text:
User talk:Yooden

"Please log in to remove your comment"
Please cite me the policy that tells me to. I'm going to log out now and remove it right again, just for the heck of it. Dorftrottel (ask) 05:14, April 18, 2008
 * Do you start every conversation by demanding legal justification for one's actions? Seems a little excessive to me.
 * It's not policy, you were just not authenticated. Your message here is enough authentication for me, so I'll have to quench your little your edit war, sorry. --Yooden ☮
 * (i) As someone who first registered their account in 2001 should be well aware, the word policy has a special meaning on Wikipedia, unrelated to any "legal" matters. (ii) Why did you restore my comment? Based on what piece of Wikipedia policy? (iii) As an aside, your username could be considered offensive and disruptive. You may or may not be aware of it, but its natural English pronounciation is exactly the same as the German word for Jews. Dorftrottel (criticise) 05:35, April 18, 2008
 * (i) What I meant is this: Policy is what amounts to to law on Wikipedia. You started this friendly discussion by demanding legal (ie. policy) justification for my actions instead of just asking for my motives. I don't know, it's just not the way I ususally talk to people.
 * (ii) Look at it this way: I didn't revert your change, I reverted an IP vandal. How was I supposed to know the difference?
 * (iii) My pronounciation is different (German, incidentally). Anyway, why would anybody to be offended by that? --Yooden ☮
 * (i) Please see WP:NLT for why the difference between "legal" matters and policy cannot be overemphasised.
 * (ii) Please see WP:VAND for what vandalism is, and particularly for what vandalism is not. The edit was certainly not vandalism, and there is no good reason to assume that the edit summary did not state the truth. A more careful course of action would have been to drop a note at my (=the logged-in account's) talk page to ask whether or not I did indeed make that edit.
 * (iii) So the homophony is a pure coincidence, do I understand that correctly? Dorftrottel (complain) 08:36, April 18, 2008
 * Dorftrottel, there is nothing against user names that coincide with the name of a people. There are many such names on Wikipedia as well as off-wiki. Regards, Guido den Broeder (talk) 08:55, 18 April 2008 (UTC)
 * Off-wiki is irrelevant. On-wiki, it's a different issue. Personally, I'm not easily offended, but I wouldn't edit much in e.g. WWII-related articles with that username. I'd just appreciate some sort of reassurance that it's a pure coincidence. Dorftrottel (ask) 09:01, April 18, 2008
 * Well, you have no business asking that and invade someone's privacy. Guido den Broeder (talk) 09:14, 18 April 2008 (UTC)
 * "no business"? "Invade someone's privacy"? I asked politely, and the reason is because I noticed and couldn't help but make a connection between the user's edits to several WWII-related articles (including e.g. Adolf Hitler) and the username. But please let Yooden speak for himself, I think he's quite capable of doing so. Dorftrottel (talk) 09:25, April 18, 2008
 * No, you never asked politely, you called it "offensive and disruptive" (plus some weasel words), a far cry from simply pointing out the coincidence. If you find errors in my edits to Adolf Hitler, please point them out in detail. --Yooden ☮
 * Look directly above where I wrote: "As an aside, your username could be considered offensive and disruptive." Where did I say I personally considered it either of that? Dorftrottel (canvass) 11:10, April 18, 2008
 * So it's polite to call something "offensive and disruptive" (plus some weasel words) if one claims that one is not affected oneself? I don't think so. --Yooden ☮
 * Where did I call your username anything? Ich habe lediglich gesagt, dein Benutzername könnte so empfunden werden (mir selbst geht es kilometerweit am Allerwertesten vorbei). So please don't shoot the messenger. Dorftrottel (warn) 12:42, April 18, 2008
 * Please read WP:WEASEL. --Yooden ☮
 * WP:WEASEL applies only to mainspace content. The pages you're looking for are WP:AGF and WP:CIVIL. Myself, on the other hand, I should probably reread Hanlon's razor. Dorftrottel (warn) 13:51, April 18, 2008
 * Don't be so hard on yourself. --Yooden ☮
 * I'm not. Dorftrottel (harass) 14:25, April 18, 2008
 * Ok; you know yourself better than I do. --Yooden ☮

 * (i) Nobody made legal threats, and I kindly ask you to stop claiming or implying it. I know the difference, but as explained, I used the term legal as an analogy. I possibly should have checked whether my recipients would be able to understand that beforehand, but my explanation should have made it clear.
 * (ii) On WP:VAND, search for "Modifying users' comments" and "Discussion page vandalism". I couldn't find anything pertinent in WP:VAND, please point out what you are referring to. A more careful course of action would have been to log in before making that comment.
 * (iii) There is no homophony, as I pronounce it different. If you would make one up, it would obviously be unrelated to whatever devious plan I might hide.
 * If you can find the time, please have another look at our discussion next week and let me know if you still think then that you had some valid concerns. Thanks. --Yooden ☮
 * (i) Erm... you asked me above "Do you start every conversation by demanding legal justification" — Which I didn't, and I tried to explain just that to you.
 * (ii) The link to WP:VAND is a general recommendation. There was no reason to immediately revert that comment, especially since your edit summary clearly implies you actually believed that it was me removing my own comment. If you believed it was myself, then why did you revert it as vandalism? There is a bit of a logical gap right there, you see.
 * (iii) Ok, thanks. Dorftrottel (canvass) 11:10, April 18, 2008
 * Oh, and please make sure to sign with four tildes: ~ . Dorftrottel (vandalise) 11:12, April 18, 2008
 * (i) Yeah, whatever, I can't follow you anymore, and I'm kind of glad about it.
 * (ii) Have you read the two passages I pointed out? It's your link, remember? Do they fit? I really couldn't give a fuck whether your edit was true or not, I just don't think that using edit comments as a method of authentication is very practical.
 * You have a nice sig, how do you do the rotation? --Yooden ☮
 * See User:Dorftrottel/s. In my preferences, I have my signature defined as  and since the date is included in that subpage, I sign with only three tildes (normally returning only the username). I took the whole thing from User:East718/s and tweaked it. Actually, the effect he uses is far more subtle but just copying would have been a bit cheap. Dorftrottel (talk) 11:52, April 18, 2008
 * Thanks, I will take a closer look later. --Yooden ☮

