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Provinces of South Africa

South Africa is divided into nine provinces. On the eve of the 1994 general election, South Africa's former homelands, known as Bantustans, were reintegrated into the country, and the four provinces were increased to nine. The borders of Natal and the Orange Free State were retained, while the Cape Province and Transvaal were divided into three provinces each, plus North West Province which straddles the border of and contains territory from both these two former provinces. The twelfth, thirteenth and sixteenth amendments to the Constitution of South Africa changed the borders of seven of the provinces.

History

The Union of South Africa was established in 1910 by combining four British colonies: Cape Colony; Natal Colony; Transvaal Colony; Orange River Colony. The last two were, before the Second Boer War, independent republics known as the South African Republic and the Orange Free State. These colonies became the four original provinces of the Union: Cape Province; Transvaal Province; Natal Province; Orange Free State Province.

Segregation of the black population started as early as 1913, with ownership of land by the black majority being restricted to certain areas totalling about 13% of the country. From the late 1950s, these areas were gradually consolidated into "homelands", also called "bantustans". Four of these homelands were established as quasi-independent nation states of the black population during the apartheid era. In 1976, the homeland of Transkei was the first to accept independence from South Africa, and although this independence was never acknowledged by any other country, three other homelands – Bophuthatswana (1977), Venda (1979) and Ciskei (1981) –  followed suit.

On 27 April 1994, the date of the first non-racial elections and of the adoption of the Interim Constitution, all of these provinces and homelands were dissolved, and nine new provinces were established. The boundaries of these provinces were established in 1993 by a Commission on the Demarcation/Delimitation of Regions created by CODESA, and were broadly based on planning regions demarcated by the Development Bank of Southern Africa in the 1980s, and amalgamated from existing magisterial districts, with some concessions to political parties that wished to consolidate their power bases, by transferring districts between the proposed provinces. The definitions of the new provinces in terms of magisterial districts were found in Schedule 1 of the Interim Constitution.

On 11 July 2003, the 11th amendment to the fifth constitution renamed the Northern Province to Limpopo. On 1 March 2006, the 12th and 13th amendments altered the boundaries of 7 provinces. On 3 April 2009 the 16th amendment altered the boundaries of the North West and Gauteng provinces.

Government

South Africa's provinces are governed, in different ways, on a national, provincial and local level.

Nationally, there is the National Council of Provinces, one of the houses of Parliament. Then there is the provincial government and, below that, the administration of district and metropolitan municipalities.

National Council of Provinces
South Africa has two houses of parliament: the National Assembly, and the National Council of Provinces. The second exists to ensure that the interests of each province are protected in the laws passed by the National Assembly.

Each one of South Africa's nine provinces sends 10 representatives to the National Council of Provinces. Six of these are permanent members of the council, and four are special delegates.

Provincial government
Each province is governed by a unicameral legislature. The size of the legislature is proportional to population, ranging from 30 members in the Northern Cape to 80 in KwaZulu-Natal. The legislatures are elected every five years by a system of party-list proportional representation; by convention, they are all elected on the same day, at the same time as the National Assembly election.

The provincial legislature elects, from amongst its members, a Premier, who is the head of the executive. The Premier chooses an Executive Council consisting of between five and ten members of the legislature, which is the cabinet of the provincial government. The Members of the Executive Council (MECs) are the provincial equivalent of ministers.

The powers of the provincial government are limited to specific topics listed in the national constitution. On some of these topicsfor example, agriculture, education, health and public housingthe province's powers are shared with the national government, which can establish uniform standards and frameworks for the provincial governments to follow; on other topics the provincial government has exclusive power.

The provinces do not have their own court systems, as the administration of justice is the responsibility of the national government.

List
Footnotes:

Former administrative divisions
Footnotes:
 * † States for which the homeland was quasi-independent.

Transportation

 * List of national routes in South Africa
 * List of provincial routes in South Africa
 * List of regional routes in South Africa
 * List of Metropolitan Routes in South Africa
 * Metropolitan Routes in East London
 * Metropolitan Routes in Cape Town
 * Metropolitan Routes in Johannesburg
 * Metropolitan Routes in Pretoria
 * Metropolitan Routes in Durban
 * Metropolitan Routes in Bloemfontein
 * Metropolitan Routes in Port Elizabeth
 * Metropolitan Routes in Pietermaritzburg
 * Numbered routes in South Africa

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

title: Provinces of South Africa


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List of musical band types

In music, a musical ensemble or band is a group of musicians that works together to perform music. The types of musical bands:

 * All-female band
 * boy band
 * Christian band
 * Church music
 * Concert band
 * Cover band
 * Dansband
 * Fife and drum
 * Garage rock band
 * Girl group
 * Heavy metal band
 * Family band
 * Jam band
 * Jazz band
 * Jug band
 * Klezmer band
 * Marching band
 * Military band
 * Orchestra
 * Organ trio
 * Rock band / pop band
 * Rock Supergroup
 * School band
 * Ska band
 * Studio band
 * Tribute act
 * Worship band

title: List of musical band types


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Exotic atom

An exotic atom is an otherwise normal atom in which one or more sub-atomic particles have been replaced by other particles of the same charge. For example, electrons may be replaced by other negatively charged particles such as muons (muonic atoms) or pions (pionic atoms). Because these substitute particles are usually unstable, exotic atoms typically have very short lifetimes and no exotic atom observed so far can persist under normal conditions.

Muonic atoms
In a muonic atom (previously called a mu-mesic atom, now known to be a misnomer as muons are not mesons), an electron is replaced by a muon, which, like the electron, is a lepton. Since leptons are only sensitive to weak, electromagnetic and gravitational forces, muonic atoms are governed to very high precision by the electromagnetic interaction.

Since a muon is more massive than an electron, the Bohr orbits are closer to the nucleus in a muonic atom than in an ordinary atom, and corrections due to quantum electrodynamics are more important. Study of muonic atoms' energy levels as well as transition rates from excited states to the ground state therefore provide experimental tests of quantum electrodynamics.

Muon-catalyzed fusion is a technical application of muonic atoms.

Other muonic atoms can be formed when negative muons interact with ordinary matter. The muon in muonic atoms can either decay or get captured by a proton. Muon capture is very important in heavier muonic atoms, thus shorten the muon's lifetime from 2.2 μs to only 0.08 μs.

Muonic hydrogen
Muonic hydrogen is like normal hydrogen with the electron replaced by a negative muon—that is a proton orbited by a muon. It is important in addressing the proton radius puzzle.

Muonic helium (Hydrogen-4.1)
The symbol 4.1H (Hydrogen-4.1) has been used to describe the exotic atom muonic helium (4He-μ), which is like helium-4 in having two protons and two neutrons. However one of its electrons is replaced by a muon, which also has charge –1. Because the muon's orbital radius is less than $1⁄200th$ the electron's orbital radius (due to the mass ratio), the muon can be considered as a part of the nucleus. The atom then has a nucleus with two protons, two neutrons and one muon, with total nuclear charge +1 (from two protons and one muon) and only one electron outside, so that it is effectively an isotope of hydrogen instead of an isotope of helium. A muon's weight is approximately 0.1 Da so the isotopic mass is 4.1. Since there is only one electron outside the nucleus, the hydrogen-4.1 atom can react with other atoms. Its chemical behavior behaves more like a hydrogen atom than an inert helium atom.

Hadronic atoms
A hadronic atom is an atom in which one or more of the orbital electrons are replaced by a negatively charged hadron. Possible hadrons include mesons such as the pion or kaon, yielding a pionic atom or a kaonic atom (see Kaonic hydrogen), collectively called mesonic atoms; antiprotons, yielding an antiprotonic atom; and the Sigma- particle, yielding a Sigma- or sigmaonic atom.

Unlike leptons, hadrons can interact via the strong force, so the orbitals of hadronic atoms are influenced by nuclear forces between the nucleus and the hadron. Since the strong force is a short-range interaction, these effects are strongest if the atomic orbital involved is close to the nucleus, when the energy levels involved may broaden or disappear because of the absorption of the hadron by the nucleus. Hadronic atoms, such as pionic hydrogen and kaonic hydrogen, thus provide experimental probes of the theory of strong interactions, quantum chromodynamics.

Onium
An onium (plural: onia) is the bound state of a particle and its antiparticle. The classic onium is positronium, which consists of an electron and a positron bound together as a metastable state, with a relatively long lifetime of 142 ns in the triplet state. Positronium has been studied since the 1950s to understand bound states in quantum field theory. A recent development called non-relativistic quantum electrodynamics (NRQED) used this system as a proving ground.

Pionium, a bound state of two oppositely charged pions, is useful for exploring the strong interaction. This should also be true of protonium, which is a proton–antiproton bound state. Understanding bound states of pionium and protonium is important in order to clarify notions related to exotic hadrons such as mesonic molecules and pentaquark states. Kaonium, which is a bound state of two oppositely charged kaons, has not been observed experimentally yet.

The true analogs of positronium in the theory of strong interactions, however, are not exotic atoms but certain mesons, the quarkonium states, which are made of a heavy quark such as the charm or bottom quark and its antiquark. (Top quarks are so heavy that they decay through the weak force before they can form bound states.) Exploration of these states through non-relativistic quantum chromodynamics (NRQCD) and lattice QCD are increasingly important tests of quantum chromodynamics.

Muonium, despite its name, is not an onium state containing a muon and an antimuon, because IUPAC assigned that name to the system of an antimuon bound with an electron. However, the production of a muon–antimuon bound state, which is an onium (called true muonium), has been theorized. The same applies to the ditauonium (or "true tauonium") exotic QED atom.

Hypernuclear atoms
Atoms may be composed of electrons orbiting a hypernucleus that includes strange particles called hyperons. Such hypernuclear atoms are generally studied for their nuclear behaviour, falling into the realm of nuclear physics rather than atomic physics.

Quasiparticle atoms
In condensed matter systems, specifically in some semiconductors, there are states called excitons, which are bound states of an electron and an electron hole.

