry and, on the contrary, through his intelligent piercing of streets, he gave us air, health and life. Here he created a street; there he created an avenue or a boulevard; here a Place, a Square; a Promenade. Out of emptiness he made the Champs-Élysées, the Bois de Boulogne, the Bois de Vincennes. He introduced, into his beautiful capital, trees and flowers, and populated it with statues."

The debate about the military function of Haussmann's boulevards
Some critics and historians in the 20th century, notably Lewis Mumford, argued that the real purpose of Haussmann's boulevards was to make it easier for the army to crush popular uprisings. According to these critics, the wide boulevards gave the army greater mobility, a wider range of fire for their cannon, and made it harder to block streets with barricades. They argued that the boulevards built by Haussmann allowed the French army to easily suppress the Paris Commune in 1871.

Other historians disputed this argument; they noted that while Haussmann himself sometimes mentioned the military advantages of the boulevards when seeking funding for his projects, it was never the main purpose. Their main purpose, according to Napoleon III and Haussmann, was to improve traffic circulation, provide space and light and views of the city landmarks, and to beautify the city.

Haussmann himself did not deny the military value of the wider streets. In his Memoires, he wrote that his new boulevard Sebastopol resulted in the "gutting of old Paris, of the quarter of riots and barricades." He admitted he sometimes used this argument with the parliament to justify the high cost of his projects, arguing that they were for national defense and should be paid for, at least partially, by the state. He wrote: "But, as for me, I who was the promoter of these additions made to original project, I declare that I never thought in the least, in adding them, of their greater or lesser strategic value." The Paris urban historian Patrice de Moncan wrote: "To see the works created by Haussmann and Napoleon III only from the perspective of their strategic value is very reductive. The Emperor was a convinced follower of Saint-Simon. His desire to make Paris, the economic capital of France, a more open, more healthy city, not only for the upper classes but also for the workers, cannot be denied, and should be recognised as the primary motivation."

During the suppression of the Paris Commune in 1871, the newly built-boulevards were not a major factor in the Commune's defeat. The Communards were defeated in one week not because of Haussmann's boulevards, but because they were outnumbered by five to one, they had fewer weapons and fewer men trained to use them, they had no plan for the defense of the city; they had very few experienced officers and there was no single commander, with each neighborhood left to defend itself; and they had no hope of military support from the outside of Paris.

title: Georges-Eugène Haussmann


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Survivor: Marquesas

Survivor: Marquesas is the fourth season of the American CBS competitive reality television series Survivor. The season filmed from November 12, 2001, to December 20, 2001, and premiered on February 28, 2002. Hosted by Jeff Probst, it featured sixteen new contestants competing for 39 days on the island of Nuku Hiva in the Marquesas Islands of French Polynesia.

Promoted as "Survivor's going back to the beach," this installment of the series had originally been planned to be filmed on the Arabian Peninsula in the deserts of Jordan's Wadi Rum. However, less than two months before filming was to begin, as a result of the September 11 attacks and the political situation in the Middle East, this plan was abandoned and production was moved to Nuku Hiva.

36-year-old office manager Vecepia Towery was named Sole Survivor after defeating 21-year-old college student Neleh Dennis by a jury vote of 4–3, becoming the first African-American contestant to ever win the game. Several changes to the Survivor format were introduced this season, including each tribe beginning the game with no supply of food or water, the ability for a contestant who wins individual immunity to transfer it to another contestant, as well as the controversial "purple rock" tie-breaker, in which, rather than counting votes cast at previous tribal councils, the eliminated contestant is decided by a random draw in the case of a tie vote.

Contestants
The contestants were divided into two tribes: Maraamu and Rotu (Tahitian words for 'south wind' and 'heavy rain', respectively). They later merged into the Soliantu tribe (a word created by competitors Kathy-Vavrick O'Brien and "Boston Rob" Mariano which they intended to mean "Sacred Allegiance to the Sun").

Future appearances
Kathy Vavrick-O'Brien and Rob Mariano competed again in ''Survivor: All-Stars. Mariano later participated for three more seasons: Survivor: Heroes vs. Villains, Survivor: Redemption Island, and Survivor: Winners at War''. These appearances made him the first castaway to play five seasons of Survivor. He also appeared on Survivor: Island of the Idols serving as a mentor alongside Sandra Diaz-Twine.

Outside of Survivor, Mariano competed on The Amazing Race 7 with his fiancée and fellow Survivor alumna Amber Brkich. The couple, now married, returned for The Amazing Race All-Stars. In 2024, Mariano competed on Deal or No Deal Island.

Season summary
The sixteen contestants were divided into two preselected tribes of eight, Rotu and Maraamu. The Rotu tribe prospered as a unified, hard-working group, while the Maraamu tribe quickly became divided between those who worked, led by Hunter, and those who didn't, led by Rob. Rob's faction dominated the votes, resulting in Maraamu losing every single challenge. On day 10, a random tribe shuffle sent Rob and his allies Sean and Vecepia to Rotu, while Paschal, Neleh, and Kathy joined Maraamu. While Rob seemed like an easy choice to eliminate, original Rotu member John aligned with fellow original Rotu members Tammy, Robert, and Zoe to eliminate Gabriel, the fifth remaining original Rotu member, for being strategically apathetic.

The tribes merged with ten players remaining: seven original Rotu and three original Maraamu. Rob attempted to align with Kathy, Paschal, and Neleh to overthrow John's alliance, but was unsuccessful and consequently eliminated. However, Paschal and Neleh later wisen up to their inferior positions within the Rotu alliance, aligning with Vecepia, Sean, and Kathy to take control of the game, systematically voting off John and his allies.

With only the five remaining, Kathy found herself caught between the two pairs of Neleh and Paschal, and Vecepia and Sean. She aligned with the former to eliminate Sean, but Vecepia won immunity at the final four. Knowing Paschal and Neleh would not vote for each other, Kathy publicly approached Vecepia at Tribal Council about aligning and taking each other to the final Tribal Council. Vecepia agreed to the deal, and they agreed to both vote for Neleh that night. With the vote being tied and deadlocked for the first time, the new rules for breaking a tie came into effect as everyone (save for the immune Vecepia) would reach into a bag and pull out a colored rock, with the purple rock meaning elimination. Paschal drew the purple rock, resulting in his elimination despite having no votes cast against him throughout the game. At the final Immunity Challenge, Vecepia went back on her deal with Kathy, agreeing to let Neleh win immunity in exchange that Neleh would vote off Kathy. Neleh agreed and Kathy became the final member of the jury.

At the Final Tribal Council, both Vecepia and Neleh were lambasted for hiding behind religion while still backstabbing the jurors. However, Paschal praised both finalists. Neleh was praised for her honesty and close strategic and personal bond with Paschal, but also criticized for not starting to play the game until day 24. Vecepia was praised for her under-the-radar strategic and social game despite being in the minority, but criticized for using religion to betray Kathy the night before. Ultimately, Vecepia was awarded the title of Sole Survivor in a 4–3 vote due to playing from day 1-39.

 * In the case of multiple tribes or castaways who win reward or immunity, they are listed in order of finish, or alphabetically where it was a team effort; where one castaway won and invited others, the invitees are in brackets.

Voting history

 * Notes

Reception
The season was ultimately met with mixed to negative reception, primarily due to the cast being seen as fairly forgettable, and the final two being perceived as having poor gameplay. However, the use of the Purple Rock tiebreaker has been one of the most polarizing moments in Survivor history, with critics divided on whether or not it was an unfair solution to a tie, or if it made for entertaining television.