Image:National Museum Lebanon.png
homework done :) Eli  +  07:36, 18 April 2008 (UTC)
 * Glad to hear that it worked out. I was a bit reluctant to point out the possible problem, since the image took probably some time to do, but Wikipedia shouldn't be burdened with dubious images. Which it weren't, in this case, so all is good. Have fun! --Yooden ☮

Signing posts
Please sign your posts using 4 tildes ( ~ ) so that the software adds a timstamp. This is necessary for auto-archiving purposes on most pages, and as a general convenience to your fellow editors. - Rjd0060 (talk) 15:24, 18 April 2008 (UTC)
 * No, it's not, the archiver will work anyway. --Yooden ☮
 * No, actually most will not, without the signature. That's why, when we subpage a discussion, and want to keep it on the main page for a while, we usually will post-date our signatures temporarily, to prevent the bot from archiving. Anyhow, I would like to echo the sentiment below, and have seen this requested of you now in several places. Please, please, sign your posts properly. SQL Query me!  17:45, 18 April 2008 (UTC)
 * I admit I only checked MiszaBot III. --Yooden ☮

4 tildes
(edit conflict) You might want to very thoughtfully consider signing from now on with four tildes ( ~ ), which will put a time and date stamp on your posts. Some editors are finding the lack of it mildly disruptive. Gwen Gale (talk) 15:26, 18 April 2008 (UTC)
 * How much of this disruption is inherent and how much is secondary, ie. comes from editors who don't like it? --Yooden ☮
 * You'll be blocked if you don't start doing it. It's disruptive to make it difficult to see the flow of a conversation or know when a message was left without a datestamp.
 * That's a joke, isn't it? You threaten me of blocking for using a non-standard signature - using an unsigned comment?
 * Hah, I can't believe I did that. John Reaves 16:12, 18 April 2008 (UTC)
 * Again, how much of this disruption is inherent and how much is secondary, ie. comes from editors who don't like it? --Yooden ☮
 * It's all inherent and that's why people don't like it. John Reaves 16:11, 18 April 2008 (UTC)
 * I know you don't mean to be disruptive by not leaving the time stamp, but many editors find it unsettling when they can't glance at the date and time of a post, even more so when there's any kind of a kerfuffle going on over something editors care about. Gwen Gale (talk) 16:17, 18 April 2008 (UTC)
 * Ok, here is my suggestion: We drop this now, because things are hot and ANI reports are dropping dead like flies nowadays; one of you pick it up in the middle of May (vacation) and we discuss it. Deal? --Yooden ☮
 * Actually, no. As an uninvolved administrator, if you do not abide by in signing your posts, per reasons stated earlier, then you will be blocked in accordance. It's not only for archival purposes, but it's for our convenience. We have to dig through the page's history to locate who said what and when, and that becomes not only burdensome, but confusing and frankly, it is a waste of time. There is no reason why you can't type out four tildes. seicer  |  talk  |  contribs  16:40, 18 April 2008 (UTC)
 * Ok then, point out the policy and I will back off. --Yooden ☮
 * SIG says use 4 tildes and I don't see a way to skirt by how it's worded. Gwen Gale (talk) 16:46, 18 April 2008 (UTC)
 * That would be a guideline.
 * Again, please look at this thread and answer this question: How much of this disruption is inherent and how much is secondary, ie. comes from editors who don't like it? --Yooden ☮
 * At the top of the page it characterizes a guideline as a generally accepted standard that editors should follow along with a passing reference to WP:IAR. So, I might ask, how would using 4 tildes prevent you from improving or maintaining Wikipedia? Gwen Gale (talk) 17:03, 18 April 2008 (UTC)
 * At the moment, nobody could give me a good reason why it would prevent you from improving or maintaining Wikipedia. Archiver robots were mentioned, but they actually cope quite well with my sigs. Discussion flow was mentioned but indentation takes care of that. Disruption was mentioned but I claim that the only disruption caused is secondary. Basically (glad you asked) I see no reason to dump date strings by the megabyte on Wikipedia without good reason. --Yooden ☮
 * Look, no need for me to wikilawyer or anything here, so I'm asking this only to show you my thinking. The exception to not using 4 tildes is referenced to IAR, which talks about how ignoring this might prevent you from improving or maintaining Wikipedia and you haven't answered this. As for how it prevents others from doing this, I think it does slow them down along with stirring up a needless distraction. Gwen Gale (talk) 17:16, 18 April 2008 (UTC)
 * I just noticed that I wanted to start wikilawyering. I cannot give you the discussion you deserve at the moment, I'm too much in defensive mode right now. Please come back later, as outline before. --Yooden ☮

 * WP:CIVIL is probably the more applicable one. I'd explain it but I think Yooden understands. Gwynand | Talk•Contribs 16:48, 18 April 2008 (UTC)
 * Personally targeted behavior? I actually don't think anything matches. If short sigs would have inherent disruptive value one might claim I'd like to make a WP:POINT, but that would be pointless: If I would think this to be the case, I would stop immediately. I just don't like to be harassed into something I don't want.
 * But anyway, even after the threats above, I'm willing to discuss it after a cool-off period. --Yooden ☮

I just noticed something: Why does nobody ask why I use short sigs? --Yooden ☮
 * I did about 30 seconds ago (see above). Please share your thoughts. Gwen Gale (talk) 17:06, 18 April 2008 (UTC)

My take: I would be very sad to see Yooden blocked for not using 4 tildes (even though I'd like him to start using them) when this has been stirred up by his posts to ANI (which I did not agree with). Can we give him and everyone else some time to think about it? Gwen Gale (talk) 18:06, 18 April 2008 (UTC)
 * It actually stemmed from his posts at my talk page. We frequently block people who fail to get a clue, no need to make exceptions here. John Reaves 19:33, 18 April 2008 (UTC)
 * I know, I'm only hoping he might stop and think about it some before that happens. Gwen Gale (talk) 20:14, 18 April 2008 (UTC)