Exotic molecules
An exotic molecule contains one or more exotic atoms.
 * Di-positronium, two bound positronium atoms
 * Positronium hydride, a positronium atom bound to a hydrogen atom

"Exotic molecule" can also refer to a molecule having some other uncommon property such as a pyramidal hexamethylbenzene and a Rydberg atom.

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Pionium

Pionium is a composite particle consisting of one and one  meson. It can be created, for instance, by interaction of a proton beam accelerated by a particle accelerator and a target nucleus. Pionium has a short lifetime, predicted by chiral perturbation theory to be $2.89 s$ (i.e. 2.89 femtoseconds). It decays mainly into two mesons, and to a smaller extent into two photons.

It has been investigated at CERN to measure its lifetime. The Dimeson Relativistic Atomic Complex (DIRAC) experiment at the Proton Synchrotron was able to detect 21227 atomic pairs from a total of $1.5$ events, which allows the pionium lifetime to be determined to within statistical errors of 9%.

In 2006, the NA48/2 collaboration at CERN published an evidence for pionium production and decay in decays of charged kaons, studying mass spectra of daughter pion pairs in the events with three pions in the final state K± → π±(ππ)atom → π±π0π0. This was followed by a precision measurement of the S-wave pion scattering length, published by the collaboration in 2009.

The results of the above experiments will provide crucial tests of low-energy QCD predictions.

title: Pionium


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Sword and sorcery

Sword and sorcery (S&S) or heroic fantasy is a subgenre of fantasy characterized by sword-wielding heroes engaged in exciting and violent adventures. Elements of romance, magic, and the supernatural are also often present. Unlike works of high fantasy, the tales, though dramatic, focus on personal battles rather than world-endangering matters. The genre originated from the early-1930s works of Robert E. Howard. The term "sword and sorcery" was coined by Fritz Leiber in the 6 April 1961 issue of the fantasy fanzine Ancalagon, to describe Howard and the stories that were influenced by his works. In parallel with "sword and sorcery", the term "heroic fantasy" is used, although it is a more loosely defined genre.

Sword and sorcery tales eschew overarching themes of "good vs evil" in favor of situational conflicts that often pit morally gray characters against one another to enrich themselves, or to defy tyranny.

Sword and sorcery is grounded in real-world social and societal hierarchies, and is grittier, darker, and more violent, with elements of cosmic, often Lovecraftian creatures that aren't a staple of mainstream fantasy. The main character is often a barbarian with antihero traits.

Etymology
American author Fritz Leiber coined the term "sword and sorcery" in 1961 in response to a letter from British author Michael Moorcock in the fanzine Amra, demanding a name for the sort of fantasy-adventure story written by Robert E. Howard. Moorcock had initially proposed the term "epic fantasy". Leiber replied in the journal Ancalagon (6 April 1961), suggesting "sword-and-sorcery as a good popular catchphrase for the field". He expanded on this in the July 1961 issue of Amra, commenting:

The term "heroic fantasy" has been used to avoid the garish overtones of "sword and sorcery". This name was coined by L. Sprague de Camp. However, it has also been used to describe a broader range of fantasy, including High fantasy.

Style and themes
Sword and sorcery stories take place in a fictional world where magic exists. The setting can be an Earth in the mythical past or distant future, an imaginary other world or an alien planet. Sometimes sword and sorcery stories are influenced by horror or science fiction. Sword and sorcery, however, does not seek to give a scientific explanation for miraculous events, unlike actual science fiction.

The main character in sword and sorcery stories is usually a powerful warrior who fights against supernatural evil. The typical protagonist is a violent, self-respecting and emotional barbarian who values freedom. The main character often has the characteristics of an antihero. Although the main character mostly behaves heroically, he may ally with an enemy or sacrifice an ally in order to survive. A hero's main weapons are cunning and physical strength. Magic, on the other hand, is usually only used by the villains of the story, who are usually wizards, witches, or supernatural monsters. Most sword and sorcery heroes are masculine male characters, while female characters are usually underdeveloped. A recurring theme in the genre is a damsel in distress. However, some sword and sorcery stories have a female protagonist, and the genre's traditional emphasis on male protagonists has declined since the last decades of the 20th century.

In his introduction to the 1967 Ace edition of Conan The Barbarian, L. Sprague de Camp described the typical sword and sorcery story as: [A] story of action and adventure laid in a more or less imaginary world, where magic works and where modern science and technology have not yet been discovered. The setting may (as in the Conan stories) be this Earth as it is conceived to have been long ago, or as it will be in the remote future, or it may be another planet or another dimension.

Such a story combines the color and dash of the historical costume romance with the atavistic supernatural thrills of the weird, occult, or ghost story. When well done, it provides the purest fun of fiction of any kind. It is escape fiction wherein one escapes clear out of the real world into one where all men are strong, all women beautiful, all life adventurous, and all problems simple, and nobody even mentions the income tax or the dropout problem or socialized medicine.

The circular structure is common in sword and sorcery series: the hero stays forever young and every day is like the first for him. The main character's victory over his enemies is not final, but in the next short story a new threat arises, against which the hero has to fight once again. The world has a wide variety of exciting and exotic locations designed to act as a stage for the main character's exploits. Many sword and sorcery tales have turned into lengthy series of adventures. Their lower stakes and less-than world-threatening dangers make this more plausible than a repetition of the perils of high fantasy. So too does the nature of the heroes; most sword and sorcery protagonists, travellers by nature, find peace after adventure deathly dull.

Sword and sorcery resembles high fantasy, but is darker and more jagged. The scale of the struggles depicted is smaller, and the main character usually pursues personal gain, such as wealth or love. The opposition between good and evil characteristic of fantasy also exists in sword and sorcery literature, but it is less absolute and the events often take place in a morally gray area. These features are especially emphasized in newer works of the genre. The stories are fast-paced and action-oriented, with lots of violent fight scenes. Sword and sorcery is by nature a light and escapist genre whose main purpose is to entertain the reader. There is usually no deep message or social statements in the works of this genre.

It is typical for the topics that sword and sorcery deals with to be relatively limited. The genre has sometimes been criticized for excessive violence, misogyny and even fascist attitudes.

Origins
In his introduction to the reference Literary Swordsmen and Sorcerers by L. Sprague de Camp, Lin Carter notes that the heritage of sword and sorcery is illustrious, and can be traced back to mythology, including the labors of Hercules, as well as to classical epics such as Homer's Odyssey, the Norse sagas, and Arthurian legend.

It also has been influenced by historical fiction. For instance, the work of Sir Walter Scott was influenced by Scottish folklore and ballads. But few of Scott's stories contain fantastic elements; in most, the appearance of such is explained away. Its themes of adventure in a strange society were influenced by adventures set in foreign lands by Sir H. Rider Haggard and Edgar Rice Burroughs. Haggard's works, such as King Solomon's Mines (1885) and She: A History of Adventure (1887) included many fantastic elements. Some of Haggard's characters, such as Umslopogaas, an axe-wielding Zulu warrior who encountered supernatural phenomena and loved to fight, bore similarities to sword and sorcery heroes. Haggard also wrote Eric Brighteyes (1891), a violent historical novel based on the Icelandic Sagas; some writers, (such as David Pringle) have stated that Eric Brighteyes resembles a modern sword and sorcery novel.

Sword and sorcery's immediate progenitors are the swashbuckling tales of Alexandre Dumas, père (The Three Musketeers (1844), etc.), Rafael Sabatini (Scaramouche (1921), etc.) and their pulp magazine imitators, such as Talbot Mundy, Harold Lamb, and H. Bedford-Jones, who all influenced Howard. Mundy in particular, proved influential: early sword and sorcery writers such as Robert E. Howard, C. L. Moore and Fritz Leiber were admirers of Mundy's fiction. However, these historical "swashbucklers" lack the supernatural element (even though Dumas' fiction contained many fantasy tropes) which defines the genre.

Another influence was early fantasy fiction. This type of fiction includes the short stories of Lord Dunsany's such as "The Fortress Unvanquishable, Save for Sacnoth" (1910) and "The Distressing Tale of Thangobrind the Jeweller" (1911). These works of Dunsany's feature warriors who clash with monsters and wizards in realms of Dunsany's creation. The Worm Ouroboros (1922) by E. R. Eddison, a heroic romance written in a mock-archaic style, was an inspiration to later writers of sword and sorcery such as Fritz Leiber. The "Poictesme" novels of James Branch Cabell (such as Jurgen: A Comedy of Justice (1919)) have been cited as a stimulus to early sword and sorcery writing. Cabell's novels depict picaresque exploits in imaginary lands, and were an influence on Leiber and Jack Vance. A. Merritt's novels The Ship of Ishtar (1924) and Dwellers in the Mirage (1932) have also been cited as influences on sword and sorcery, as they feature men from the then-contemporary world being drawn into dangerous adventures involving swordplay and magic. All these authors influenced sword and sorcery for the plots, characters, and landscapes used.

Also, many early sword and sorcery writers, such as Howard and Clark Ashton Smith, were influenced by the Middle Eastern tales of the Arabian Nights, whose stories of magical monsters and evil sorcerers were an influence on the genre-to-be.

Sword and sorcery's frequent depictions of smoky taverns and fetid back alleys draw upon the picaresque genre; for example, Rachel Bingham notes that Fritz Leiber's city of Lankhmar bears considerable similarity to 16th century Seville as depicted in Miguel de Cervantes' tale "Rinconete y Cortadillo".

Sword and sorcery proper only truly began in the pulp fantasy magazines, where it emerged from "weird fiction". The magazine Weird Tales, which published Howard's Conan stories and C. L. Moore's Jirel of Joiry tales, as well as key influences like H. P. Lovecraft and Smith, was especially important. Lovecraft's fiction (especially his "Dream Cycle" of Dunsany-inspired fantasy stories) was a source of inspiration for the first generation of sword and sorcery writers.

The 1929 Weird Tales story "The Shadow Kingdom" by Robert E. Howard is often regarded as the first true "sword and sorcery" tale, because it pits a heroic warrior (Kull of Atlantis) against supernatural evil, in an imaginary world of the writer's devising.