Host Jeff Probst was not fond of this season, ranking it his second-to-least favorite (as of season 19). Probst stated, "Dramatically, I just felt like Marquesas never got any momentum, and by the time you got to the final two with Neleh and Vecepia — I'm sleeping." Winner Vecepia Towery was not contacted about appearing on the show's all-winner season, despite being one of only 14 female winners, as well as her status as the show's first African-American winner. He also said that the environment in Marquesas was the most brutally unpleasant in the show's history due to the biting no-no flies. However, Survivor columnist Dalton Ross of Entertainment Weekly gave this season a positive review, ranking it 17th out of 40 and calling it, "an underrated season that saw the first totem pole shake-up: where people on the bottom got together to overthrow those on the top. Yes, it was a weak final two, but it also had a woman peeing on a guy's hand. Plus: Purple rock!!!"

The exit of John Carroll is widely considered to be the foundation of modern Survivor strategy by columnists and fans alike. Joe Reid of The Wire ranked it among the bottom 10, at #19, in 2014, saying that Rob had "a comparatively ignominious debut" despite his future reputation, called John "a preening dyngus," and said that "Vecepia backing into a victory because she didn't piss anyone off was anti-climactic." "The Purple Rock Podcast" ranked Marquesas 27th out of 40, saying that although the season "gets bonus points" for featuring the Purple Rock, the season "sort of limps to the finish line" in its storytelling and character narratives. In 2015, a poll by Rob Has a Podcast ranked Marquesas 18th out of 30 with Rob Cesternino ranking this season 21st. This was updated in 2021 during Cesternino's podcast, Survivor All-Time Top 40 Rankings, ranking 22nd out of 40. In 2020, Inside Survivor ranked this season 9th out of 40 saying that it "is a season that deserves more respect. Not only does it have some incredible characters and hilarious moments, but it’s an important, game-changing season."

A small increase in the average number of viewers was observed for the season compared to the prior season, Survivor: Africa.

Purple rock tie-breaker
Paschal's elimination at the final four sparked controversy in the game of Survivor. Starting in Marquesas, if the tribe could not reach a unanimous decision as to who should be voted off within an allotted time, contestants who did not have immunity would pull different colored rocks from a sack. Whoever chose the odd-colored rock (in this case, purple) would be eliminated. The contestants receiving the most votes (in this situation, Kathy and Neleh) also become immune. However, at this tribal council, Neleh and Kathy were also forced to choose rocks where they should have been immune, which in theory would have eliminated Paschal by default. Though Paschal chose the purple rock and was eliminated anyway, it is speculated that the fire-making challenge (which would involve only Neleh and Kathy) should have been used in this case and that production was in error by using the rock drawing tiebreaker as there were four contestants remaining. This theory was supported by host Jeff Probst, when he later admitted that using the purple rock tiebreaker was a mistake at this point in the game, because the formula behind it was impossible to apply fairly with only four players left.

Following Marquesas, the drawing of rocks to break a tie would not occur again for more than eleven years, when in the twenty-seventh season, Survivor: Blood vs. Water, Katie Collins drew the odd-colored rock at the final six tribal council and went to Redemption Island (as the twist was in play). The odd-colored rock in this draw was white while the others were black. The rock draw also appeared in the thirty-third season, Survivor: Millennials vs. Gen X. A tied vote at the final ten resulted in Jessica Lewis being eliminated after drawing the sole black rock (with the other rocks being white). Probst stated in an interview during Blood vs. Water that the tiebreaker has been used so scarcely that they did not take the consistency of the colors into account.

Rob Mariano
During his time on the show, then-25-year-old contestant Rob Mariano made several homophobic and misogynistic remarks about fellow contestants, even going so far as to out one competitor as a gay man. According to Mariano, 35-year-old fishing boat captain Zoe Zanidakis, whom he deemed insufficiently feminine, was "the toughest guy on the island." In reference to 36-year-old registered nurse John Carroll, a gay man, Mariano stated, "When I first saw John I thought he was a big-time queer... I won't be sleeping next to him tonight." Also in reference to Carroll, he said, "We have eight guys and one girl on the island. I think her name is John."

After an argument about voting strategy, Mariano asked Carroll "Are you gay dude?" to which Carroll responded "Hey, don't ask me that...Yeah I am." He expressed discomfort over the public outing later in an on-camera interview: "It was very passive aggressive... a throwaway comment... thanks for outing me."

Nevertheless, Mariano would frequently be invited to participate in subsequent CBS productions throughout the years that followed, eventually winning the million-dollar prize on his fourth Survivor appearance and later going on to be featured as a "mentor" and "Survivor icon" in the show's thirty-ninth season. Shortly after he was eliminated on the show, Mariano addressed the incident in an interview, saying "I actually talked to him right after I outed him on the show. The reason I asked him if he was gay wasn’t to bring him out on national TV; it was to see if he would be honest with me." Neither Mariano, Survivor, nor CBS have ever since publicly addressed the comments or apologized for his behavior on the show.

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

title: Survivor: Marquesas


text:
Talk:The Magicians Nephew

This page is of little value. A few interesting points could be lifted from here and the rest gone. It has no links in or out, commits the fallacy of confusing publication date with internally consistent "historical order" (which the real entry The Chronicles of Narnia does not do), and is basically boring. May 02 Ortolan88

Why would Lewis be writing about children evacuated from London in 1939, a year before the Germans started bombing? When did the evacuation actually begin? And why is all of this non-Magicians Nephew stuff on this page at all. --rmhermen

What the hell is is this? Some type of primary text? Can somebody who knows something about this make an article out of the data dump and delete everythins else -- maybe providing an external link to the primary source text. --maveric149

It looks like jacket blurbs for all the Narnia books to me... Looking more closely at my copies of the books, some of these are the first paragraph or so of text from the book - I thought they looked familiar! I don't know what the rest are, presumably jacket blurbs. Aren't they copyrighted anyway? KJ

The link on the main The Chronicles of Narnia page is The Magician's Nephew -- it seems we're now using apostrophes in titles. This article & this talk page therefore need a name change. -- tarquin

No it doesn't - this page has NOTHING to do with the book The Magician's Nephew... except for the tiny little paragraph blurb for it. I'm really not sure why the blurbs were put here. They need to be deleted and replaced with actual articles under each book title, and this should be a redirect. ~ KJ

Seems to be writing & publication dates, then a clip from each book: I've just checekd the Magician's Nephew bit is from p12 of my old Puffin books edition. The stuff about drafts and prior versions might be worth preserving, but on the general Narnia page. -- tarquin

title: Talk:The Magicians Nephew


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The Hunchback of Notre-Dame

The Hunchback of Notre-Dame (Notre-Dame de Paris, originally titled Notre-Dame de Paris. 1482) is a French Gothic novel by Victor Hugo, published in 1831. The title refers to the Notre-Dame Cathedral, which features prominently throughout the novel. It focuses on the unfortunate story of Quasimodo, the Roma street dancer Esmeralda and Quasimodo's guardian the Archdeacon Claude Frollo in 15th-century Paris. All its elements—the Renaissance setting, impossible love affairs and marginalized characters—make the work a model of the literary themes of Romanticism.

The novel is considered a classic of French literature and has been adapted repeatedly for film, stage and television. Some prominent examples include a 1923 silent film with Lon Chaney, a 1939 sound film with Charles Laughton, a 1956 film with Anthony Quinn and a 1996 Disney animated film with Tom Hulce.

Written during a time of cultural upheaval, the novel champions historical preservation. Hugo solidified Notre-Dame de Paris as a national icon, arguing for the preservation of Gothic architecture as an element of Paris' cultural heritage.

Title
The novel's French title, Notre-Dame de Paris, refers to Notre-Dame Cathedral. Frederic Shoberl's 1833 English translation was published as The Hunchback of Notre-Dame. This became the generally used title in English, referring to Quasimodo, Notre-Dame's bell-ringer.