AN/I
The original thread was archived because it was agreed by everyone, admin and non-admin(myself) that there was no reasonable claim of admin abuse. The thread was adding NO additional help to the discussion already opened on the RfA talk page. I'm posting this here because I would like to openly discuss your concerns here, but I don't believe further drama on the AN/I page will be tolerated. I am not an admin myself and have no reason to defend an admin over any other user. Gwynand | Talk•Contribs 15:39, 18 April 2008 (UTC)

 * Thanks for the note. I look forward to discussing the issue with you later. Gwynand | Talk•Contribs 16:13, 18 April 2008 (UTC)

You said you were going to take a break, cool off. Why aren't you doing so? Gwynand | Talk•Contribs 18:02, 18 April 2008 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:51, 23 November 2015 (UTC)

title: User talk:Yooden


text:
Paris Métro

The Paris Métro (Métro de Paris ; short for Métropolitain ), operated by the Régie autonome des transports parisiens (RATP), is a rapid transit system in the Paris metropolitan area, France. A symbol of the city, it is known for its density within the capital's territorial limits, uniform architecture and historical entrances influenced by Art Nouveau. The system is 245.6 km long, mostly underground. It has 320 stations of which 61 have transfers between lines. There are 16 lines (with an additional four under construction), numbered 1 to 14, with two lines, Line 3bis and Line 7bis, named because they used to be part of Line 3 and Line 7, respectively. Line 1, Line 4 and Line 14 are automated. Lines are identified on maps by number and colour, with the direction of travel indicated by the terminus.

It is the second busiest metro system in Europe, after the Moscow Metro, as well as the tenth-busiest in the world. It carried 1.498 billion passengers in 2019, roughly 4.1 million passengers a day, which makes it the most used public transport system in Paris. It is one of the densest metro systems in the world, with 244 stations within the 105.4 km2 of the City of Paris. Châtelet–Les Halles, with five Métro and three RER lines, is one of the world's largest metro stations. The system generally has poor accessibility since most stations were built underground well before ease of access started being taken into consideration.

The first line opened without ceremony on 19 July 1900, during the World's Fair (Exposition Universelle). The system expanded quickly until World War I and the core was complete by the 1920s; extensions into suburbs were built in the 1930s. The network reached saturation after World War II with new trains to allow higher traffic, but further improvements have been limited by the design of the network and, in particular, the short distances between stations. Besides the Métro, central Paris and its urban area are served by five RER lines (602 km with 257 stations), fourteen tramway lines (186.6 km with 278 stations), nine Transilien suburban trains (1299 km with 392 stations), as well as three VAL lines at Charles de Gaulle Airport and Orly Airport. In the late 1990s, Line 14 was put into service to relieve RER A. Line 11 reaching Rosny–Bois-Perrier in 2024 is the network's most recent extension. A large expansion programme (Grand Paris Express) is currently under construction with four new orbital Métro lines (15, 16, 17 and 18) around the Île-de-France region, outside the Paris city limits. Further plans exist for Line 1, Line 7, Line 10, a merger of lines 3bis and 7bis, and a new Line 19.

Naming
Métro is the abbreviated name of the company that originally operated most of the network: the Compagnie du chemin de fer métropolitain de Paris S.A. ("Paris Metropolitan Railway Company Ltd."), shortened to "Le Métropolitain". It was quickly abbreviated to Métro, which became a common designation and brand name for rapid transit systems in France and in many cities elsewhere.

The Métro is operated by the Régie autonome des transports parisiens (RATP), a public transport authority that also operates part of the RER network, light rail lines and many bus routes. The name Métro was adopted in many languages, making it the most used word for a (generally underground) urban transit system. It is possible that "Compagnie du chemin de fer métropolitain" was copied from the name of London's pioneering underground railway company, the Metropolitan Railway, which had been in business for almost 40 years prior to the inauguration of Paris's first line.

History
By 1845, Paris and the railway companies were already thinking about an urban railway system to link inner districts of the city. The railway companies and the French government wanted to extend mainline railways into a new underground network, whereas the Parisians favoured a new and independent network and feared national takeover of any system it built. The disagreement lasted from 1856 to 1890. Meanwhile, the population became denser and traffic congestion grew massively. The deadlock put pressure on the authorities and gave the city the green light.

Prior to 1845, the urban transport network consisted primarily of a large number of omnibus lines, consolidated by the French government into a regulated system with fixed and unconflicting routes and schedules. The first concrete proposal for an urban rail system in Paris was put forward by civil engineer Florence de Kérizouet. This plan called for a surface cable car system. In 1855, civil engineers Edouard Brame and Eugène Flachat proposed an underground freight urban railroad, due to the high rate of accidents on surface rail lines. On 19 November 1871 the General Council of the Seine commissioned a team of 40 engineers to plan an urban rail network. This team proposed a network with a pattern of routes "resembling a cross enclosed in a circle" with axial routes following large boulevards. On 11 May 1872 the Council endorsed the plan, but the French government turned down the plan. After this point, a serious debate occurred over whether the new system should consist of elevated lines or of mostly underground lines; this debate involved numerous parties in France, including Victor Hugo, Guy de Maupassant, and the Eiffel Society of Gustave Eiffel, and continued until 1892. Eventually the underground option emerged as the preferred solution because of the high cost of buying land for rights-of-way in central Paris required for elevated lines, estimated at 70,000 francs per metre of line for a 20 meter-wide railroad.

The last remaining hurdle was the city's concern about national interference in its urban rail system. The city commissioned renowned engineer Jean-Baptiste Berlier, who designed Paris' postal network of pneumatic tubes, to design and plan its rail system in the early 1890s. Berlier recommended a special track gauge of (versus the standard gauge of ) to protect the system from national takeover, which inflamed the issue substantially. The issue was finally settled when the Minister of Public Works begrudgingly recognized the city's right to build a local system on 22 November 1895, and by the city's secret designing of the trains and tunnels to be too narrow for mainline trains, while adopting standard gauge as a compromise with the state.

Fulgence Bienvenüe project
On 20 April 1896, Paris adopted the Fulgence Bienvenüe project, which was to serve only the city proper of Paris. Many Parisians worried that extending lines to industrial suburbs would reduce the safety of the city. Paris forbade lines to the inner suburbs and, as a guarantee, Métro trains were to run on the right, as opposed to existing suburban lines, which ran on the left.