Howard published only three stories featuring Kull in Weird Tales. He revised an unsold Kull story, "By This Axe I Rule!" into "The Phoenix on the Sword", which introduced a new character, Conan the Barbarian. When "The Phoenix on the Sword" was published in 1932, it proved popular with the Weird Tales readers, and Howard wrote more tales of Conan, of which 17 were published in the magazine.

Development
The success of Howard's work encouraged other Weird Tales writers to create similar tales of adventure in imagined lands. Clark Ashton Smith wrote his tales of the Hyperborean cycle and Zothique for Weird Tales in the 1930s. These stories revolved around the exploits of warriors and sorcerers in lands of the remote past or remote future, and often had downbeat endings. C. L. Moore, inspired by Howard, Smith and H. P. Lovecraft, created the Jirel of Joiry stories for Weird Tales, which brought in the first sword and sorcery heroine. Moore's future husband Henry Kuttner created Elak of Atlantis, a Howard-inspired warrior hero, for Weird Tales in 1938.

Following a change of ownership in 1940, Weird Tales ceased to publish sword and sorcery stories. However, the pulp magazine Unknown Worlds continued to publish sword and sorcery fiction by Fritz Leiber and Norvell W. Page. Leiber's stories revolved around a duo of heroes called Fafhrd and the Gray Mouser, and dealt with their adventures in the world of Nehwon ("No-When" backwards). Leiber's stories featured more emphasis on characterisation and humour than previous sword and sorcery fiction, and his characters became popular with Unknown's readers. Page's sword and sorcery tales centred on Prester John, a Howard-inspired gladiator adventurer, whose exploits took place in Central Asia in the first century CE.

With the diminution of pulp magazine sales in the late 1940s, the focus of sword and sorcery shifted to small-press books. Arkham House published collections by Robert E. Howard, Clark Ashton Smith and Fritz Leiber that included some of their sword and sorcery work. Writer Jack Vance published the book The Dying Earth in 1950. The Dying Earth described the adventures of rogues and wizards on a decadent far-future Earth, where magic had replaced science.

Rise in popularity
In the 1960s, American paperback publisher Lancer Books began to reissue Robert E. Howard's Conan stories in paperback, with cover illustrations by artist Frank Frazetta. These editions became surprise bestsellers, selling millions of copies to a largely young readership. The commercial success of the Conan books encouraged other publishers to put out new and reprinted books in the style of Howard's work.

From the 1960s until the 1980s, under the guiding force of Carter, a select group of writers formed the Swordsmen and Sorcerers' Guild of America (SAGA) to promote and enlarge the sword and sorcery genre. From 1973 to 1981, five anthologies featuring short works by SAGA members were published. Edited by Carter, these were collectively known as Flashing Swords!. Because of these and other anthologies, such as the Ballantine Adult Fantasy series, his own fiction, and his criticism, Carter is considered one of the most important popularizers of genre fantasy in general, and S&S in particular.

Despite such authors' efforts, some critics use sword and sorcery as a dismissive or pejorative term. During the 1980s, influenced by the success of the 1982 feature film Conan the Barbarian, many fantasy films, some cheaply made, were released in a subgenre that would be called "sword & sorcery". Examples of these films would include 'The Beastmaster (film) (1982), The Sword and the Sorcerer (1982), two Italian Hercules films starring Lou Ferrigno, 'Krull (film) (1983), a Conan sequel, Conan the Destroyer (1984) and Red Sonja, which, like the Conan films, also starred Arnold Schwarzenegger. One could potentially include the earlier releases of Hawk the Slayer (1980) and Clash of the Titans (1981 film) which whetted the public’s appetites for such films and the live action adaptation of the Conan-inspired toy range (and subsequent cartoon series) Masters of the Universe (film), which essentially ended the subgenre’s 80s run.

After the cinema and literary boom of the early-to-mid 1980s, sword and sorcery once again dropped out of favor, with epic fantasy largely taking its place in the fantasy genre. There was, though, another resurgence in sword and sorcery at the end of the 20th century. Sometimes called the "new" or "literary" sword and sorcery, this development places emphasis on literary technique, and draws from epic fantasy and other genres to broaden the genre's typical scope. Stories may feature the wide-ranging struggles of national or world-spanning concerns common to high fantasy, but told from the point of view of characters more common to S&S, and with the sense of adventure common to the latter. Writers associated with this include Steven Erikson, Joe Abercrombie, and Scott Lynch, magazines such as Black Gate and the ezines Flashing Swords (not to be confused with the Lin Carter anthologies), and Beneath Ceaseless Skies publish short fiction in the style. According to the literary critic Higashi Masao regarding Japanese works Guin Saga and Sorcerous Stabber Orphen, they were initially planned by their authors as novels that could be classified as belonging to the European sword and sorcery subgenre but had various major elements that distanced themselves from the typical novels in the genre.

In the 1990s, sword and sorcery boomed in popularity in Britain and other parts of the world.

Women creators and characters
Despite the importance of C. L. Moore, Leigh Brackett, Andre Norton, and other female authors, as well as Moore's early heroine, sword and sorcery has been characterized as having a masculine bias. Female characters were generally distressed damsels to be rescued or protected, or otherwise served as a reward for a male hero's adventures. Women who had adventures of their own often did so to counter the threat of rape or to gain revenge for same. Marion Zimmer Bradley's Sword and Sorceress anthology series (1984 onwards) tried the reverse, encouraging female writers and protagonists. The stories feature skillful swordswomen and powerful sorceresses working from a variety of motives.

Jessica Amanda Salmonson similarly sought to broaden the range of roles for female characters in sword and sorcery through her own stories and through editing the World Fantasy Award-winning Amazons (1979) and Amazons II (1982) anthologies; both drew on real and folkloric female warriors, often from areas outside of Europe.

Early sword and sorcery writer Robert E. Howard had espoused feminist views in his personal and professional life. He wrote to his friends and associates defending the achievements and capabilities of women. Strong female characters in Howard's works of fiction include Dark Agnes de Chastillon (first appearing in "Sword Woman", circa 1932–34), the early modern pirate Helen Tavrel ("The Isle of Pirates' Doom", 1928), as well as two pirates and Conan the Barbarian supporting characters, Bêlit ("Queen of the Black Coast", 1934), and Valeria of the Red Brotherhood ("Red Nails", 1936).

Introduced as the co-star in a non-fantasy historical story by Howard entitled "The Shadow of the Vulture", Red Sonya of Rogatino later inspired a fantasy heroine named Red Sonja, who first appeared in the comic book series Conan the Barbarian written by Roy Thomas and illustrated by Barry Windsor-Smith. Red Sonja got her own comic book title and eventually a series of novels by David C. Smith and Richard L. Tierney, as well as Richard Fleischer's film adaptation in 1985.

Selected works
The genre has been defined by Robert E. Howard's work, especially his tales of Conan the Barbarian and Kull of Atlantis, mostly in Weird Tales from 1932 and 1929 respectively.

Other books and series that define the genre of sword-and-sorcery include:
 * Clark Ashton Smith's Hyperborean and Zothique tales, beginning with "The Tale of Satampra Zeiros" and "The Empire of the Necromancers" in 1931 and 1932, respectively.
 * C. L. Moore's Jirel of Joiry tales, beginning with "Black God's Kiss" (1934), which introduced the first notable sword and sorcery heroine.
 * Fritz Leiber's Fafhrd and the Gray Mouser sequence, beginning with "Two Sought Adventure" (1939).
 * Michael Moorcock's Elric sequence, beginning with The Dreaming City (published in Science Fantasy 1961), notable for its adherence to counterstereotype.
 * L. Sprague de Camp's Swords and Sorcery, the first sword and sorcery anthology, was published by Pyramid Books in December 1963.
 * Karl Edward Wagner's Kane novels, beginning with Darkness Weaves (1970), credited with reinvigorating the genre.
 * Robert Lynn Asprin's Thieves' World, a series of shared world anthologies first created in 1978.
 * Samuel R. Delany's Return of Nevèrÿon, a series of three-story collections and one novel influenced by critical theory, published from 1979 to 1987.
 * Charles Saunders's Imaro novels, beginning with Imaro (1981), a collection of short stories first published in the seventies for Dark Fantasy fanzine. Imaro was the first notable black sword and sorcery protagonist. L. Sprague de Camp and Lin Carter had created Juma of Kush as a secondary character in a short story published in 1967.
 * Gardner Fox's Kothar and Kyrik novels and "Crom the Barbarian", the first sword and sorcery comic series.

Other pulp fantasy fiction, such as Edgar Rice Burroughs' Barsoom series and Leigh Brackett's Sea Kings of Mars, have a similar feel to sword and sorcery. But, because alien science replaces the supernatural, these books are usually described as planetary romance or sword and planet. They fall more in the area of science fiction. Despite this, planetary romance closely aligns with sword and sorcery, and the work of Burroughs, Brackett, and others in the former field have been significant in creating and spreading S&S proper. Sword and sorcery often blurs the lines between fantasy and science fiction, drawing elements from both like the "weird fiction" it sprang from.

Another notable sword and sorcery anthology series from 1977 through 1979 called Swords Against Darkness, edited by Andrew J. Offutt, ran five volumes and featured stories by such authors as Poul Anderson, David Drake, Ramsey Campbell, Andre Norton, and Manly Wade Wellman.

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Gandalf

Gandalf is a protagonist in J. R. R. Tolkien's novels The Hobbit and The Lord of the Rings. He is a wizard, one of the Istari order, and the leader of the Fellowship of the Ring. Tolkien took the name "Gandalf" from the Old Norse "Catalogue of Dwarves" (Dvergatal) in the Völuspá.

As a wizard and the bearer of one of the Three Rings, Gandalf has great power, but works mostly by encouraging and persuading. He sets out as Gandalf the Grey, possessing great knowledge and travelling continually. Gandalf is focused on the mission to counter the Dark Lord Sauron by destroying the One Ring. He is associated with fire; his ring of power is Narya, the Ring of Fire. As such, he delights in fireworks to entertain the hobbits of the Shire, while in great need he uses fire as a weapon. As one of the Maiar, he is an immortal spirit from Valinor, but his physical body can be killed.