Background
Victor Hugo initially agreed to write Notre-Dame de Paris in 1828. Due to Hugo's other literary projects, the novel fell by the wayside until 1830. A primary theme of the novel is that of the value of Gothic architecture, which was neglected and often destroyed to be replaced by new buildings or defaced by replacement of parts of buildings in a newer style. For instance, the medieval stained glass panels of Notre-Dame de Paris had been replaced by white glass to let more light into the church. A few years earlier, Hugo had already published a paper entitled Guerre aux Démolisseurs (War [declared] on the Demolishers) specifically aimed at saving Paris' medieval architecture. The agreement with his original publisher, Gosselin, was that the book would be finished that same year, but Hugo was constantly delayed due to the demands of other projects. In the summer of 1830, Gosselin demanded that Hugo complete the book by February 1831. Beginning in September 1830, Hugo worked nonstop on the project thereafter.

Legend has it that Hugo locked himself in his room, getting rid of his clothes to write the novel on time, the idea being he could not go outside without clothes. However, the validity of the truth of the story has muddled down over time.

Plot
In 1482 Paris, during the reign of Louis XI, 10 years before Christopher Columbus landed in the Americas, sixteen-year-old Roma dancer Esmeralda is the romantic and sexual interest of many men, including Captain Phoebus de Chateaupers; poet Pierre Gringoire; the deformed cathedral bell-ringer Quasimodo, and his guardian Archdeacon Claude Frollo. Frollo is torn between his obsessive lust for Esmeralda and the rules of Notre-Dame Cathedral. He orders Quasimodo to kidnap her, but Quasimodo is captured by Phoebus and his guards. After he saves her, Esmeralda becomes infatuated with Phoebus. Gringoire, who attempted to help Esmeralda but was knocked out by Quasimodo, unwittingly wanders into the "Court of Miracles", populated by the Roma and the truands (beggars). They are about to hang him for being an outsider, but Esmeralda saves him by agreeing to marry him. She only does it to save his life, however, and much to Gringoire's annoyance, refuses to allow him to touch her.

The following day, Quasimodo is sentenced to be flogged and turned on the pillory for two hours, followed by another hour's public exposure. He calls for water. Esmeralda, seeing his thirst, approaches the public stocks and offers him a drink of water. It saves him, and she captures his heart.

Frollo learns from Gringoire, with whom he has a passing acquaintance, that Esmeralda has taught her pet goat, Djali, who sometimes performs with her on stage, to spell "PHOEBUS" using movable letters, and that she often whispers the name Phoebus when she thinks she is alone. Frollo suspects Phoebus may be a name. As it happens, Phoebus is a drinking companion of Frollo's dissolute younger brother, Jehan. After seeing them set out for a local tavern, Frollo follows them. He learns that Phoebus has arranged an assignation with Esmeralda at a local boarding-house, and follows Phoebus there. He observes the meeting from an adjoining room. Esmeralda begs Phoebus to marry her, but Phoebus only wants to lie with her, and eventually seduces her. Inflamed with jealousy, Frollo stabs Phoebus, though not fatally. Esmeralda briefly faints, though not before she has caught a glimpse of Frollo. When she recovers, Frollo has fled, and she is found near Phoebus' body. Esmeralda is arrested and charged with the attempted murder of Phoebus and also with witchcraft, and is sentenced to death by hanging. The prison's torturer hurts her so badly that she falsely confesses to Phoebus' murder. While imprisoned, awaiting her execution, Esmeralda is visited by Frollo. The Archdeacon professes his love for her and promises to help her escape if she reciprocates. However, recognizing him as Phoebus' true attacker, she angrily rebuffs him. As Esmeralda is being led to the gallows, Quasimodo swings down from Notre-Dame and carries her off to the cathedral, temporarily protecting her – under the law of sanctuary – from arrest.

Frollo delves deeper into his obsession and gets frustrated with his plan failing. Upon seeing Esmeralda and Quasimodo when going to meet the latter, he grows jealous. That night he breaks into Esmeralda's cell with his master-key and attempts to rape her. Quasimodo intervenes and beats him, almost throwing him off the cathedral before the moonlight reveals his identity. Frollo kicks Quasimodo and declares to Esmeralda that if he can't have her, no one shall.

Frollo later informs Gringoire that the Court of Parlement has voted to remove Esmeralda's right to sanctuary so she can no longer seek shelter in the cathedral, and will be taken away to be executed. Clopin Trouillefou, the leader of the Roma, hears the news from Gringoire and rallies the Court of Miracles to charge Notre-Dame and rescue Esmeralda.

Quasimodo incorrectly assumes the approaching Roma intend to harm Esmeralda, and drives them off. As Quasimodo defends the cathedral against the invaders, the uproar reaches the king, who is incorrectly informed that those attacking the cathedral are eager for Esmeralda's hanging rather than trying to rescue her. The king orders the authorities to dispatch the invaders and calls for Esmeralda's immediate execution to settle the unrest. In the chaos, Esmeralda is taken from the cathedral by Frollo and Gringoire.

The king's men come to Notre Dame searching for Esmeralda. Quasimodo believes they intend to rescue her, and helps them, meaning that if she had still been there, he would have betrayed her.

Frollo once again attempts to win Esmeralda's love, but she asserts that she would rather die than be with him. Frollo goes to alert the authorities while trapping Esmeralda with Sister Gudule, a reclusive anchoress who bears an extreme hatred for the Roma as she believes they cannibalized her infant daughter. However, it is revealed that Gudule is really Esmeralda's birth mother and that Esmeralda is Gudule's long-lost daughter Agnes, abducted and raised by the Roma. The two women's joyous reunion is cut short when the king's men arrive to take Esmeralda to the gallows. A desperate Gudule clings to Esmeralda even as she is taken to the place of execution. The guards pull the old woman off her daughter, and she falls to the pavement and dies from the harsh impact.

From the tower of Notre-Dame, Frollo and Quasimodo witness as Esmeralda is hanged. Upon observing this, Quasimodo pushes the Archdeacon from the height of the cathedral to his death. With nothing left to live for, Quasimodo vanishes and is never seen again.

A deformed skeleton is found many years later embracing another in the charnel house, at of Montfaucon, implying that Quasimodo had sought Esmeralda among the decaying corpses and laid down to die while holding her. As the guards attempt to pull the skeletons apart, his skeleton crumbles to dust.