Unlike many other subway systems (such as that of London), this system was designed from the outset as a system of (initially) nine lines. Such a large project required a private-public arrangement right from the outset – the city would build most of the permanent way, while a private concessionaire company would supply the trains and power stations, and lease the system (each line separately, for initially 39-year leases). In July 1897, six bidders competed, and The Compagnie Generale de Traction, owned by the Belgian Baron Édouard Empain, won the contract; this company was then immediately reorganized as the Compagnie du chemin de fer métropolitain.

Construction began in November 1898. The first line, Porte Maillot–Porte de Vincennes, was inaugurated on 19 July 1900 during the Paris World's Fair. Entrances to stations were designed in Art Nouveau style by Hector Guimard. Eighty-six of his entrances are still in existence.

Bienvenüe's project consisted of 10 lines, which correspond to current Lines 1 to 9. Construction was so intense that by 1920, despite a few changes from schedule, most lines had been completed. The shield method of construction was rejected in favor of the cut-and-cover method in order to speed up work. Bienvenüe, a highly regarded engineer, designed a special procedure of building the tunnels to allow the swift repaving of roads, and is credited with a largely swift and relatively uneventful construction through the difficult and heterogeneous soils and rocks.

Line 1 and Line 4 were conceived as central east–west and north–south lines. Two lines, ligne 2 Nord (Line 2 North) and ligne 2 Sud (Line 2 South), were also planned but Line 2 South was merged with Line 5 in 1906. Line 3 was an additional east–west line to the north of line 1 and line 5 an additional north to south line to the east of Line 4. Line 6 would run from Nation to Place d'Italie. Lines 7, 8 and 9 would connect commercial and office districts around the Opéra to residential areas in the north-east and the south-west. Bienvenüe also planned a circular line, the ligne circulaire intérieure, to connect the six mainline stations. A section opened in 1923 between Invalides and the Boulevard Saint-Germain before the plan was abandoned.

Nord-Sud competing network
On 31 January 1904, a second concession was granted to the Société du chemin de fer électrique souterrain Nord-Sud de Paris (Paris North-South underground electrical railway company), abbreviated to the Nord-Sud (North-South) company. It was responsible for building three proposed lines:
 * Line A would join Montmartre to Montparnasse as an additional north–south line to the west of Line 4.
 * Line B would serve the north-west of Paris by connecting Saint-Lazare station to Porte de Clichy and Porte de Saint-Ouen.
 * Line C would serve the south-west by connecting Montparnasse station to Porte de Vanves. The aim was to connect Line B with Line C, but the CMP renamed Line B as Line 13 and Line C as Line 14. Both were connected by the RATP as the current Line 13.

Line A was inaugurated on 4 November 1910, after being postponed because of floods in January that year. Line B was inaugurated on 26 February 1911. Because of the high construction costs, the construction of line C was postponed. Nord-Sud and CMP used compatible trains that could be used on both networks, but CMP trains used 600 volts third rail, and NS −600 volts overhead wire and +600 volts third rail. This was necessary because of steep gradients on NS lines. NS distinguished itself from its competitor with the high-quality decoration of its stations, the trains' extreme comfort and pretty lighting.

Nord-Sud did not become profitable and bankruptcy became unavoidable. By the end of 1930, the CMP bought Nord-Sud. Line A became Line 12 and Line B Line 13. Line C was built and renamed Line 14; that line was reorganised in 1937 with Lines 8 and 10. This partial line is now the south part of Line 13.

The last Nord-Sud train set was decommissioned on 15 May 1972.

1930–1950: first inner suburbs are reached
Bienvenüe's project was nearly completed during the 1920s. Paris planned three new lines and extensions of most lines to the inner suburbs, despite the reluctance of Parisians. Bienvenüe's inner circular line having been abandoned, the already-built portion between Duroc and Odéon for the creation of a new east–west line that became Line 10, extended west to Porte de Saint-Cloud and the inner suburbs of Boulogne.

The line C planned by Nord-Sud between Montparnasse station and Porte de Vanves was built as Line 14 (different from present Line 14). It extended north in encompassing the already-built portion between Invalides and Duroc, initially planned as part of the inner circular. The over-busy Belleville funicular tramway would be replaced by a new line, Line 11, extended to Châtelet. Lines 10, 11 and 14 were thus the three new lines envisaged under this plan.

Most lines would be extended to the inner suburbs. The first to leave the city proper was Line 9, extended in 1934 to Boulogne-Billancourt; more followed in the 1930s. World War II forced authorities to abandon projects such as the extension of Line 4 and Line 12 to the northern suburbs. By 1949, eight lines had been extended: Line 1 to Neuilly-sur-Seine and Vincennes, Line 3 to Levallois-Perret, Line 5 to Pantin, Line 7 to Ivry-sur-Seine, Line 8 to Charenton, Line 9 to Boulogne-Billancourt, Line 11 to Les Lilas and Line 12 to Issy-les-Moulineaux.

World War II had a massive impact on the Métro. Services were limited and many stations closed. The risk of bombing meant the service between Place d'Italie and Étoile was transferred from Line 5 to Line 6, so that most of the elevated portions of the Métro would be on Line 6. As a result, Lines 2 and 6 now form a circle. Most stations were too shallow to be used as bomb shelters. The French Resistance used the tunnels to conduct swift assaults throughout Paris.

It took a long time to recover after liberation in 1944. Many stations had not reopened by the 1960s and some closed for good. On 23 March 1948, the CMP (the underground) and the STCRP (bus and tramways) merged to form the RATP, which still operates the Métro.

1960–1990: development of the RER
The network grew saturated during the 1950s. Outdated technology limited the number of trains, which led the RATP to stop extending lines and concentrate on modernisation. The MP 51 prototype was built, testing both rubber-tyred metro and basic automatic driving on the voie navette. The first replacements of the older Sprague trains began with experimental articulated trains and then with mainstream rubber-tyred Métro MP 55 and MP 59, some of the latter still in service (Line 11). Thanks to newer trains and better signalling, trains ran more frequently.