In The Hobbit, Gandalf assists the 13 dwarves and the hobbit Bilbo Baggins with their quest to retake the Lonely Mountain from Smaug the dragon, but leaves them to urge the White Council to expel Sauron from his fortress of Dol Guldur. In the course of the quest, Bilbo finds a magical ring. The expulsion succeeds, but in The Lord of the Rings, Gandalf reveals that Sauron's retreat was only a feint, as he soon reappeared in Mordor. Gandalf further explains that, after years of investigation, he is sure that Bilbo's ring is the One Ring that Sauron needs to dominate the whole of Middle-earth. The Council of Elrond creates the Fellowship of the Ring, with Gandalf as its leader, to defeat Sauron by destroying the Ring. He takes them south through the Misty Mountains, but is killed fighting a Balrog, an evil spirit-being, in the underground realm of Moria. After he dies, he is sent back to Middle-earth to complete his mission as Gandalf the White. He reappears to three of the Fellowship and helps to counter the enemy in Rohan, then in Gondor, and finally at the Black Gate of Mordor, in each case largely by offering guidance. When victory is complete, he crowns Aragorn as King before leaving Middle-earth for ever to return to Valinor.

Tolkien once described Gandalf as an angel incarnate; later, both he and other scholars have likened Gandalf to the Norse god Odin in his "Wanderer" guise. Others have described Gandalf as a guide-figure who assists the protagonists, comparable to the Cumaean Sibyl who assisted Aeneas in Virgil's The Aeneid, or to the figure of Virgil in Dante's Inferno. Scholars have likened his return in white to the transfiguration of Christ; he is further described as a prophet, representing one element of Christ's threefold office of prophet, priest, and king, where the other two roles are taken by Frodo and Aragorn.

The Gandalf character has been featured in radio, television, stage, video game, music, and film adaptations, including Ralph Bakshi's 1978 animated film. His best-known portrayal is by Ian McKellen in Peter Jackson's 2001–2003 The Lord of the Rings film series, where the actor based his acclaimed performance on Tolkien himself. McKellen reprised the role in Jackson's 2012–2014 film series The Hobbit.

Etymology
Tolkien derived the name Gandalf from Gandálfr, a dwarf in the Völuspá's Dvergatal, a list of dwarf-names. In Old Norse, the name means staff-elf. This is reflected in his name Tharkûn, which is "said to mean 'Staff-man'" in Khuzdul, the language Tolkien invented for his Dwarves.

In-universe names
Gandalf is given several names and epithets in Tolkien's writings. Faramir calls him the Grey Pilgrim, and reports Gandalf as saying, "Many are my names in many countries. Mithrandir among the Elves, Tharkûn to the Dwarves, Olórin I was in my youth in the West that is forgotten, in the South Incánus, in the North Gandalf; to the East I go not." In an early draft of The Hobbit, he is called Bladorthin, while the name Gandalf is used by the dwarf who later became Thorin Oakenshield.

Each Wizard is distinguished by the colour of his cloak. For most of his manifestation as a wizard, Gandalf's cloak is grey, hence the names Gandalf the Grey and Greyhame, from Old English hama, "cover, skin". Mithrandir is a name in Sindarin meaning "Grey Pilgrim" or "Grey Wanderer". Midway through The Lord of the Rings, Gandalf becomes the head of the order of Wizards, and is renamed Gandalf the White. This change in status (and clothing) introduces another name for the wizard: the White Rider. However, characters who speak Elvish still refer to him as Mithrandir. At times in The Lord of the Rings, other characters address Gandalf by insulting nicknames: Stormcrow, Láthspell ("Ill-news" in Old English), and "Grey Fool".

Characteristics
Tolkien describes Gandalf as the last of the wizards to appear in Middle-earth, one who "seemed the least, less tall than the others, and in looks more aged, grey-haired and grey-clad, and leaning on a staff". Yet the Elf Círdan who met him on arrival nevertheless considered him "the greatest spirit and the wisest" and gave him the Elven Ring of Power called Narya, the Ring of Fire, containing a "red" stone for his aid and comfort. Tolkien explicitly links Gandalf to the element fire later in the same essay:

"Warm and eager was his spirit (and it was enhanced by the ring Narya), for he was the Enemy of Sauron, opposing the fire that devours and wastes with the fire that kindles, and succours in wanhope and distress; but his joy, and his swift wrath, were veiled in garments grey as ash, so that only those that knew him well glimpsed the flame that was within. Merry he could be, and kindly to the young and simple, yet quick at times to sharp speech and the rebuking of folly; but he was not proud, and sought neither power nor praise ... Mostly he journeyed tirelessly on foot, leaning on a staff, and so he was called among Men of the North Gandalf 'the Elf of the Wand'. For they deemed him (though in error) to be of Elven-kind, since he would at times work wonders among them, loving especially the beauty of fire; and yet such marvels he wrought mostly for mirth and delight, and desired not that any should hold him in awe or take his counsels out of fear. ... Yet it is said that in the ending of the task for which he came he suffered greatly, and was slain, and being sent back from death for a brief while was clothed then in white, and became a radiant flame (yet veiled still save in great need)."

Valinor
In Valinor, Gandalf was called Olórin. He was one of the Maiar of Valinor, specifically, one of the people of the Vala Manwë; he was said to be the wisest of the Maiar. He was closely associated with two other Valar: Irmo, in whose gardens he lived, and Nienna, the patron of mercy, who gave him tutelage. When the Valar decided to send the order of the Wizards (Istari) across the Great Sea to Middle-earth to counsel and assist all those who opposed Sauron, Olórin was proposed by Manwë. Olórin initially begged to be excused, declaring he was too weak and that he feared Sauron, but Manwë replied that that was all the more reason for him to go.

As one of the Maiar, Gandalf was not a mortal Man but an angelic being who had taken human form. As one of those spirits, Olórin was in service to the Creator (Eru Ilúvatar) and the Creator's 'Secret Fire'. Along with the other Maiar who entered into Middle-earth as the five Wizards, he took on the specific form of an old man as a sign of his humility. The role of the wizards was to advise and counsel but never to attempt to match Sauron's strength with their own. It might be, too, that the kings and lords of Middle-earth would be more receptive to the advice of a humble old man than a more glorious form giving them direct commands.

Middle-earth
The wizards arrived in Middle-earth separately, early in the Third Age; Gandalf was the last, landing in the Havens of Mithlond. He seemed the oldest and least in stature, but Círdan the Shipwright felt that he was the greatest on their first meeting in the Havens, and gave him Narya, the Ring of Fire. Saruman, the chief Wizard, learned of the gift and resented it. Gandalf hid the ring well, and it was not widely known until he left with the other ring-bearers at the end of the Third Age that he, and not Círdan, was the holder of the third of the Elven-rings.

Gandalf's relationship with Saruman, the head of their Order, was strained. The Wizards were commanded to aid Men, Elves, and Dwarves, but only through counsel; they were forbidden to use force to dominate them, though Saruman increasingly disregarded this.

The White Council
Gandalf suspected early on that an evil presence, the Necromancer of Dol Guldur, was not a Nazgûl but Sauron himself. He went to Dol Guldur to discover the truth, but the Necromancer withdrew before him, only to return with greater force, and the White Council was formed in response. Galadriel had hoped Gandalf would lead the council, but he refused, declining to be bound by any but the Valar who had sent him. Saruman was chosen instead, as the most knowledgeable about Sauron's work in the Second Age.

Gandalf returned to Dol Guldur "at great peril" and learned that the Necromancer was indeed Sauron. The following year a White Council was held, and Gandalf urged that Sauron be driven out. Saruman, however, reassured the Council that Sauron's evident effort to find the One Ring would fail, as the Ring would long since have been carried by the river Anduin to the Sea; and the matter was allowed to rest. But Saruman began actively seeking the Ring near the Gladden Fields where Isildur had been killed.

The Quest of Erebor
"The Quest of Erebor" in Unfinished Tales elaborates upon the story behind The Hobbit. It tells of a chance meeting between Gandalf and Thorin Oakenshield, a Dwarf-king in exile, in the Prancing Pony inn at Bree. Gandalf had for some time foreseen the coming war with Sauron, and knew that the North was especially vulnerable. If Rivendell were to be attacked, the dragon Smaug could cause great devastation. He persuaded Thorin that he could help him regain his lost territory of Erebor from Smaug, and so the quest was born.

The Hobbit
Gandalf meets with Bilbo in the opening of The Hobbit. He arranges for a tea party, to which he invites the thirteen dwarves, and thus arranges the travelling group central to the narrative. Gandalf contributes the map and key to Erebor to assist the quest. On this quest Gandalf acquires the sword, Glamdring, from the trolls' treasure hoard. Elrond informs them that the sword was made in Gondolin, a city long ago destroyed, where Elrond's father lived as a child.

After escaping from the Misty Mountains pursued by goblins and wargs, the party is carried to safety by the Great Eagles. Gandalf then persuades Beorn to house and provision the company for the trip through Mirkwood. Gandalf leaves the company before they enter Mirkwood, saying that he had pressing business to attend to.

He turns up again before the walls of Erebor disguised as an old man, revealing himself when it seems the Men of Esgaroth and the Mirkwood Elves will fight Thorin and the dwarves over Smaug's treasure. The Battle of Five Armies ensues when hosts of goblins and wargs attack all three parties. After the battle, Gandalf accompanies Bilbo back to the Shire, revealing at Rivendell what his pressing business had been: Gandalf had once again urged the council to evict Sauron, since quite evidently Sauron did not require the One Ring to continue to attract evil to Mirkwood. Then the Council "put[s] forth its power" and drives Sauron from Dol Guldur. Sauron had anticipated this, and had feigned a withdrawal, only to reappear in Mordor.

Gandalf the Grey

Gandalf spent the years between The Hobbit and The Lord of the Rings travelling Middle-earth in search of information on Sauron's resurgence and Bilbo Baggins's mysterious ring, spurred particularly by Bilbo's initial misleading story of how he had obtained it as a "present" from Gollum. During this period, he befriended Aragorn and became suspicious of Saruman. He spent as much time as he could in the Shire, strengthening his friendship with Bilbo and Frodo, Bilbo's orphaned cousin and adopted heir.