Major

 * Esmeralda (born Agnès) is the novel’s protagonist. She is a beautiful 16-year-old Roma street dancer (referred to in the text by "Gypsy") who is naturally compassionate and kind. She is the center of the human drama within the story. A popular focus of the citizens' attention, she is the recipient of their changing attitudes, being first adored as an entertainer, then hated as a witch, before being lauded again by Quasimodo. She is loved by Quasimodo, Pierre Gringoire, and Claude Frollo, but falls hopelessly in love with Captain Phoebus. Phoebus is a handsome soldier who she believes will protect her, but in reality simply wants to seduce her. She is one of the few characters to show Quasimodo a measure of human kindness. She is eventually revealed to be not Roma by birth; instead, she was kidnapped by the Roma to "replace" the deformed Quasimodo.
 * Quasimodo is a "hunchback" with physical deformities, the novel's titular character, and the bell-ringer of Notre-Dame. He is half-blind and almost completely deaf, the latter from all the years ringing the bells of the church. Abandoned by his mother as a baby, he was adopted by Claude Frollo. Quasimodo's life within the confines of the cathedral and his only two outlets – ringing the bells and his love and devotion for Frollo – are described. He rarely ventures outside the Cathedral because the citizens of Paris despise and shun him for his appearance. The notable occasions when he does leave include taking part in the Festival of Fools (which is celebrated on January 6) – , during which he is elected the Pope of Fools due to his perfect hideousness – ; his subsequent attempt to kidnap Esmeralda; his rescue of Esmeralda from the gallows; his attempt to bring Phoebus to Esmeralda; and his final abandonment of the cathedral at the end of the novel. It is revealed in the story that the baby Quasimodo was left by the Roma in place of Esmeralda, whom they abducted.
 * Claude Frollo, the novel's main antagonist, is the Archdeacon of Notre-Dame. His sour attitude and alchemical experiments have alienated him from Parisians, who believe him to be a sorcerer. His only surviving relative is his dissolute younger brother Jehan, whom he unsuccessfully attempts to reform. Frollo also helps care for Quasimodo. Frollo's numerous sins include lechery, failed alchemy, sexual assault and other listed vices. His mad attraction to Esmeralda sets off a chain of events leading to Esmeralda's execution.
 * Pierre Gringoire is a struggling poet. He mistakenly finds his way into the "Court of Miracles", the domain of the Truands (beggars). In order to preserve the secret location of the Court, Gringoire must either be killed by hanging or marry a Roma. Although Esmeralda does not love him, and in fact believes him to be a coward, she takes pity on his plight and marries him. Touched by her beauty and kindness, Gringoire falls in love with her. But, because she is already in love with Phoebus, much to his disappointment, she will not let him touch her. As time goes on, he grows more fond of Esmeralda's goat Djali than Esmeralda herself, so much so that he chooses to save Djali rather than Esmeralda when Frollo and his guards pursue and kidnap her.
 * Captain Phoebus de Chateaupers is the Captain of the King's Archers, and the secondary antagonist in the novel. After he saves Esmeralda from abduction, she becomes infatuated with him, and he is intrigued by her. Already betrothed to the beautiful but spiteful Fleur-de-Lys, he wants to seduce Esmeralda nonetheless but is prevented when Frollo stabs him. Phoebus survives, but Esmeralda is taken to be the attempted assassin by all, including Phoebus himself, who no longer wants her. He is condemned to an unhappy married life with Fleur-de-Lys.

Minor

 * Clopin Trouillefou is the King of Truands. He sentences Gringoire to be hanged and presides over his "wedding" to Esmeralda. He rallies the Court of Miracles to rescue Esmeralda from Notre-Dame after the idea is suggested by Gringoire. He is eventually killed during the attack by the King's soldiers.
 * Mathias Hungadi Spicali, called Duke of Egypt and Bohemia is Esmeralda's protector and second-in-command of the Truands. He knows of her past and gave her an amulet to help find her mother. He is last seen during the riot at Notre-Dame to rescue Esmeralda.
 * Jehan Frollo du Moulin (literally "of the mill"), translated in Latin as "Joannes Frollo de Molendino", is Claude Frollo's 16-year-old dissolute younger brother. He is a troublemaker and a student at the university. He is dependent on his brother for money, which he then proceeds to squander on alcohol. After Frollo stops giving him money, Jehan becomes a rogue. When he joins Clopin and his beggars to raid the cathedral, he briefly enters the cathedral by ascending one of the towers with a borrowed ladder. Afterwards he sees Quasimodo and tries to shoot an arrow at his eye, but Quasimodo throws him to his death.
 * Fleur-de-Lys de Gondelaurier is a beautiful and wealthy noblewoman engaged to Phoebus. Phoebus's attentions to Esmeralda make her insecure and jealous, and she and her friends respond by treating Esmeralda with contempt and spite. Fleur-de-Lys later neglects to inform Phoebus that Esmeralda has not been executed, which serves to deprive the pair of any further contact – though as Phoebus no longer lusts after Esmeralda by this time, this does not matter. The novel ends with their wedding, but they are said to be condemned to an unhappy marriage.
 * Madame Aloïse de Gondelaurier is Fleur-de-Lys' mother.
 * Sister Gudule, also known as Sachette and formerly named Paquette Guybertaut "la Chantefleurie", is an anchoress living in seclusion in an exposed cell in central Paris. She is tormented by the loss of her daughter Agnes, whom she believes to have been cannibalised by the Roma as a baby, and devotes her life to mourning her. Her long-lost daughter turns out to be Esmeralda, a fact she discovers only moments before Esmeralda is hanged. Gudule is accidentally killed by one of the King's soldiers while attempting to prevent them from taking her daughter.
 * Djali is Esmeralda's pet goat. In addition to dancing with Esmeralda, Djali can do tricks for money, such as tell time, spell Phoebus' name, and do impressions of public figures. Later, during Esmeralda's trial, when Esmeralda is falsely accused of stabbing Phoebus, Djali is falsely accused of being the devil in disguise. At the end of the novel, Djali is saved by Gringoire (who has become fond of the goat during his marriage to Esmeralda) after Esmeralda is captured and hanged.
 * Louis XI is the King of France. He appears as an old and sick man, but his personality is very sly and Machiavellian, as well as self-centred. He appears briefly when he is brought the news of the rioting at Notre-Dame. He orders his guard to kill the rioters, and also the "witch" Esmeralda, because of being misinformed about the reason of rioting.
 * Tristan l'Hermite is a friend of King Louis XI. He leads the band that goes to capture Esmeralda.
 * Henriet Cousin is the city executioner, who hangs Esmeralda.
 * Florian Barbedienne is the judge who presides over Quasimodo's case for kidnapping Esmeralda. Barbedienne is deaf, and does not realize Quasimodo is also deaf; thus, he assumes Quasimodo is mocking him by not answering his questions. Barbedienne sentences Quasimodo to be tortured in the public square: one hour of flogging for attempted kidnap, and another hour of public disgrace for (what Barbedienne assumed to be) mocking the judge.
 * Jacques Charmolue is Claude Frollo's friend in charge of torturing prisoners. He gets Esmeralda to falsely confess to killing Phoebus. He then has her imprisoned.
 * Jacques Coppenole is a man who appears in the beginning of the novel as one of the Flemish guests at the Feast of Fools. He convinces the Parisians to walk out on Gringoire's play and select the Fools' Pope.
 * Pierrat Torterue makes two brief appearances in the novel. He is the torturer at the Châtelet. He tortures Esmeralda after her interrogation, hurting her so badly that she falsely confesses, sealing her own fate. He is also the official who administered the savage flogging that Quasimodo was sentenced to by Barbedienne.
 * An unnamed magistrate presides over Esmeralda's case after she is falsely accused of stabbing Phoebus. He forces her to confess to the crime and sentences her to be hanged in the gallows.
 * Robin Poussepain is Jehan Frollo's friend who appears with him during the Feast of Fools and Quasimodo's flogging in the public square.
 * Olivier le Mauvais (literally "Olivier the Evil") is King Louis XI's close advisor.
 * La Falourdel owns the boarding house where Phoebus and Esmeralda meet.
 * Marc Cenaine is a magician whom Jacques Charmolue and Claude Frollo torture for practicing witchcraft while they try to pry alchemy secrets from him.
 * Bérangère de Champchevrier is Fleur-de-Lys' friend.
 * Jacques Coictier is King Louis XI's physician.
 * Robert d'Estouteville is the chamberlain to King Louis XI. He is in a foul mood the day Quasimodo is pilloried, not realizing that Quasimodo and the judge on duty are both deaf.
 * Colombe is Fleur-de-Lys' friend.
 * Lambert Hoctement is a German scholar who, at the beginning of the novel, is tormented by Jehan Frollo and Robin Poussepain.

Major themes
The novel's original French title, Notre-Dame de Paris, indicates that the cathedral itself is the most significant aspect of the novel, both the main setting and the focus of the story's themes. The building had fallen into disrepair at the time of writing, which was something Hugo felt strongly about. The book portrays the Romantic era as one of extremes in architecture, passion, and religion. The theme of determinism (fate and destiny, as set up in the preface of the novel through the introduction of the word "ANANKE") is explored, as well as revolution and social strife.