The population boomed from 1950 to 1980. Car ownership became more common and suburbs grew further from the centre of Paris. The main railway stations, termini of the suburban rail lines, were overcrowded during rush hour. The short distance between Métro stations slowed the network and made it unprofitable to build extensions. The solution in the 1960s was to revive a project abandoned at the end of the 19th century: joining suburban lines to new underground portions in the city centre as the Réseau Express Régional (regional express network; RER).

The RER plan initially included one east–west line and two north–south lines. RATP bought two unprofitable SNCF lines—the Ligne de Saint-Germain (westbound) and the Ligne de Vincennes (eastbound) with the intention of joining them and to serve multiple districts of central Paris with new underground stations. The new line created by this merger became Line A. The Ligne de Sceaux, which served the southern suburbs and was bought by the CMP in the 1930s, would be extended north to merge with a line of the SNCF and reach the new Charles de Gaulle Airport in Roissy. This became Line B. These new lines were inaugurated in 1977 and their wild success outperformed all the most optimistic forecasts to the extent that line A is the most used urban rail line in the world with nearly 300 million journeys a year.

Because of the enormous cost of these two lines, the third planned line was abandoned and the authorities decided that later developments of the RER network would be more cheaply developed by the SNCF, alongside its continued management of other suburban lines. However, the RER developed by the SNCF would never match the success of the RATP's two RER lines. In 1979, the SNCF developed Line C by joining the suburban lines of the Gare d'Austerlitz and Gare d'Orsay, the latter being converted into a museum dedicated to impressionist paintings. During the 1980s, it developed Line D, which was the second line planned by the initial RER schedule, but serving Châtelet instead of République to reduce costs. A huge Métro-RER hub was created at Châtelet–Les Halles, becoming one of the world's largest underground stations.

The same project of the 1960s also decided to merge Line 13 and Line 14 to create a quick connection between Saint-Lazare and Montparnasse as a new north–south line. Distances between stations on the lengthened line 13 differ from that on other lines in order to make it more "express" and hence to extend it farther in the suburbs. The new Line 13 was inaugurated on 9 November 1976.

1990–2010: Eole and Météor
In October 1998, Line 14 was inaugurated. It was the first fully new Métro line in 63 years. Known during its conception as Météor (Métro Est-Ouest Rapide), it was the first of the now three fully automatic lines within the network, along with Line 1 and Line 4. It was the first with platform screen doors to prevent suicides and accidents. It was conceived with extensions to the suburbs in mind, similar to the extensions of the line 13 built during the 1970s. As a result, most of the stations are at least a kilometre apart. Like the RER lines designed by the RATP, nearly all stations offer connections with multiple Métro lines. The line initially ran between Saint-Lazare and Olympiades and was subsequently extended north to Mairie de St.Ouen in 2020.

Lines 13 and 7 are the only two on the network to be split in branches. The RATP would like to get rid of those saturated branches in order to improve the network's efficiency. A project existed to attribute to line 14 one branch of each line, and to extend them further into the suburbs. This project was abandoned. In 1999, the RER Line E was inaugurated. Known during its conception as Eole (Est-Ouest Liaison Express), it is the fifth RER line. It terminates at Haussmann–Saint-Lazare, but a new project, financed by EPAD, the public authority managing the La Défense business district, should extend it west to La Défense–Grande Arche and the suburbs beyond.

2010 and beyond: automation
Between 2007 and November 2011, Line 1 was converted to driverless operation. The line was operated with a combination of driver-operated trains and driverless trains until the delivery of the last of its driverless MP 05 trains in February 2013. The same conversion for Line 4 was completed on January 13, 2022, with the last non-automatic train removed from that line on December 17, 2023, and RATP would now like to automate Line 13. Line 14 was automated from Day 1, as will the lines 15 to 18 which are being built as part of the Grand Paris Express.

Several extensions to the suburbs opened in the last years. Line 8 was extended to Pointe du Lac in 2011, line 12 was extended to Aubervilliers in 2012, line 4 was extended to Mairie de Montrouge in 2013, Line 14 was extended by 5.8 km to Mairie de Saint-Ouen in December 2020, and Line 4 was extended to Bagneux in January 2022.

Accidents and incidents

 * 10 August 1903: Couronnes Disaster (fire), 84 killed.
 * July – October 1995: Paris Métro bombings (terror attack), committed by Algerian extremists – 8 killed and more than 100 injured.
 * 30 August 2000: an MF 67 train derailed due to excessive speed and unavailable automatic cruising at Notre-Dame-de-Lorette, 24 slightly injured.
 * 6 August 2005: fire broke out on a train at Simplon, injuring at least 19 people. Early reports blamed an electrical short circuit as the cause.
 * 29 July 2007: a fire started on a train between Varenne and Invalides. Fifteen people were injured.

Network
Since the Métro was built to comprehensively serve the city inside its walls, the stations are very close: 548 m apart on average, from 424 m on Line 4 to 1158 m on the newer line 14, meaning Paris is densely networked with stations. The surrounding suburbs are served by later line extensions, thus traffic from one suburb to another must pass through the city (the circular line 15, now under construction, will enable some journeys that do not need to pass through Paris). The slow average speed effectively prohibits service to the greater Paris area.

The Métro is mostly underground (225.2 km of 245.6 km). Above-ground sections consist of elevated railway viaducts within Paris (on Lines 1, 2, 5 and 6) and the at-level suburban ends of Lines 1, 5, 8, and 13. The tunnels are relatively close to the surface due to the variable nature of the terrain, which complicates deep digging; exceptions include parts of Line 12 under the hill of Montmartre and line 2 under Ménilmontant. The tunnels mostly follow the twists and turns of the streets above. During construction in 1900, a minimum radius of curvature of just 75 m was imposed, but even this low standard was not adhered to at Bastille and Notre-Dame-de-Lorette.

Like the New York City Subway, and in contrast with the London Underground, the Paris Métro mostly uses two-way tunnels. As in most French métro and tramway systems, trains drive on the right (SNCF trains run on the left track). The tracks are. Electric power is supplied by a third rail which carries 750 volts DC.