Gandalf returns to the Shire for Bilbo's "eleventy-first" (111th) birthday party, bringing many fireworks for the occasion. After Bilbo, as a prank on his guests, puts on the ring and disappears, Gandalf urges his old friend to leave the ring to Frodo, as they had planned. Bilbo becomes hostile, accusing Gandalf of trying to steal the ring. Alarmed, Gandalf tells Bilbo that is foolish. Coming to his senses, Bilbo admits that the ring has been troubling him, and leaves it behind for Frodo as he departs for Rivendell.

Over the next 17 years, Gandalf travels extensively, searching for answers on the ring. He finds some answers in Isildur's scroll, in the archives of Minas Tirith. Gandalf searches long and hard for Gollum, often assisted by Aragorn, who eventually succeeds in capturing Gollum. Gandalf questions Gollum, threatening him with fire when he proves unwilling to speak. Gandalf learns that Sauron had imprisoned Gollum in his fortress of Barad-dûr, and tortured him to reveal what he knew of the Ring.

Returning to the Shire, Gandalf confirms his suspicion by throwing the Ring into Frodo's hearth-fire and reading the writing that appears on its surface. He tells Frodo the history of the ring, and urges him to take it to Rivendell, warning of grave danger if he stays in the Shire. Gandalf says he will attempt to return for Frodo's 50th birthday party, to accompany him on the road; and that meanwhile Frodo should arrange to leave quietly, as the servants of Sauron will be searching for him.

Outside the Shire, Gandalf encounters the wizard Radagast the Brown, who brings the news that the Nazgûl have ridden out of Mordor—and a request from Saruman that Gandalf come to Isengard. Gandalf asks him to send out animals to observe the Nazgûl, and to report to him at Isengard. Gandalf leaves a letter to Frodo (urging his immediate departure) with Barliman Butterbur at the Prancing Pony, and heads towards Isengard. There, Saruman horrifies Gandalf by asking him to help him to obtain and use the Ring. Gandalf refuses, and Saruman imprisons him at the top of his tower. Gandalf is rescued by Gwaihir the Eagle, who comes to him as requested via Radagast.

In Rohan, Gandalf appeals to King Théoden for a horse. Théoden, under the evil influence of Gríma Wormtongue, Saruman's spy and servant, tells Gandalf to take any horse he pleases, but to leave quickly. It is then that Gandalf meets the great horse Shadowfax, who will be his mount and companion. Gandalf rides hard for the Shire, but does not reach it until after Frodo has set out. Knowing that Frodo and his companions will be heading for Rivendell, Gandalf makes his own way there. He learns at Bree that the Hobbits have fallen in with Aragorn. He faces the Nazgûl at Weathertop, but escapes after an all-night battle, drawing four of them northward. Frodo, Aragorn and company face the remaining five on Weathertop a few nights later. Gandalf reaches Rivendell just before Frodo's arrival.

In Rivendell, Gandalf helps Elrond drive off the Nazgûl pursuing Frodo, and plays a leading role in the Council of Elrond as the only person who knows the full history of the ring. He reveals that Saruman has betrayed them and is in league with Sauron. When it is decided that the Ring has to be destroyed, Gandalf volunteers to accompany Frodo—now the Ring-bearer—in his quest. He persuades Elrond to let Frodo's cousins Merry and Pippin join the Fellowship.

Taking charge of the Fellowship (comprising nine representatives of the free peoples of Middle-earth, "set against the Nine Riders"), Gandalf and Aragorn lead the Hobbits and their companions south. After an unsuccessful attempt to cross Mount Caradhras in winter, they cross under the mountains through the Mines of Moria under the Misty Mountains, though only Gimli the Dwarf is enthusiastic about that route. In Moria, they discover that the dwarf colony established there by Balin has been annihilated by orcs. The Fellowship fights with the orcs and trolls of Moria and escapes them.

At the Bridge of Khazad-dûm, they encounter "Durin's Bane," a fearsome Balrog from ancient times. Gandalf faces the Balrog to enable the others to escape. After a brief exchange of blows, Gandalf breaks the bridge beneath the Balrog with his staff. As the Balrog falls, it wraps its whip around Gandalf's legs, dragging him over the edge. Gandalf falls into the abyss, crying "Fly, you fools!".

Gandalf and the Balrog fall into a deep lake in Moria's underworld. Gandalf pursues the Balrog through the tunnels for eight days until they climb to the peak of Zirakzigil. Here they fight for two days and nights. The Balrog is defeated and cast down onto the mountainside. Gandalf also dies, and his body lies on the peak while his spirit travels "out of thought and time".

Gandalf the White
Gandalf is "sent back" as Gandalf the White, and returns to life on the mountain top. Gwaihir carries him to Lothlórien, where he is healed of his injuries and re-clothed in white robes by Galadriel. He travels to Fangorn Forest, where he encounters Aragorn, Gimli, and Legolas (who are tracking Merry and Pippin). They mistake him for Saruman, but he stops their attacks and reveals himself.

They travel to Rohan, where Gandalf finds that Théoden has been further weakened by Wormtongue's influence. He breaks Wormtongue's hold over Théoden, and convinces the king to join in the fight against Sauron. Gandalf sets off to gather warriors of the Westfold to assist Théoden in the coming battle with Saruman. Gandalf arrives just in time to defeat Saruman's army in the battle of Helm's Deep. Gandalf and the King ride to Isengard, which has just been destroyed by Treebeard and his Ents, who are accompanied by Merry and Pippin. Gandalf breaks Saruman's staff and expels him from the White Council and the Order of Wizards; Gandalf takes Saruman's place as head of both. Wormtongue tries to kill Gandalf or Saruman with the palantír of Orthanc, but misses both. Pippin retrieves the palantír, but Gandalf quickly takes it. After the group leaves Isengard, Pippin takes the palantír from a sleeping Gandalf, looks into it, and comes face to face with Sauron himself. Gandalf gives the palantír to Aragorn and takes the chastened Pippin with him to Minas Tirith to keep the young Hobbit out of further trouble.

Gandalf arrives in time to help to arrange the defences of Minas Tirith. His presence is resented by Denethor, the Steward of Gondor; but when his son Faramir is gravely wounded in battle, Denethor sinks into despair and madness. Together with Prince Imrahil, Gandalf leads the defenders during the siege of the city. When the forces of Mordor break the main gate, Gandalf, alone on Shadowfax, confronts the Lord of the Nazgûl. At that moment the Rohirrim arrive, causing the Nazgûl to withdraw. Gandalf is about to pursue, but is stopped by Pippin, who requests his intervention to save Faramir – Denethor in desperation was seeking to burn himself and his son on a funeral pyre. Gandalf saves Faramir (but not Denethor, who immolates himself), and plays no further part in the unfolding Battle of the Pelennor Fields.

After the battle, Gandalf counsels an attack against Sauron's forces at the Black Gate, in an effort to distract the Dark Lord's attention from Frodo and Sam; they are at that moment scaling Mount Doom to destroy the Ring. Gandalf, Aragorn and the other leaders of the West lead an army to the Black Gate, meeting the nameless lieutenant of Mordor, who shows them Frodo's mithril shirt and other items from the Hobbits' equipment. Gandalf rejects Mordor's terms of surrender, starting the Battle of the Morannon. The forces of the West face the full might of Sauron's armies, until the Ring is destroyed in Mount Doom. Gandalf leads the Eagles to rescue Frodo and Sam from the erupting mountain.

After the war, Gandalf crowns Aragorn as King Elessar, and helps him find a sapling of the White Tree of Gondor. He accompanies the Hobbits back to the borders of the Shire, before leaving to visit Tom Bombadil.

Two years later, Gandalf departs Middle-earth forever. He boards the Ringbearers' ship in the Grey Havens and sets sail to return across the sea to the Undying Lands; with him are his horse Shadowfax and his friends Frodo, Bilbo, Galadriel, and Elrond.

Appearance
Tolkien's biographer Humphrey Carpenter relates that Tolkien owned a postcard entitled Der Berggeist ("the mountain spirit"), which he labelled "the origin of Gandalf". It shows a white-bearded man in a large hat and cloak seated among boulders in a mountain forest. Carpenter said that Tolkien recalled buying the postcard during his holiday in Switzerland in 1911. Manfred Zimmerman, however, discovered that the painting was by the German artist Josef Madlener and dates from the mid-1920s. Carpenter acknowledged that Tolkien was probably mistaken about the origin of the postcard.

An additional influence may have been Väinämöinen, a demigod and the central character in Finnish folklore and the national epic Kalevala by Elias Lönnrot. Väinämöinen was described as an old and wise man, and he possessed a potent, magical singing voice.

Throughout the early drafts, and through to the first edition of The Hobbit, Bladorthin/Gandalf is described as being a "little old man", distinct from a dwarf, but not of the full human stature that would later be described in The Lord of the Rings. Even in The Lord of the Rings, Gandalf was not tall; shorter, for example, than Elrond or the other wizards.

Name
When writing The Hobbit in the early 1930s Tolkien gave the name Gandalf to the leader of the Dwarves, the character later called Thorin Oakenshield. The name is taken from the same source as all the other Dwarf names (save Balin) in The Hobbit: the "Catalogue of Dwarves" in the Völuspá. The Old Norse name Gandalfr incorporates the words gandr meaning "wand", "staff" or (especially in compounds) "magic" and álfr "elf". The name Gandalf is found in at least one more place in Norse myth, in the semi-historical Heimskringla, which briefly describes Gandalf Alfgeirsson, a legendary Norse king from eastern Norway and rival of Halfdan the Black. Gandalf is also the name of a Norse sea-king in Henrik Ibsen's second play, The Burial Mound. The name "Gandolf" occurs as a character in William Morris' 1896 fantasy novel The Well at the World's End, along with the horse "Silverfax", adapted by Tolkien as Gandalf's horse "Shadowfax". Morris' book, inspired by Norse myth, is set in a pseudo-medieval landscape; it deeply influenced Tolkien. The wizard that became Gandalf was originally named Bladorthin.