Architecture
Architecture is a major concern of Hugo's in Notre-Dame de Paris, not just as embodied in the cathedral itself, but as representing throughout Paris and the rest of Europe an artistic genre which, Hugo argued, was about to disappear with the arrival of the printing press. Claude Frollo's portentous phrase, 'Ceci tuera cela' ("This will kill that", as he looks from a printed book to the cathedral building), sums up this thesis, which is expounded on in Book V, chapter 2. Hugo writes that 'quiconque naissant poète se faisait architecte' ("whoever was born a poet became an architect"), arguing that while the written word was heavily censored and difficult to reproduce, architecture was extremely prominent and enjoyed considerable freedom.

With the recent introduction of the printing press, it became possible to reproduce one's ideas much more easily on paper, and Hugo considered this period to represent the last flowering of architecture as a great art form. As with many of his books, Hugo was interested in a time that seemed to him to be on the cusp of two types of society.

The major theme of the third book is that over time the cathedral has been repaired, but the repairs and additions have made the cathedral worse: "And who put the cold, white panes in the place of those windows" and "...who substituted for the ancient Gothic altar, splendidly encumbered with shrines and reliquaries, that heavy marble sarcophagus, with angels' heads and clouds" are a few examples of this. This chapter also discusses how, after repairs to the cathedral after the French Revolution, there was not a significant style in what was added. It seems as if the new architecture is now uglier and worse than it was before the repair.

Literary significance and reception
Hugo introduced with this work the concept of the novel as Epic Theatre. A giant epic about the history of a whole people, incarnated in the figure of the great cathedral as witness and silent protagonist of that history, and the whole idea of time and life as an ongoing, organic panorama centered on dozens of characters caught in the middle of that history. It is the first novel to have beggars as protagonists.

A significant aspect of Notre-Dame de Paris is that it encompasses the whole of life, from the King of France to Paris sewer rats, in a manner later used by Honoré de Balzac, Gustave Flaubert and many others, including Charles Dickens. The enormous popularity of the book in France spurred the nascent historical preservation movement in that country and strongly encouraged Gothic revival architecture. Ultimately it led to major renovations at Notre-Dame in the 19th century led by Eugène Viollet-le-Duc. Much of the cathedral's present appearance is a result of this renovation.

Allusions to actual history, geography and current science
In The Hunchback of Notre-Dame, Victor Hugo makes frequent reference to the architecture of the Cathedral of Notre-Dame in Paris. He also mentions the invention of the printing press, when the bookmaker near the beginning of the work speaks of "the German pest."

In 2010, British archivist Adrian Glew discovered references to a real-life man called "Hunchback" who was a foreman of a government sculpting studio in Paris in the 1820s who worked on post-Revolution restorations to the cathedral.

Allusions in other works
The name Quasimodo has become synonymous with "a courageous heart beneath a grotesque exterior."

Adaptations
To date, all of the film and TV adaptations have strayed somewhat from the original plot, some going as far as to give it a happy ending, including in the classic 1939 film and the 1996 Disney animated film. The 1956 French film is one of the few versions to end almost exactly like the novel, although it changes other sections of the story. The 1996 Disney version has an ending that is inspired by an opera created by Hugo himself.

Films

 * Esmeralda, a 1905 French short silent film
 * The Hunchback of Notre Dame, a 1911 silent film
 * The Darling of Paris,a 1917 silent film
 * Esmeralda, a 1922 British silent film
 * The Hunchback of Notre Dame, a 1923 silent film starring Lon Chaney as Quasimodo, directed by Wallace Worsley, and produced by Carl Laemmle and Irving Thalberg
 * The Hunchback of Notre Dame, a 1939 sound film starring Charles Laughton as Quasimodo and Maureen O'Hara as Esmeralda, directed by William Dieterle, and produced by Pandro S. Berman
 * The Hunchback of Notre Dame, a 1956 French film starring Anthony Quinn as Quasimodo and Gina Lollobrigida as Esmeralda, directed by Jean Delannoy, and produced by Raymond Hakim and Robert Hakim
 * The Hunchback of Notre Dame, a 1986 Australian-American fantasy animated film
 * The Hunchback of Notre Dame, a 1996 animated film by Walt Disney Feature Animation starring Tom Hulce as the voice of Quasimodo and Demi Moore as the voice of Esmeralda, directed by Kirk Wise and Gary Trousdale and produced by Don Hahn
 * The Hunchback of Notre Dame II, a 2002 direct-to-video animated film and sequel of the 1996 film by Walt Disney Feature Animation starring Tom Hulce as the voice of Quasimodo and Demi Moore as the voice of Esmeralda, directed by Bradley Raymond
 * The Secret of the Hunchback, a 1996 Direct-to-video animated film by UAV Entertainment
 * The Hunchback of Notre Dame, a 1996 Golden Films animated film
 * The Hunchback of Notre Dame, a 1996 Jetlag Productions animated film
 * The Hunchback of Notre Dame, a 1996 Dingo Pictures animated film
 * Quasimodo d'El Paris, a 1999 parody film
 * Quasi, a 2023 satirical comedy film

Television

 * The Hunchback of Notre Dame, a 1966 miniseries
 * The Hunchback of Notre Dame, a 1976 television film starring Warren Clarke as Quasimodo, Michelle Newell as Esmeralda and Kenneth Haigh as Frollo, directed by Alan Cooke
 * The Hunchback of Notre Dame, a 1977 miniseries
 * The Hunchback of Notre Dame, a 1982 British-American television film starring Anthony Hopkins as Quasimodo, Lesley-Anne Down as Esmeralda, and Derek Jacobi as Frollo, directed by Michael Tuchner and Alan Hume and produced by Norman Rosemont and Malcolm J. Christopher
 * The Magical Adventures of Quasimodo, a 1996 animated series
 * The Hunchback, a 1997 television film starring Mandy Patinkin as Quasimodo, Salma Hayek as Esmeralda and Richard Harris as Frollo

Idris Elba is slated to not only play the title character but also to direct and produce music for a modern retelling to be broadcast on Netflix.

Music

 * A 1977 lush orchestral disco 28 minute epic re-telling the tale of Quasimodo and Esmeralda, by Alec R. Costandinos and the Syncophonic Orchestra
 * The Hunchback of Notre Dame Dennis DeYoung album, a 1996 recording of music written by Styx singer Dennis DeYoung for his musical adaptation of the novel
 * The Hunchback of Notre Dame soundtrack for the 1996 Disney film
 * A 2016 soundtrack to the musical adaptation, based on the novel and songs from the Disney film version

Ballet

 * La Esmeralda (1844) – choreography by Jules Perrot, music by Cesare Pugni. First performed at Her Majesty's Theatre in London. The ballet has a long performance history in Russia via the revivals of the choreographer Marius Petipa in St. Petersburg throughout the late 19th century.
 * Gudule's Daughter, or Esmiralda (1902) – choreography by Alexander Alexeyevich Gorsky, music by Antoine Simon
 * In 1965, a choreography by Roland Petit, first performed by the Paris Opera Ballet.
 * In 1998, a choreography and direction by Michael Pink and original music score by Philip Feeney; currently in the repertoire of Milwaukee Ballet, Boston Ballet, Royal New Zealand Ballet, Atlanta Ballet and Colorado Ballet.
 * Ringaren i Notre Dame (The Bellringer of Notre Dame; 2009) – choreography by Pär Isberg and original music score by Stefan Nilsson, first performed on Friday, April 3, by the Royal Swedish Ballet.