The width of the carriages, 2.4 m, is narrower than that of newer French systems (such as the 2.9 m carriages in Lyon) and trains on Lines 1, 4 and 14 have capacities of 600–700 passengers; this is as compared with 2,600 on the Altéo MI 2N trains of RER A. The City of Paris deliberately chose to build narrow Métro tunnels to prevent the running of mainline trains; the city of Paris and the French state had historically poor relations. In contrast to many other historical metro systems (such as New York, Madrid, London, and Boston), all lines have tunnels and operate trains with the same dimensions. Five Paris Métro Lines (1, 4, 6, 11 and 14) run on a rubber tire system developed by the RATP in the 1950s, exported to the Montreal, Santiago, Mexico City and Lausanne metro.

The number of cars in each train varies line by line. The shortest are lines 3bis and 7bis with three-car trains. Line 11 ran with four until the summer 2023 when four-car MP 59 trains, the oldest type in service at the time, were gradually replaced by new five-car MP 14 trains (at a pace of 3 to 5 new MP 14 every Monday). Lines 1 and 4 run six-car trains. Line 14 currently runs a mix of six and 8-car trains; in the future it will only run 8 cars. All other lines run with five. Two lines, 7 and 13, have branches at the end, and Line 10 has a one-way loop. Trains serve every station on each line except when they are closed for renovations.

Opening hours
The first train leaves each terminus at 5:30 a.m. On some lines additional trains start from an intermediate station. The last train, often called the "balai" (broom) because it sweeps up remaining passengers, arrives at the terminus at 1:15 a.m., except on Fridays (since 7 December 2007), Saturdays and on nights before a holiday, when the service ends at 2:15 a.m.

On New Year's Eve, Fête de la Musique, Nuit Blanche and other events, some stations on Lines 1, 4, 6, 9 and 14 remain open all night.

Tickets
Tickets are sold at staffed counters and at automated machines in the station foyer. Entrance to platforms is by automated gate, opened by smart cards and paper tickets. Gates return tickets for passengers to retain for the duration of the journey. There is normally no system to collect or check tickets at the end of the journey, and tickets can be inspected at any point. The exit from all stations is clearly marked as to the point beyond which possession of a ticket is no longer required.

Ticket t+
The standard ticket for a single trip is the Ticket t+. It is valid for a multi-transfer journey within 90 minutes from the first validation. It can be used on the Métro, buses and trams, and in zone 1 of the RER. It allows unlimited transfers between the same mode of transport (i.e. Métro to Métro, bus to bus and tram to tram), between bus and tram, and between Métro and RER zone 1. The ticket is available in paper form, or can be loaded onto a Navigo Easy pass. As of 2024, it costs €2.15 per ticket, and is also available as a pack of ten tickets (a carnet) for €17.35 on Navigo Easy.

Other tickets
Daily, weekly, and monthly passes are available for users of a Navigo card, an RFID-based contactless smart card.

Paris Visite is a paper ticket aimed at visitors offering unlimited trips for a duration of one, two, three or five days, for zones 1–3 covering the centre of Paris, or zones 1–5 covering the whole of the network including the RER to the airports, Versailles and Disneyland Paris.

Facilities
On 26 June 2012, it was announced that the Métro would get Wi-Fi in most stations. Access provided would be free, with a premium paid alternative offer proposed for a faster internet connection. As of 2020, the entire RATP network was connected with 4G service, including within tunnels. Line 1, Line 4 and Line 14 – as well as congested stations on Line 13 – have platform edge doors ('porte palière') separating the tracks from the platform.

Accessibility
The vast majority of Métro stations are not accessible to all. The 13 stations of Line 14 (which first opened in 1998) are fully accessible, and extensions of lines since 1992 have included lifts. By 2025, 23 stations on the Métro will be accessible, following extensions to existing lines. In future, the new Grand Paris Express lines will be fully accessible.

The does not require the Métro to be made accessible. RATP states that it would cost between 4 and 6 billion euros to retrofit the network, and it would be impossible to do at certain stations. , there are no plans to retrofit existing stations with lifts. RATP notes that buses and trams in Paris are fully accessible, and many RER & Transilien stations are accessible.

Technical specifications
The Métro has 245.6 km of track and 320 stations, 61 connecting between lines. These figures do not include the RER network. The average distance between stations is 562 m. Trains stop at all stations. Lines do not share tracks, even at interchange (transfer) stations.

Trains had a maximum permitted speed of 70 km/h and averaged 25.1 km/h at peak times as of 2018. The fastest lines were the automated ones: Line 14, which averaged 38.9 km/h, and Line 1, which averaged 30 km/h. Trains travel on the right. The track is standard gauge but the loading gauge is smaller than the mainline SNCF network. Power is from a lateral third rail, 750 V DC, except on the rubber-tyred lines where the current is from guide bars.

The loading gauge is small compared to those of newer metro systems (but comparable to that of early European metros), with capacities of between about 560 and 720 passengers per train on Lines 1–14. Many other metro systems (such as those of New York and London) adopted expanded tunnel dimensions for their newer lines (or used tunnels of multiple sizes almost from the outset, in the case of Boston), at the cost of operating incompatible fleets of rolling stock. Paris built all lines to the same dimensions as its original lines. Before the introduction of rubber-tire lines in the 1950s, this common shared size theoretically allowed any Métro rolling stock to operate on any line, but in practice each line was assigned a regular roster of trains.

A feature is the use of rubber-tired trains on five lines: this technique was developed by RATP and entered service in 1951. The technology was exported to many networks around the world (including Montreal, Mexico City and Santiago). Lines 1, 4, 6, 11 and 14 have special adaptations to accommodate rubber-tyred trains. Trains are composed of 3 to 8 cars depending on the line, the most common being 5 cars, but all trains on the same line have the same number of cars.

The Métro is designed to provide local, point-to-point service in Paris proper and service into the city from some close suburbs. Stations within Paris are very close together to form a grid structure, ensuring that every point in the city is close to a Métro station (less than 500 m), at the cost of speed, except on Line 14 where the stations are farther apart and the trains travel faster. The system is complemented by the RER, which extends farther out into the suburbs and functions as an express network for the city and its surroundings.