Tolkien came to regret his ad hoc use of Old Norse names, referring to a "rabble of eddaic-named dwarves, ... invented in an idle hour" in 1937. But the decision to use Old Norse names came to have far-reaching consequences in the composition of The Lord of the Rings; in 1942, Tolkien decided that the work was to be a purported translation from the fictional language of Westron, and in the English translation Old Norse names were taken to represent names in the language of Dale. Gandalf, in this setting, is thus a representation in English (anglicised from Old Norse) of the name the Dwarves of Erebor had given to Olórin in the language they used "externally" in their daily affairs, while Tharkûn is the (untranslated) name, presumably of the same meaning, that the Dwarves gave him in their native Khuzdul language.

Guide
Gandalf's role and importance was substantially increased in the conception of The Lord of the Rings, and in a letter of 1954, Tolkien refers to Gandalf as an "angel incarnate". In the same letter Tolkien states he was given the form of an old man in order to limit his powers on Earth. Both in 1965 and 1971 Tolkien again refers to Gandalf as an angelic being.

In a 1946 letter, Tolkien stated that he thought of Gandalf as an "Odinic wanderer". Other commentators have similarly compared Gandalf to the Norse god Odin in his "Wanderer" guise—an old man with one eye, a long white beard, a wide brimmed hat, and a staff, or likened him to Merlin of Arthurian legend or the Jungian archetype of the "wise old man".

In The Annotated Hobbit, Douglas Anderson likens Gandalf's role to the Rübezahl mountain spirit of German folktales. He states that the figure can appear as "a guide, a messenger, or a farmer", often depicted as "a bearded man with a staff".

The Tolkien scholar Charles W. Nelson described Gandalf as a "guide who .. assists a major character on a journey or quest .. to unusual and distant places". He noted that in both The Fellowship of the Ring and The Hobbit, Tolkien presents Gandalf in these terms. Immediately after the Council of Elrond, Gandalf tells the Fellowship:

"Someone said that intelligence would be needed in the party. He was right. I think I shall come with you."

Nelson notes the similarity between this and Thorin's statement in The Hobbit:

"We shall soon .. start on our long journey, a journey from which some of us, or perhaps all of us (except our friend and counsellor, the ingenious wizard Gandalf) may never return."

Nelson gives as examples of the guide figure the Cumaean Sibyl who assisted Aeneas on his journey through the underworld in Virgil's tale The Aeneid, and then the figure of Virgil in Dante's Inferno, directing, encouraging, and physically assisting Dante as he travels through hell. In English literature, Nelson notes, Thomas Malory's Le Morte d'Arthur has the wizard Merlin teaching and directing Arthur to begin his journeys. Given these precedents, Nelson remarks, it was unsurprising that Tolkien should make use of a guide figure, endowing him, like these predecessors, with power, wisdom, experience, and practical knowledge, and "aware[ness] of [his] own limitations and [his] ranking in the order of the great". Other characters who act as wise and good guides include Tom Bombadil, Elrond, Aragorn, Galadriel—who he calls perhaps the most powerful of the guide figures—and briefly also Faramir.

Nelson writes that there is equally historical precedent for wicked guides, such as Edmund Spenser's "evil palmers" in The Faerie Queene, and suggests that Gollum functions as an evil guide, contrasted with Gandalf, in Lord of the Rings. He notes that both Gollum and Gandalf are servants of The One, Eru Ilúvatar, in the struggle against the forces of darkness, and "ironically" all of them, good and bad, are necessary to the success of the quest. He comments, too, that despite Gandalf's evident power, and the moment when he faces the Lord of the Nazgûl, he stays in the role of guide throughout, "never directly confront[ing] his enemies with his raw power."

Christ-figure
The critic Anne C. Petty, writing about "Allegory" in the J.R.R. Tolkien Encyclopedia, discusses Gandalf's death and reappearance in Christian terms. She cites Michael W. Maher, S.J.: "who could not think of Gandalf's descent into the pits of Moria and his return clothed in white as a death-resurrection motif?" She at once notes, however, that "such a narrow [allegorical] interpretation" limits the reader's imagination by demanding a single meaning for each character and event. Other scholars and theologians have likened Gandalf's return as a "gleaming white" figure to the transfiguration of Christ.

The philosopher Peter Kreeft, like Tolkien a Roman Catholic, observes that there is no one complete, concrete, visible Christ figure in The Lord of the Rings comparable to Aslan in C. S. Lewis's Chronicles of Narnia series. However, Kreeft and Jean Chausse have identified reflections of the figure of Jesus Christ in three protagonists of The Lord of the Rings: Gandalf, Frodo and Aragorn. While Chausse found "facets of the personality of Jesus" in them, Kreeft wrote that "they exemplify the Old Testament threefold Messianic symbolism of prophet (Gandalf), priest (Frodo), and king (Aragorn)."

Adaptations

In the BBC Radio dramatisations, Gandalf has been voiced by Norman Shelley in The Lord of the Rings (1955–1956), Heron Carvic in The Hobbit (1968), Bernard Mayes in The Lord of the Rings (1979), and Sir Michael Hordern in The Lord of the Rings (1981).

John Huston voiced Gandalf in the animated films The Hobbit (1977) and The Return of the King (1980) produced by Rankin/Bass. William Squire voiced Gandalf in the animated film The Lord of the Rings (1978) directed by Ralph Bakshi. Ivan Krasko played Gandalf in the Soviet film adaptation The Hobbit (1985). Gandalf was portrayed by Vesa Vierikko in the Finnish television miniseries Hobitit (1993).

Ian McKellen portrayed Gandalf in The Lord of the Rings film series (2001–2003), directed by Peter Jackson, after Sean Connery and Patrick Stewart both turned down the role. According to Jackson, McKellen based his performance as Gandalf on Tolkien himself:

"We listened to audio recordings of Tolkien reading excerpts from Lord of the Rings. We watched some BBC interviews with him—there's a few interviews with Tolkien—and Ian based his performance on an impersonation of Tolkien. He's literally basing Gandalf on Tolkien. He sounds the same, he uses the speech patterns and his mannerisms are born out of the same roughness from the footage of Tolkien. So, Tolkien would recognize himself in Ian's performance."

McKellen received widespread acclaim for his portrayal of Gandalf, particularly in The Fellowship of the Ring, for which he received a Screen Actors Guild Award and an Academy Award nomination, both for best supporting actor. Empire named Gandalf, as portrayed by McKellen, the 30th greatest film character of all time. He reprised the role in The Hobbit film series (2012–2014), claiming that he enjoyed playing Gandalf the Grey more than Gandalf the White. He voiced Gandalf for several video games based on the films, including The Two Towers, The Return of the King, and The Third Age.

Charles Picard portrayed Gandalf in the 1999 stage production of The Two Towers at Chicago's Lifeline Theatre. Brent Carver portrayed Gandalf in the 2006 musical production The Lord of the Rings, which opened in Toronto.

Gandalf appears in The Lego Movie, voiced by Todd Hanson. Gandalf is a main character in the video game Lego Dimensions and is voiced by Tom Kane.

Gandalf has his own movement in Johan de Meij's Symphony No. 1 "The Lord of the Rings", which was written for concert band and premiered in 1988. In Aulis Sallinen's Symphony No. 7, Op. 71 'The Dreams of Gandalf', the Gandalf theme has the note sequence G-A-D-A-F, "Gandalf" as far as can be formed with the notes A to G. The result is a "striving, rising theme".

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Vein

Veins are blood vessels in the circulatory system of humans and most other animals that carry blood towards the heart. Most veins carry deoxygenated blood from the tissues back to the heart; exceptions are those of the pulmonary and fetal circulations which carry oxygenated blood to the heart. In the systemic circulation, arteries carry oxygenated blood away from the heart, and veins return deoxygenated blood to the heart, in the deep veins.

There are three sizes of veins: large, medium, and small. Smaller veins are called venules, and the smallest the post-capillary venules are microscopic that make up the veins of the microcirculation. Veins are often closer to the skin than arteries.

Veins have less smooth muscle and connective tissue and wider internal diameters than arteries. Because of their thinner walls and wider lumens they are able to expand and hold more blood. This greater capacity gives them the term of capacitance vessels. At any time, nearly 70% of the total volume of blood in the human body is in the veins. In medium and large sized veins the flow of blood is maintained by one-way (unidirectional) venous valves to prevent backflow. In the lower limbs this is also aided by muscle pumps, also known as venous pumps that exert pressure on intramuscular veins when they contract and drive blood back to the heart.

Structure
There are three sizes of vein, large, medium, and small. Smaller veins are called venules. The smallest veins are the post-capillary venules. Veins have a similar three-layered structure to arteries. The layers known as tunicae have a concentric arrangement that forms the wall of the vessel. The outer layer, is a thick layer of connective tissue called the tunica externa or adventitia; this layer is absent in the post-capillary venules. The middle layer, consists of bands of smooth muscle and is known as the tunica media. The inner layer, is a thin lining of endothelium known as the tunica intima. The tunica media in the veins is much thinner than that in the arteries as the veins are not subject to the high systolic pressures that the arteries are. There are valves present in many veins that maintain unidirectional flow.

Unlike arteries, the precise location of veins varies among individuals.

Veins close to the surface of the skin appear blue for a variety of reasons. The factors that contribute to this alteration of color perception are related to the light-scattering properties of the skin and the processing of visual input by the visual cortex, rather than the actual colour of the venous blood which is dark red.

Venous system
The venous system is the system of veins in the systemic and pulmonary circulations that return blood to the heart. In the systemic circulation the return is of deoxygenated blood from the organs and tissues of the body, and in the pulmonary circulation the pulmonary veins return oxygenated blood from the lungs to the heart. Almost 70% of the blood in the body is in the veins, and almost 75% of this blood is in the small veins and venules. All of the systemic veins are tributaries of the largest veins, the superior and inferior vena cava, which empty the oxygen-depleted blood into the right atrium of the heart. The thin walls of the veins, and their greater internal diameters (lumens) enable them to hold a greater volume of blood, and this greater capacitance gives them the term of capacitance vessels. This characteristic also allows for the accommodation of pressure changes in the system. The whole of the venous system, bar the post-capillary venules is a large volume, low pressure system. The venous system is often asymmetric, and whilst the main veins hold a relatively constant position, unlike arteries, the precise location of veins varies among individuals.