Musical theatre

 * La Esmeralda, opera by Louise Bertin (1836), libretto by Victor Hugo.
 * Esmeralda, opera by Alexander Dargomyzhsky (1847) based on the Victor Hugo novel.
 * Esmeralda (1856), opera in English with a score by Vincenzo Battista.
 * In 1864, an opera by William Henry Fry with libretto by his brother Joseph Reese Fry based on the Victor Hugo novel. First performance: Academy of Music, Philadelphia, 4 May 1864, conducted by Theodore Thomas.
 * Esmeralda, opera by Arthur Goring Thomas (1883), also based on the same Victor Hugo novel.
 * Notre Dame, romantic Opera in two acts by Franz Schmidt, text after Victor Hugo by Schmidt and Leopold Wilk; composed: 1902–4, 1st perf.: Vienna 1914.
 * In 1993, an Off Broadway musical with music by Byron Janis, lyrics by Hal Hackady and book by Anthony Scully.
 * In 1993, a dramatic sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. After a production at the Mermaid Theatre in London it was published by Samuel French Ltd in 1997 and has received several UK productions as well as productions in New Zealand and Australia. In 2010 it was re-written as a conventional musical, with the new title Notre Dame.
 * El Jorobado de París (1993), an Argentinian sung-through musical with book and lyrics by Pepe Cibrián Campoy and music by Ángel Mahler. Revised versions opened in 1995, 2006 and 2013.
 * An operatic melodrama by Zigmars Liepiņš based on the novel.
 * In 1998, Notre-Dame de Paris with music by Riccardo Cocciante and lyrics by Luc Plamondon premiered in Paris and became an instant success.
 * From 1999 to 2002, the Disney film was adapted into a darker, more Gothic musical production called Der Glöckner von Notre Dame (translated in English as The Bellringer of Notre Dame) in Berlin. A cast recording was also recorded in German. The musical premiered in the United States in 2014.
 * A rock musical version was released in Seattle, Washington in 1998 titled "Hunchback" with music and script by C. Rainey Lewis.
 * A musical version, scored by Dennis DeYoung, opened in Chicago at the Bailiwick Repertory in the summer of 2008.
 * A re-adaptation of the piece entitled Our Lady of Paris, with music and lyrics by David Levinson and book by Stacey Weingarten, was produced in a reading format in Manhattan. It re-sets the action to 1954 at the beginning of the French Algerian conflict. After the first reading, the piece underwent revisions; a second reading was produced in January 2011 under the musical's new title, Les Enfants de Paris.
 * Catalyst Theatre's musical adaptation entitled Hunchback was commissioned by The Citadel Theatre and premiered in 2011 in Edmonton and had a subsequent run at the Vancouver Playhouse Theatre in Vancouver in 2012. Book, music and lyrics by Jonathan Christenson from the original novel.

Radio
A 1934 36-part serial adaptation created by George Edwards was broadcast on Australian radio.

John Carradine starred in an hour-long adaptation broadcast on a 1946 episode of Your Playhouse of Favorites.

The book was twice adapted and broadcast on BBC Radio 4's Classic Serial:
 * in 5 parts from 6 January to 3 February 1989, with Jack Klaff as Quasimodo
 * in 2 parts on 30 November and 7 December 2008, with deaf actor David Bower playing Quasimodo.

Theatre

 * In 1861, a "Grand Burlesque Extravaganza" by Henry J. Byron, Esmeralda or, The Sensation Goat, presented at the Royal Strand Theatre in London on 28 September 1861. The piece was revived in 1871 at the same venue, with Harry Paulton as Quasimodo and Rose Cullen as Esmeralda. The programme warned that the burlesque was "founded on, but not to be confounded with, the romance, the opera and the ballet".
 * In 1977, an adaptation by Ken Hill was commissioned and staged by the National Theatre in London.
 * In 1978, an adaptation by Robert Hossein opened in Paris.
 * In 1997, an adaptation for the stage by Nicholas DeBaubien opened in Paris.
 * In 2010, an adaptation by Pip Utton was staged at The Pleasance as part of the Edinburgh Fringe Festival.
 * In 2010, an original adaptation by Myriad Theatre & Film was staged in London and then toured South England.
 * In 2012, an adaptation by Belt Up Theatre was staged in Selby Abbey.
 * In 2013, an adaptation by James Villafuerte was staged in Tanghalang Pasigueño Villa Teatro.
 * In 2016, a modern adaptation by Harold Hodge, Jr called The Boy in the Church premiered in New York City. This adaptation was set in Alabama during the Great Depression.
 * In 2019, an adaptation by Benjamin Polya was staged by Iris Theatre Company at St Paul's Church, Covent Garden, London.

Comics
Artists like Noel Gloesner, Andrew Dickson, Robin Recht, Tim Conrad, Gilbert Bloch, George Evans Dick Briefer have all created comic strip and book adaptations of The Hunchback of Notre Dame. Paulo Borges, Gustavo Machado and Dan Spiegle have drawn comic strip versions based on the 1996 Disney movie adaptation.

Video games

 * Hunchback, a 1983 arcade video game developed by Century Electronics, starring Quasimodo and Esmeralda.
 * Timesplitters 2, a 2002 first-person-shooter developed by Free Radical Design, containing a level based on the Notre Dame Cathedral in which the Hunchback is portrayed to be beheading undead zombies using a shotgun.

English language translations
The Hunchback of Notre-Dame has been translated into English many times. Translations are often reprinted in various imprints. Some translations have been revised over time.
 * 1833. Translated by Frederic Shoberl as The Hunchback of Notre Dame. Later revisions.
 * 1833. Translated by William Hazlitt as Notre Dame: A Tale of the Ancien Régime. Later revisions.
 * 1862. Translated by Henry L. Williams as The Hunchback of Notre Dame.
 * 1882. Translated by A. Langdon Alger as Notre-Dame de Paris.
 * 1888. Translated by Isabel F. Hapgood as Notre-Dame de Paris.
 * 1892. Translated by J. Caroll Beckwith as The Hunchback of Notre Dame.
 * 1895. Translated by M.W. Artois et al., part of the 28-vol The Novels of Victor Hugo, re-printed in the 20th century under other titles.
 * 1941: Anonymous translation, The Hunchback of Notre Dame for Modern Library
 * 1956. Translated by Lowell Bair, as The Hunchback of Notre Dame for Bantam Books and included in Bantam Classics
 * 1964. Translated by Walter J. Cobb. In multiple editions, see for example Signet Classics ISBN 0-451-52788-7
 * 1978. Translated by John Sturrock. In multiple editions, see for example Penguin Classics ISBN 0-14-044353-3
 * 1993. Translated by Alban J. Krailsheimer as Notre-Dame de Paris. See Oxford World's Classics ISBN 978-0-19-955580-2
 * 2002. Revised translation by Catherine Liu of the 1941 Modern Library translation. See Modern Library Classics ISBN 0-679-64257-9
 * 2014. Translated by P. Matvei
 * 2018. Translated by Andrew Primas

title: The Hunchback of Notre-Dame


text:
Trivial File Transfer Protocol

Trivial File Transfer Protocol (TFTP) is a simple lockstep File Transfer Protocol which allows a client to get a file from or put a file onto a remote host. One of its primary uses is in the early stages of nodes booting from a local area network. TFTP has been used for this application because it is very simple to implement.

TFTP was first standardized in 1981 and the current specification for the protocol can be found in.

Overview
Due to its simple design, TFTP can be easily implemented by code with a small memory footprint. It is therefore the protocol of choice for the initial stages of any network booting strategy like BOOTP, PXE, BSDP, etc., when targeting from highly resourced computers to very low resourced Single-board computers (SBC) and System on a Chip (SoC). It is also used to transfer firmware images and configuration files to network appliances like routers, firewalls, IP phones, etc. Today, TFTP is virtually unused for Internet transfers.