The Paris Métro runs mostly underground; surface sections include sections on viaducts in Paris (Lines 1, 2, 5, and 6) and at the surface in the suburbs (Lines 1, 5, 8, and 13). In most cases, both tracks are laid in a single tunnel. Almost all lines follow roads, having been built by the cut-and-cover method near the surface (the earliest by hand). Line 1 follows the straight course of the Champs-Elysées and on other lines, some stations (Liège, Commerce) have platforms that do not align: the street above is too narrow to fit both platforms opposite each other. Many lines have very sharp curves. The specifications established in 1900 required a very low minimum curve radius by railway standards, but even this was often not fully respected, for example near Bastille and Notre Dame de Lorette. Parts of the network are built at depth, in particular a section of Line 12 under Montmartre, the sections under the Seine, and all of Line 14.

Lines 7 and 13 have two terminal branches, while line 7bis runs in a unidirectional loop at one end. One end of lines 2 and 5 each and both ends of line 6 have their terminus station on a balloon loop. One end of lines 3bis and 7bis each have their trains essentially operate this way, but instead reverse. One end of lines 2, 3bis, and 4 have trains run out of service on a balloon loop before reentering service. All other termini have trains continue a certain distance beyond the terminal, before proceeding back to the station on a different platform headed the other way.

Rolling stock
The rolling stock has steel wheels (MF for matériel fer) and rubber-tyred trains (MP for matériel pneu). The different versions of each kind are specified by year of design. Some trains have suffixes to differentiate between them - CC (Conduite Conducteur) for trains driven by a driver and CA (Conduite Automatique) for trains that are automatically driven.

 * No longer in service
 * M1: in service from 1900 until 1931.
 * Sprague-Thomson: in service from 1908 until 1983.
 * MA 51: in service on lines 10 and 13 until 1994.
 * MP 55: in service on Line 11 from 1956 until 1999, replaced by the MP 59.
 * MP 59: in service from 1963 until 2024, replaced by the MP 14.
 * Zébulon a prototype MF 67, used for training operators between 1968 and 2010. It never saw passenger service.
 * Not yet in service
 * MF 19: intended to replace the MF 67, MF 77 and MF 88 stocks on Lines 3, 3bis, 7, 7bis, 8, 10, 12 and 13.

Stations

The typical station comprises two central tracks flanked by two four-metre wide platforms. About 50 stations, generally current or former termini, are exceptions; most have three tracks and two platforms (Porte d'Orléans), or two tracks and a central platform (Porte Dauphine). Some stations are single-track, either due to difficult terrain (Saint-Georges), a narrow street above (Liège) or track loops (Église d'Auteuil).

Station length was originally 75 m, enough to accommodate the 5-car trains used on most lines. This was extended to 90 m on high-traffic lines (Line 1 and Line 4) which operate six-car trains, with some stations at 105 m for accommodating seven-car trains (the difference as yet unused).

In general, stations were built near the surface by the cut-and-cover method, and are vaulted. Stations of the former Nord-Sud network (Line 12 and Line 13) have higher ceilings, due to the former presence of a ceiling catenary. There are exceptions to the rule of near-surface vaulting:
 * Stations particularly close to the surface, generally on Line 1 (Champs-Elysées–Clémenceau), have flat metal ceilings.
 * Elevated (above street) stations, in particular on Line 2 and Line 6, are built in brick and covered by platform awnings (Line 2) or glass canopies (Line 6).
 * Stations on the newest sections (Line 14), built at depth, comprise 120 m platforms for eight-car trains, high ceilings and double-width platforms. Since the trains on this line are driverless, the stations have platform screen doors. Platform screen doors have been introduced on Line 1 and Line 4 as well since the MP 05 trains have been functioning.

Several ghost stations are no longer served by trains. One of the three platforms at Porte des Lilas station is on a currently unused section of track, often used as a backdrop in films.

In 2018, the busiest stations were Saint-Lazare (46.7 million passengers), Gare du Nord (45.8), Gare de Lyon (36.9), Montparnasse – Bienvenüe (30.6), Gare de l'Est (21.4), Bibliothèque François Mitterrand (18.8), République (18.3), Les Halles (17.5), La Défense (16.0) and Bastille (13.2).

Interior decoration
Concourses are decorated in Art Nouveau style defined at the Métro's opening in 1900. The spirit of this aesthetic has generally been respected in renovations.

Standard vaulted stations are lined by small white earthenware tiles, chosen because of the poor efficiency of early twentieth century electric lighting. From the outset walls have been used for advertising; posters in early stations are framed by coloured tiles with the name of the original operator (CMP or Nord Sud). Stations of the former Nord Sud (most of line 12 and parts of line 13) generally have more meticulous decoration. Station names are usually inscribed on metallic plaques in white letters on a blue background or in white tiles on a background of blue tiles.

The first renovations took place after the Second World War, when the installation of fluorescent lighting revealed the poor state of the original tiling. Three main styles of redecoration followed in succession.
 * Between 1948 and 1967 the RATP installed standardised coloured metallic wall casings in 73 stations.
 * From the end of the 1960s a new style was rolled out in around 20 stations, known as Mouton-Duvernet after the first station concerned. The white tiles were replaced to a height of 2 m with non-bevelled tiles in various shades of orange. Intended to be warm and dynamic, the renovations proved unpopular. The decoration has been removed as part of the "Renouveau du métro" programme.
 * From 1975 some stations were redecorated in the Motte style, which emphasised the original white tiling but brought touches of colour to light fixtures, seating and the walls of connecting tunnels. The subsequent Ouï Dire style features audaciously shaped seats and light housings with complementary multicoloured uplighting.

A number of stations have original decorations to reflect the cultural significance of their locations. The first to receive this treatment was Louvre – Rivoli on line 1, which contains copies of the masterpieces on display at the museum. Other notable examples include Bastille (line 1), Saint-Germain-des-Prés (line 4), Cluny – La Sorbonne (line 10) and Arts et Métiers (line 11).