Veins vary in size from the smallest post-capillary venules, and more muscular venules, to small veins, medium veins, and large veins. The thickness of the walls of the veins varies as to their location – in the legs the vein walls are much thicker than those in the arms. In the circulatory system, blood first enters the venous system from capillary beds where arterial blood changes to venous blood.

Large arteries such as the thoracic aorta, subclavian, femoral and popliteal arteries lie close to a single vein that drains the same region. Other arteries are often accompanied by a pair of veins held in a connective tissue sheath. The accompanying veins are known as venae comitantes, or satellite veins, and they run on either side of the artery. When an associated nerve is also enclosed, the sheath is known as a neurovascular bundle. This close proximity of the artery to the veins helps in venous return due to the pulsations in the artery. It also allows for the promotion of heat transfer from the larger arteries to the veins in a counterflow exchange that helps to preserve normal body heat.

The first entry of venous blood is from the convergence of two or more capillaries into a microscopic, post-capillary venule. Post-capillary venules have a diameter of between 10 and 30 micrometres (μm), and are part of the microcirculation. Their endothelium is made up of flattened oval or polygon shaped cells surrounded by a basal lamina. Post-capillary venules are too small to have a smooth muscle layer and are instead supported by pericytes that wrap around them. Post-capillary venules become muscular venules when they reach a diameter of 50 μm, and can reach a diameter of 1 mm. These larger venules feed into small veins. The small veins merge to feed as tributaries into medium-sized veins. The medium veins feed into the large veins which include the internal jugular, and renal veins, and the venae cavae that carry the blood directly into the heart. The venae cavae enter the right atrium of the heart from above and below. From above, the superior vena cava carries blood from the arms, head, and chest to the right atrium of the heart, and from below, the inferior vena cava carries blood from the legs and abdomen to the right atrium. The inferior vena cava is the larger of the two. The inferior vena cava is retroperitoneal and runs to the right and roughly parallel to the abdominal aorta along the spine.
 * Venules
 * Small, medium, and large veins

The three main compartments of the venous system are the deep veins, the superficial veins, and the perforator veins. Superficial veins are those closer to the surface of the body, and have no corresponding arteries. Deep veins are deeper in the body and have corresponding arteries. Perforator veins drain from the superficial to the deep veins. These are usually referred to in the lower limbs and feet. Superficial veins include the very small spider veins of between 0.5 and 1 mm diameter, and reticular or feeder veins.
 * Deep, superficial, and perforator veins

There are a number of venous plexuses where veins are grouped or sometimes combined in networks at certain body sites. The Batson venous plexus, runs through the inner vertebral column connecting the thoracic and pelvic veins. These veins are noted for being valveless, believed to be the reason for metastasis of certain cancers.
 * Venous plexuses

A subcutaneous venous plexus is continuous, and a high rate of flow is supplied by small arteriovenous anastomoses. The high rate of flow ensures heat transfer to the vein wall.

Venous valves

Blood flows back to the heart in the systemic deep veins, with the flow of blood maintained by one-way valves in the deep veins, superficial veins, and in the perforator veins. The venous valves serve to prevent regurgitation (backflow) due to the low pressure of veins, and the pull of gravity. They also serve to prevent the over-widening of the vein.

A venous valve is bicuspid (having two leaflets) and is formed by an infolding of part of the tunica intima on either side of the lumen of the veins. The leaflets are strengthened with collagen, and elastic fibres, and covered with endothelium. The endothelial cells on the surfaces of the leaflets facing the vein wall, are arranged transversely. On the leaflet surfaces that open to let the blood flow, the cells are arranged longitudinally in the direction of the flow. The leaflets are attached to the venous wall at their convex edges. Their margins are concave and are directed with the flow lying against the wall. As the valve forms, the vein wall where the leaflets attach, becomes dilated on each side. These widenings form the pockets, hollow cup-shaped regions, on the cardial side, known as the valvular sinuses. The endothelial cells in the sinuses are able to stretch twice as much as those in areas without valves. When the blood tries to reverse its direction (due to low venous pressure and the pull of gravity), the sinuses fill first closing the leaflets and keeping them together. Approximately 95% of the venous valves are in the small veins of less than 300 micrometres.

The deep veins of the lower limb include the common femoral vein, femoral vein, and the deep femoral vein; the popliteal vein, the tibial, and fibular veins. In the common femoral vein one valve is located above the saphenofemoral junction called the suprasaphenic valve. There are sometimes two valves in the same tract. In the femoral vein there are often three valves, the most constantly found valve is just below the joining of the deep femoral vein. The deep femoral vein and its perforators have valves. In the popliteal veins there are between one and three valves; in each posterior tibial vein there are between 8 and 19 valves, and in the anterior tibial veins there are between 8 and 11 valves.

In the superficial veins there are between one and seven valves along the thigh portion of the great saphenous vein (GSV); two to six below the knee and one to four in the marginal veins of the foot. There is a valve at the termination of the GSV known as the terminal valve to prevent reflux from the femoral vein  A preterminal valve is located just below the openings of the tributaries to prevent reflux form these into the GSV. Incompetence of the GSV is a common cause of varicose veins.

The valves also divide the column of blood into segments which helps move the blood unidirectionally to the heart. Their action is supported by the action of skeletal muscle pumps that contract and compress the veins. A skeletal muscle is confined in its fascia and contraction of the muscle which makes it wider results In compression on the vein that pushes the blood forward. Valves in the perforating veins close when a calf muscle contracts, to prevent backflow from the deep veins to the superficial. There are more valves in the lower leg, due to increased gravitational pull, with the number decreasing as the veins travel to the hip. There are no valves in the veins of the thorax or abdomen.

There is a valve at the junction of the inferior vena cava (one of the great vessels) and the right atrium known as the valve of inferior vena cava also known as the eustachian valve. This valve is an embryological remnant and is insignificant in the adult. However, when persistent it can cause problems.

Circulatory routes
There are some separate parallel systemic circulatory routes that supply specific regions, and organs. They include the coronary circulation, the cerebral circulation, the bronchial circulation, and the renal circulation.

In the coronary circulation, the blood supply to the heart, is drained by cardiac veins (or coronary veins) that remove the deoxygenated blood from the heart muscle. These include the great cardiac vein, the middle cardiac vein, the small cardiac vein, the smallest cardiac veins, and the anterior cardiac veins. Cardiac veins carry blood with a poor level of oxygen, from the heart muscle to the right atrium. Most of the blood of the cardiac veins returns through the coronary sinus. The anatomy of the veins of the heart is very variable, but generally it is formed by the following veins: heart veins that go into the coronary sinus: the great cardiac vein, the middle cardiac vein, the small cardiac vein, the posterior vein of the left ventricle, and the oblique vein of the left atrium (oblique vein of Marshall). Heart veins that go directly to the right atrium: the anterior cardiac veins, and the smallest cardiac veins (Thebesian veins).
 * Coronary circulation

In the bronchial circulation that supplies blood to the lung tissues, bronchial veins drain venous blood from the large main bronchi into the azygous vein, and ultimately the right atrium. Venous blood from the bronchi inside the lungs drains into the pulmonary veins and empties into the left atrium; since this blood never went through a capillary bed it was never oxygenated and so provides a small amount of shunted deoxygenated blood into the systemic circulation.
 * Bronchial circulation

In the cerebral circulation supplying the cerebrum the venous drainage can be separated into two subdivisions: superficial and deep. The superficial system is composed of dural venous sinuses, which have walls composed of dura mater as opposed to a traditional vein. The dural sinuses are therefore located on the surface of the cerebrum. The most prominent of these sinuses is the superior sagittal sinus which flows in the sagittal plane under the midline of the cerebral vault, posteriorly and inferiorly to the confluence of sinuses, where the superficial drainage joins with the sinus that primarily drains the deep venous system. From here, two transverse sinuses bifurcate and travel laterally and inferiorly in an S-shaped curve that forms the sigmoid sinuses which go on to form the two jugular veins. In the neck, the jugular veins parallel the upward course of the carotid arteries and drain blood into the superior vena cava.
 * Cerebral circulation

The deep venous drainage is primarily composed of traditional veins inside the deep structures of the brain, which join behind the midbrain to form the vein of Galen. This vein merges with the inferior sagittal sinus to form the straight sinus which then joins the superficial venous system mentioned above at the confluence of sinuses.

A portal venous system is a series of veins or venules that directly connect two capillary beds. The two systems in verebrates are the hepatic portal system, and the hypophyseal portal system.
 * Portal venous systems

An anastomosis is a joining of two structures such as blood vessels. In the circulation these are called circulatory anastomoses, one of which is the join between an artery with a vein known as an arteriovenous anastomosis. This connection which is highly muscular, enables venous blood to travel directly from an artery into a vein without having passed from a capillary bed.
 * Anastomoses

Abnormal connections can be present known as arteriovenous malformations. These are usually congenital and the connections are made from a tangle of capillaries. A cerebral arteriovenous malformation is one that is located in the brain. An irregular connection between an artery and a vein is known as arteriovenous fistula.

A small specialised arteriovenous anastomosis known as a glomus body or organ serves to transfer heat in the fingers and toes. The small connection is surrounded by a capsule of thickened connective tissue. In the hands and feet there are a great number of glomera.

A vascular shunt can also bypass the capillary bed and provide a route for blood supply directly to a collecting venule. This is achieved by a metarteriole that supplies around a hundred capillaries. At their junctions are precapillary sphincters that tightly regulate the flow of blood into the capillary bed. When all of the sphincters are closed blood can flow from a metarteriole into a thoroughfare channel and into a collecting venule bypassing the capillary bed.
 * Vascular shunt

A communicating vein directly connects two parts of the same system such as the Giacomini vein that connects the (superficial) small saphenous vein with the (superficial) great saphenous vein. Peripheral veins carry blood from the limbs and hands and feet.
 * Other

Microanatomy

The three layers of the vein wall are the outer tunica externa, the middle tunica media and the inner tunica intima. There are also numerous valves present in many of the veins.

The outer tunica externa, also known as the tunica adventitia is a sheath of thick connective tissue. This layer is absent in the post-capillary venules.