TFTP's design was influenced from the earlier protocol EFTP, which was part of the PARC Universal Packet protocol suite. TFTP was first defined in 1980 by IEN 133. In June 1981 The TFTP Protocol (Revision 2) was published as RFC 783 and later updated in July 1992 by RFC 1350 which fixed among other things the Sorcerer's Apprentice syndrome. In March 1995 the TFTP Option Extension RFC 1782 updated later in May 1998 by RFC 2347, defined the option negotiation mechanism which establishes the framework for file transfer options to be negotiated prior to the transfer using a mechanism which is consistent with TFTP's original specification.

TFTP is a simple protocol for transferring files, implemented on top of the UDP/IP protocols using well-known port number 69. TFTP was designed to be small and easy to implement, and therefore it lacks most of the advanced features offered by more robust file transfer protocols. TFTP only reads and writes files from or to a remote server. It cannot list, delete, or rename files or directories and it has no provisions for user authentication. Today TFTP is generally only used on local area networks (LAN).

Details

In TFTP, a transfer is initiated by the client issuing a request to read or write a particular file on the server. The request can optionally include a set of negotiated transfer parameters proposed by the client under the terms specified by RFC 2347. If the server grants the request, the file is sent in fixed length blocks of 512 bytes by default or the number specified in the blocksize negotiated option defined by RFC 2348. Each block of transferred data, which is usually carried within a single IP packet in order to avoid IP fragmentation, must be acknowledged by an acknowledgment packet before the next block can be sent. A data packet of less than 512 bytes or the agreed blocksize option signals termination of a transfer. If a packet gets lost in the network, the intended recipient will timeout and may retransmit their last packet (which may be data or an acknowledgment), thus causing the sender of the lost packet to retransmit that lost packet. The sender has to keep just one packet on hand for retransmission, since the lock step acknowledgment guarantees that all older packets have been correctly received. Notice that both devices involved in a transfer are considered senders and receivers. One sends data and receives acknowledgments, the other sends acknowledgments and receives data.

TFTP defines three modes of transfer: netascii, octet, and mail.

 * 1) Netascii is a modified form of ASCII, defined in RFC 764. It consists of an 8-bit extension of the 7-bit ASCII character space from 0x20 to 0x7F (the printable characters and the space) and eight of the control characters. The allowed control characters include the null (0x00), the line feed (LF, 0x0A), and the carriage return (CR, 0x0D). Netascii also requires that the end of line marker on a host be translated to the character pair CR LF for transmission, and that any CR must be followed by either a LF or the null.
 * 2) Octet allows for the transfer of arbitrary raw 8-bit bytes, with the received file resulting byte-per-byte identical to the one sent. More correctly, if a host receives an octet file and then returns it, the returned file must be identical to the original.
 * 3) Mail transfer mode uses Netascii transfer, but the file is sent to an email recipient by specifying that recipient's email address as the file name. RFC 1350 declared this mode of transfer obsolete.

TFTP uses UDP as its transport protocol. A transfer request is always initiated targeting port 69, but the data transfer ports are chosen independently by the sender and receiver during the transfer initialization. The ports are chosen at random according to the parameters of the networking stack, typically from the range of ephemeral ports.

 * 1) The initiating host A sends an RRQ (read request) or WRQ (write request) packet to host S at port number 69, containing the filename, transfer mode, and optionally any negotiated option under the terms of RFC 2347.
 * 2) S replies with an option ACK if options were used, and an ACK (acknowledgement) packet to WRQ and directly with a DATA packet to RRQ. Packet is sent from a randomly allocated ephemeral port, and all future packets to host S should be directed to this port.
 * 3) The source host sends numbered DATA packets to the destination host, all but the last containing a full-sized block of data (512 bytes default). The destination host replies with numbered ACK packets for all DATA packets.
 * 4) The final DATA packet must contain less than a full-sized block of data to signal that it is the last. If the size of the transferred file is an exact multiple of the block-size, the source sends a final DATA packet containing 0 bytes of data.
 * 5) Receiver responds to each DATA with associated numbered ACK. Sender responds to the first received ACK of a block with DATA of the next block.
 * 6) If an ACK is not eventually received, a retransmit timer re-sends DATA packet.

TFTP has always been associated to network booting. One of the first attempts in this regard was the Bootstrap Loading using TFTP standard RFC 906, published in 1984, which established the 1981 published Trivial File Transfer Protocol standard RFC 783 to be used as the standard file transfer protocol for bootstrap loading. It was followed shortly after by the Bootstrap Protocol standard RFC 951 (BOOTP), published in 1985, which allowed a disk-less client machine to discover its own IP address, the address of a TFTP server, and the name of a Network Bootstrap Program (NBP) to be TFTP transferred, loaded into memory, and executed. Dynamic Host Configuration Protocol standard RFC 2131 (DHCP) published in 1997 improved BOOTP capabilities. Finally, the Preboot Execution Environment (PXE) version 2.0 was released in December 1998, and the update 2.1 was made public in September 1999 counting on TFTP as its file transfer protocol. Intel has recently decided to widely support PXE within the new UEFI specification extending the TFTP support to all EFI/UEFI environments.

The original protocol has a transfer file size limit of 512 bytes/block x 65535 blocks = 32 MB. In 1998 this limit was extended to 65535 bytes/block x 65535 blocks = 4 GB by TFTP Blocksize Option RFC 2348. If the defined blocksize produces an IP packet size that exceeds the minimum MTU at any point of the network path, IP fragmentation and reassembly will occur not only adding more overhead but also leading to total transfer failure when the minimalist IP stack implementation in a host's BOOTP or PXE ROM does not (or fails to properly) implement IP fragmentation and reassembly. If TFTP packets should be kept within the standard Ethernet MTU (1500), the blocksize value is calculated as 1500 minus headers of TFTP (4 bytes), UDP (8 bytes) and IP (20 bytes) = 1468 bytes/block, this gives a limit of 1468 bytes/block x 65535 blocks = 92 MB. Today most servers and clients support block number roll-over (block counter going back to 0 or 1 after 65535) which gives an essentially unlimited transfer file size.

Since TFTP utilizes UDP, it has to supply its own transport and session support. Each file transferred via TFTP constitutes an independent exchange. Classically, this transfer is performed in lock-step, with only one packet (either a block of data, or an 'acknowledgement') alternatively in flight on the network at any time. Due to this single data block strategy instead of sending a larger amount of uninterrupted data blocks before pausing the transfer to wait for the corresponding acknowledge (windowing), TFTP provides low throughput especially over high latency links. Microsoft introduced windowed TFTP in Windows 2008 as part of their Windows Deployment Services (WDS), in January 2015 TFTP Windowsize Option RFC 7440 was published. This substantially improves performance for things like PXE booting without the IP fragmentation side effect sometimes observed on Blocksize Option RFC 2348

Security considerations
TFTP includes no login or access control mechanisms. Care must be taken when using TFTP for file transfers where authentication, access control, confidentiality, or integrity checking are needed. Note that those security services could be supplied above or below the layer at which TFTP runs. Care must also be taken in the rights granted to a TFTP server process so as not to violate the security of the server's file system. TFTP is often installed with controls such that only files that have public read access are available via TFTP. Also listing, deleting, renaming, and writing files via TFTP are typically disallowed. TFTP file transfers are not recommended where the inherent protocol limitations could raise insurmountable liability concerns.

title: Trivial File Transfer Protocol


text:
Wikipedia talk:Naming conventions (toponymy)