The middle tunica media is mainly of vascular smooth muscle cells, elastic fibers and collagen. This layer is much thinner than that in arteries. Vascular smooth muscle cells control the size of the vein lumens, and thereby help to regulate blood pressure.

The inner tunica intima is a lining of endothelium comprising a single layer of extremely flattened epithelial cells, supported by delicate connective tissue. This subendothelium is a thin but variable connective tissue. The tunica intima has the most variation in blood vessels, in terms of their wall thickness and relative size of their lumen. The endothelial cells continuously produce nitric oxide a soluble gas, to the cells of the adjacent smooth muscle layer. This constant synthesis is carried out by the enzyme endothelial nitric oxide synthase (eNOS). Other endothelial secretions are endothelin, and thromboxane (vasoconstrictors), and prostacyclin a vasodilator.

Development
The development of the embryo is completely reliant on the vitelline circulation, the bidirectional flow of blood between the yolk sac and the embryo. The yolk sac is the first extraembryonic structure to appear. This circulation is critical in allowing the exchange of nutrients, prior to the full development of the placenta. By day 17 vessels begin to form in the yolk sac, arising from the splanchnic mesoderm of the yolk sac wall. The capillaries are formed during vasculogenesis, and they lengthen and interconnect to form an extensive primitive vascular network. Blood is supplied from the primitive aorta, and drained by vitelline veins from the yolk sac to the embryo. By the end of the third week the yolk sac, connecting stalk, and chorionic villi are entirely vascularised.

In the middle of the fourth week the heart begins to beat and the circulation of blood begins. The primitive outflow tract is of three pairs of aortic arches. The inflow tract is formed of six paired veins, the vitelline veins, umbilical veins, and the cardinal veins.

Function
In the systemic circulation, veins serve to return oxygen-depleted blood from organs, and tissues to the right heart. From here it passes to the pulmonary arteries for the pulmonary circulation to return oxygen-rich blood to the left heart in the pulmonary veins, to be pumped back into the systemic circulation to complete the cycle. Veins have thinner walls than arteries, and a wider diameter that allow them to expand and hold a greater volume of blood. This gives them a functional role of capacitance that makes possible the accommodation of different pressures in the system. The venous system apart from the post-capillary venules is a high volume, low pressure system. Vascular smooth muscle cells control the size of the vein lumens, and thereby help to regulate blood pressure.

The post-capillary venules are exchange vessels whose ultra-thin walls allow the ready diffusion of molecules from the capillaries.

The return of blood to the heart is assisted by the action of the muscle pump, and by the thoracic pump action of breathing during respiration. Standing or sitting for a prolonged period of time can cause low venous return from venous pooling (vascular) shock. Fainting can occur but usually baroreceptors within the aortic sinuses initiate a baroreflex such that angiotensin II and norepinephrine stimulate vasoconstriction and heart rate increases to return blood flow. Neurogenic and hypovolaemic shock can also cause fainting. In these cases, the smooth muscles surrounding the veins become slack and the veins fill with the majority of the blood in the body, keeping blood away from the brain and causing unconsciousness. Jet pilots wear pressurized suits to help maintain their venous return and blood pressure.

Clinical significance
Most venous diseases involve obstruction such as a thrombus or insufficiency of the valves, or both of these. Other conditions may be due to inflammation, or compression. Ageing is a major independent risk factor for venous disorders. The medical speciality involved with the diagnosis and treatment of venous disorders is known as phlebology (also venology), and the specialist concerned is a phlebologist. There are a number of vascular surgeries and endovascular surgeries carried out by vascular surgeons to treat many venous diseases.

Venous insufficiency
Venous insufficiency is the most common disorder of the venous system, and is usually manifested as either spider veins or varicose veins. Several treatments are available including endovenous thermal ablation (using radiofrequency or laser energy), vein stripping, ambulatory phlebectomy, foam sclerotherapy, laser, or compression.

Postphlebitic syndrome is venous insufficiency that develops following deep vein thrombosis.

Venous thrombosis
Venous thrombosis is the formation of a thrombus (blood clot) in a vein. This most commonly affects a deep vein known as deep vein thrombosis (DVT), but can also affect a superficial vein known as superficial vein thrombosis (SVT).

Deep vein thrombosis
DVT usually occurs in the veins of the legs, although it can also occur in the deep veins of the arms. Immobility, active cancer, obesity, traumatic damage and congenital disorders that make clots more likely are all risk factors for deep vein thrombosis. It can cause the affected limb to swell, and cause pain and an overlying skin rash. In the worst case, a deep vein thrombosis can extend, or a part of a clot can break off as an embolus and lodge in a pulmonary artery in the lungs, known as a pulmonary embolism.

The decision to treat deep vein thrombosis depends on its size, symptoms, and their risk factors. It generally involves anticoagulation to prevents clots or to reduce the size of the clot. Intermittent pneumatic compression is a method used to improve venous circulation in cases of edema or in those at risk from a deep vein thrombosis.

Superficial vein thrombosis
SVT is the development of a thrombus in a superficial vein. SVT is not normally clinically significant, but the thrombus can migrate into the deep venous system where it can also give rise to a pulmonary embolism. The main risk factor for SVT in the lower limbs is varicose veins.

Portal hypertension
The portal vein also known as the hepatic portal vein carries blood drained from most of the gastrointestinal tract to the liver. Portal hypertension is mainly caused by cirrhosis of the liver. Other causes can include an obstructing clot in a hepatic vein (Budd Chiari syndrome) or compression from tumors or tuberculosis lesions. When the pressure increases in the portal vein, a collateral circulation develops, causing visible veins such as esophageal varices.

Phlebitis
Phlebitis is the inflammation of a vein. It is usually accompanied by a blood clot when it is known as thrombophlebitis. When the affected vein is a superficial vein in the leg, it is known as superficial thrombophlebitis, and unlike deep vein thrombosis there is little risk of the clot breaking off as an embolus.

Compression
Some disorders as syndromes result from compression of a vein. These include a venous type of thoracic outlet syndrome, due to compression of a subclavian vein; nutcracker syndrome most usually due to compression of the left renal vein, and May–Thurner syndrome associated with compression of the iliac vein which can lead to iliofemoral DVT. Compression of the superior vena cava most usually by a malignant tumor can lead to superior vena cava syndrome.

Vascular anomalies
A vascular anomaly can be either a vascular tumor or a birthmark, or a vascular malformation. In a tumor such as infantile hemangioma the mass is soft, and easily compressed, and their coloring is due to the dilated anomalous involved veins. They are most commonly found in the head and neck. Venous malformations are the type of vascular malformation that involves the veins. They can often extend deeper from their surface appearance, reaching underlying muscle or bone. In the neck they may extend into the lining of the mouth cavity or into the salivary glands. They are the most common of the vascular malformations. A severe venous malformation can involve the lymph vessels as a lymphaticovenous malformation.

Venous access
Venous access is any method used to access the bloodstream through the veins, either to administer intravenous therapy such as medication, or fluid, parenteral nutrition, to obtain blood for analysis, or to provide an access point for blood-based treatments such as dialysis or apheresis. Access is most commonly achieved via the placement of a central venous catheter, a Seldinger technique, and guidance tools such as ultrasound and fluoroscopy can also be used to assist with access location.

Imaging
Ultrasound, particularly duplex ultrasound, is the most usual and widely used way of viewing veins in the diagnosis of venous disease. Venography is an invasive procedure that uses a catheter to deliver a contrast agent in giving an X-ray of veins. An augmented reality healthcare application is a near-infrared vein finder that films subcutaneous veins, and projects their image either onto a screen or onto the person's skin.

Recognition techniques
Some imaging techniques using veins have been developed for identification purposes. These vein matching technologies, include finger vein recognition, and eye vein verification.

History
The Greek physician Herophilus (born 335 BC) distinguished veins from arteries, noting the thicker walls of arteries, but thought that the pulse was a property of arteries themselves. Greek anatomist Erasistratus observed that arteries that were cut during life bleed. He ascribed the fact to the phenomenon that air escaping from an artery is replaced with blood that entered by very small vessels between veins and arteries. Thus he apparently postulated capillaries but with reversed flow of blood.

In 2nd century AD Rome, the Greek physician Galen knew that blood vessels carried blood and identified venous (dark red) and arterial (brighter and thinner) blood, each with distinct and separate functions. Growth and energy were derived from venous blood created in the liver from chyle, while arterial blood gave vitality by containing pneuma (air) and originated in the heart. Blood flowed from both creating organs to all parts of the body where it was consumed and there was no return of blood to the heart or liver. The heart did not pump blood around, the heart's motion sucked blood in during diastole and the blood moved by the pulsation of the arteries themselves.

Galen believed that the arterial blood was created by venous blood passing from the left ventricle to the right by passing through 'pores' in the interventricular septum, air passed from the lungs via the pulmonary artery to the left side of the heart. As the arterial blood was created 'sooty' vapors were created and passed to the lungs also via the pulmonary artery to be exhaled.

In addition, Ibn al-Nafis had an insight into what would become a larger theory of the capillary circulation. He stated that "there must be small communications or pores (manafidh in Arabic) between the pulmonary artery and vein," a prediction that preceded the discovery of the capillary system by more than 400 years. Ibn al-Nafis' theory, however, was confined to blood transit in the lungs and did not extend to the entire body.

Finally, William Harvey, a pupil of Hieronymus Fabricius (who had earlier described the valves of the veins without recognizing their function), performed a sequence of experiments, and published Exercitatio Anatomica de Motu Cordis et Sanguinis in Animalibus in 1628, which "demonstrated that there had to be a direct connection between the venous and arterial systems throughout the body, and not just the lungs. Most importantly, he argued that the beat of the heart produced a continuous circulation of blood through minute connections at the extremities of the body. This is a conceptual leap that was quite different from Ibn al-Nafis' refinement of the anatomy and bloodflow in the heart and lungs." This work, with its essentially correct exposition, slowly convinced the medical world. However, Harvey was not able to identify the capillary system connecting arteries and veins; these were later discovered by Marcello Malpighi in 1661.

title: Vein