Ambiguous place names
Q: When linking to city or town names, especially with names where there may be another city or town with the same name and spelling in another state or country (i.e., Paris, France and Paris, Texas), what type of convention might we use? I understand that Paris, France would stand alone as Paris because it is a city of note. But, might we use Paris, Texas to specify this particular town in Texas? -- Invictus

I think "least surprize" should be the guiding principle here. This implies several things: first, that disambiguating pages should list things in the likely order of significance. For example, the "Paris" page should have links to the French city, the Texas city, and the mythological figure, in that order. Second, when one mentions a subject in another page, it should link directly to the most specific page. For example, the "Macbeth" link on the Orson Welles page should link directly to a page specific to his movie, not to the play or other movies or to the disambiguating page. The text of the link, however, should be whatever makes sense in context; i.e., in a list of Welles' works, the link text should just be "Macbeth", but its destination should be "Macbeth (Orson Welles film)" (Let's get those parentesized titles working!). Similarly, if one is writing about Helen of Troy, the name "Paris" should appear unadorned to make the text read smoothly, but it should be linked directly to "Paris (mythological figure)". --Lee Daniel Crocker

I don't think the principle of "least surprise" implies that we should make Paris a links page. I think it implies that we should make Paris about Paris, France, and also, on that page, include links to Paris, Texas and wherever else. Bear in mind, though, that pretty soon we're going to be able to use parentheses in titles, and all of this will be moot (thank god). --LMS

I agree with Lee, see User:Eclecticology's revision of seal. --Aidan

It might be tempting to write about Paris, Texas on a page named Texas/Paris, i.e. a subpage to the entry on Texas, because that city lies entirely within the state of Texas. In this case, Texas could also be a subpage to the United States, which might be a subpage to the North American continent. At some level this hierarchical structure gets very ridiculous, so where should the line be drawn? The state of California has been part of USA since 1850, but was earlier a part of Mexico. Some cities in Europe have belonged to different nations during history, so the hierarchical approach is not universally useful.
 * I totally agree with this. I was going to label a link Genoa, Italy, when I remembered that Genoa existed for quite a while before Italy per se existed.  :-)  Generally speaking, when we--very soon, now!--upload the latest UseModWiki software to the server, we'll be able to use parentheses, and some of these sorts of troubles will be over.  Then it will be a question whether we want to label the page "Paris (Texas)" or "Paris, Texas."  And we will still probably not want to label the page "Genoa (Italy)"--though, given that there are probably several other noteworthy (to some extent) Genoas around the world...well, we can use parentheses for those Genoas, and leave the main old Genoa unparenthesized. --LMS

The recent tendency to show all place names other than US ones in the simple (City, Nation) format really looks bizarre for Canadian place names where the (City, Province) format is usual. Furthermore I see no necessity to include the country name in the article heading. The 13 Canadian provinces and territories are just as well known as the 50 US states. Ditto for the Australian states. Eclecticology, Monday, July 8, 2002

Descriptive part of place names
I was wondering whether this page should be a disambiguation page or not. When I (not native speaker of English) hear Colorado, my first thoughts are with the river of the Grand Canyon, next with this US state. Although the river has its article at Colorado River, I would at least except some linking here, if not a real disambiguation. Is this acceptable from US/native English point of view? I mainly ask this because the **** River construction is sometimes used, sometimes not (you don't really hear Rhine River, but you do hear River Thames (with the River as a prefix this time)) and I'm not really sure what the acceptable standard is. Just want to know before I move this Colardo article (And the no doubt many links) which somebody then has to revert. jheijmans

This article should only be about Colorado the state -- some minor disambiguation at the bottom could then be done with links to the other various "Colorado's". Generally in these cases if two terms are known by the same name then you always first try to see if one of those terms is also widely known as something less ambiguous (such as Colorado River]]). This way articles can be naturally disambiguated. However, Colorado the state is almost never called "Colorado state" by English speakers (at least in the 'States), so that type of disambiguation would be inappropriate. Cheers! --maveric149

As for the other rivers or anything else for that matter -- naming should give priority to what most English speakers would most easily recognize with the minimum of ambiguity. This doesn't always follow any set pattern or logic, so we have River Thames, Colorado River and Rhine. However the "Rhine" example is the most problematic example since "Rhine" is aslo the name of the river valley amoung other things. In this case the most famous and widely used example of the word is used for the Rhine entry (this is similar to reasoning behind having the home of Paris, France at Paris). Hope this helps. --maveric149

Thanks; some more questions though: The R in Colorado River (and also River Thames) is capitalised; this means it is considered part of the proper name? And is that common for all rivers in English/American lands, or only in the case of Mississippi and Colorado (don't know any other Thames's, however)? I often also see "xxxx river" in texts on rivers located in non-English countries, and then usually not capitalised, so I assume that is to clarify it is about a river then? Or is it, as you say, completely without any logic (which seems to be the case with the big river in Egypt, which you may encounter as both Nile and River Nile). Also, it seems the "River" prefix is English (UK), is that right? Sorry for being this curious and all... jheijmans

The capitalization of of "R" in river, "M" in mountain, or even "O" in ocean or "S" in sea is a problematic topic with wikipedia right now. There seem to be equal numbers of people who want to lowercase all these and another set of people who feel that those words should be capitalized since they feel the words are part of a proper name. So this is something that we are still trying to work out. I personally feel that these words should be capitalized but then that flys in the face of our naming conventions for these things so I am often compelled to lowercase the title when in doubt and provide a redirect for the capitalized term. One useful tool to use, however, is Google. What I do when pondering this, is enter in the term in question into Google (which isn't case sensitive) and search for it. I then look for examples of the lowercased term being used in one of the hits on the 1st and 2nd search result pages (The terms will almost always be capitalized when they are presented as titles or headings, so look for the highlighted term within the sample body text that Google displays). If a see a few examples of the term not capitalized then I revert to the wikipedia naming convention of Lowercase second and subsequent words for words that are not always capitalized in English (you shouldn't look too hard for examples though, since you can easily find incorrect English usage on the Internet). I dont' really know about the "River" prefix issue since I am only familiar with the River Thames example -- sounds like something the Brits would do though. BTW, being curious is a good thing and not something to be sorry for. :) --maveric149, Monday, May 6, 2002

I see the problem with this capitalisation. As (vaguely) mentioned above, I'd say that the second letter should be capitalised if part of the proper name, which I would say to be the case if: The latter is of course the most difficult one to judge, given the "commonly used". I would say that if it's not clear whether it's commonly used or not, we should stick to the lower case second part (like you said).
 * the first part of the word is an adjective (Atlantic Ocean, Indian Ocean, Black Sea), or
 * if the descriptive part is commonly used with the name, such as in River Thames and Colorado River

Now, the (non-existing) Gobi Desert article is a nice example. First of all, Gobi means desert in Mongolian, so adding desert is quite useless (there's a Gobi article). However, most people will not know this, and in English (also in my native language, Dutch) it is quite common (looking at Google) to say Gobi Desert, which is also seen on maps (Looking at other web-encylopedias, there is no consensus). So, actually, Gobi Desert should be the name of the article, not Gobi.

I would say that a redirect from Gobi Desert to Gobi also does the trick here (leaving the first article, redirecting is also some Wikipedia policy, isn't it), or not? jheijmans
 * No, that isn't any sort of policy -- it is just easier to do than moving the article so it is often done instead. I agree that Gobit should live at Gobi Desert so I will make the move myself. --maveric149

River X / X River
Which is preferred, River Thames or Thames River? Should we agree on one form? Which one is currently dominant? -- Tarquin 14:33 Oct 18, 2002 (UTC)

Abbreviations normally in place names
How do we handle cities and other places with "Saint" vs. "St.", "Mount" vs. "Mt.", etc.? We have "St. Louis, Missouri" and "Saint Paul, Minnesota". -- Zoe