Exterior decoration
The original Art Nouveau entrances are iconic symbols of Paris. There are currently 83 of them. Designed by Hector Guimard in a style that caused some surprise and controversy in 1900, there are two main variants:
 * The most elaborate feature glass canopies. Two original canopies still exist, at Porte Dauphine and Abbesses (originally located at Hôtel de Ville until moved in the 1970s). A replica of the canopy at Abbesses was installed at Châtelet station at the intersection of Rue des Halles and Rue Sainte-Opportune.
 * A cast-iron balustrade decorated in plant-like motifs, accompanied by a "Métropolitain" sign supported by two orange globes atop ornate cast-iron supports in the form of plant stems.
 * Several of the iconic Guimard entrances have been given to other cities. The only original one on a metro station outside Paris is at Square-Victoria-OACI station in Montreal, as a monument to the collaboration of RATP engineers. Replicas cast from the original moulds have been given to the Lisbon Metro (Picoas station); the Mexico City Metro (Metro Bellas Artes, with a "Metro" sign), offered as a gift in return for a Huichol mural displayed at Palais Royal – Musée du Louvre; and Chicago Metra (Van Buren Street, at South Michigan Avenue and East Van Buren Street, with a "Metra" sign), given in 2001. The Moscow Metro has a Guimard entrance at Kievskaya station, donated by the RATP in 2006. There is an entrance on display at the Sculpture Garden in Downtown Washington, D.C. This does not lead to a metro station, it is just for pleasure. Similarly, The Museum of Modern Art has an original, restored Guimard entrance outdoors in the Abby Aldrich Rockefeller Sculpture Garden.

Later stations and redecorations have brought increasingly simple styles to entrances.
 * Classical stone balustrades were chosen for some early stations in prestigious locations (Franklin D. Roosevelt, République).
 * Simpler metal balustrades accompany a "Métro" sign crowned by a spherical lamp in other early stations (Saint-Placide).
 * Minimalist stainless-steel balustrades (Havre-Caumartin) appeared from the 1970s and signposts with just an "M" have been the norm since the war (Olympiades, opened 2007).

A handful of entrances have original architecture (Saint-Lazare); a number are integrated into residential or standalone buildings (Pelleport).

Under construction

 * As part of the Grand Paris Express project:
 * The first (southern) section of future Line 15 between Pont de Sèvres and Noisy–Champs. This section is 33 km long and will have sixteen stations. Opening is currently planned for 2025.
 * The first (northern) section of future Line 16 between Saint-Denis–Pleyel and Clichy–Montfermeil with seven new stations. Opening is currently planned for 2026.
 * The first (southern) section of future Line 17 between Le Bourget and Le Bourget–Aéroport with one new station. Opening is currently planned for 2026.
 * The first (central) section of future Line 18 between Aéroport d'Orly and Christ de Saclay with seven new stations. Opening is currently planned in two phases for 2026 & 2027.

Planned
The original Grand Paris Express plans had a total span of 200 km and counted 68 stations, the completion of which forms the major part of the currently planned lines.
 * Line 15, the longest of the new Grand Paris Express lines, will be a circular line around Paris when completed in 2031.
 * The second (southern) section of Line 16 between Clichy–Montfermeil and Noisy–Champs will open in 2028.
 * Line 17 will be additionally extended in two phases in 2028 & 2030 to Le Mesnil-Amelot, running through Charles de Gaulle Airport.
 * Line 18 will be extended to the north, to Versailles Chantiers, by 2030.

Proposed
In addition to the projects already under construction or currently being actively studied, there have also been proposals for:
 * An extension of Line 1 from Château de Vincennes to Val de Fontenay, connecting to RER and future Line 15 in 2035.
 * An extension of Line 3 to Bécon-les-Bruyères.
 * An extension of Line 5 to Place de Rungis (south) and Drancy (north), as well as a new infill station (Bobigny–La Folie).
 * An extension of Line 7 to Mairie de Drancy.
 * An extension of Line 9 to Montreuil–Hôpital.
 * An extension of Line 10 from Boulogne–Pont de Saint-Cloud to Saint-Cloud.
 * An extension of Line 10 from to Ivry–Place Gambetta or even Les Ardoines, the latter connecting to RER and future Line 15 (around 2030 to 2035).
 * An extension of Line 11 to Noisy–Champs as part of the Grand Paris Express.
 * An extension of Line 12 to Meudon-sur-Seine (south) and La Courneuve–6 Routes (north).
 * An extension of Paris Métro Line 13's Saint-Denis-Université branch to Stains la Cerisaie and Les Courtilles branch to Port de Gennevilliers.
 * An extension of Line 17 south to Nanterre–La Folie, under study for completion after 2030 as part of the Grand Paris Express.
 * An extension of Line 18 north to Nanterre–La Folie, under study for completion after 2030 as part of the Grand Paris Express.
 * In 2023, the Grand Paris Express plans were extended with the addition of Line 19, serving Val-d'Oise on a route from Nanterre–La Folie to Aéroport Charles de Gaulle 2 TGV, under study for a completion around 2040.
 * A merger of Line 3bis and Line 7bis to form a new line.

Cultural significance
The Métro has a cultural significance that goes well beyond the City of Paris. The name Métropolitan (or Métro) has become a generic name for subways and urban underground railroads.

The station entrance kiosks, designed by Hector Guimard, fostered Art Nouveau building style (once widely known as "le style Métro"); however, some French commentators criticized the Guimard station kiosks, including their green colour and sign lettering, as difficult to read.

The success of rubber-tired lines led to their export to metro systems around the world, starting with the Montreal Metro. The success of Montreal "did much to accelerate the international subway boom" of the 1960s/1970s and "assure the preeminence of the French in the process". Rubber-tired systems were adopted in Mexico City, Santiago, Lausanne, Turin, Singapore and other cities. The Japanese adopted rubber-tired metros (with their own technology and manufacturing firms) to systems in Kobe, Sapporo, and parts of Tokyo.

The "Rabbit of Paris Métro" is an anthropomorphic rabbit visible on stickers on the doors of the trains from 1977 to advise passengers (especially children) of the risk of getting one's hands trapped when the doors are opening, as well as the risk of injury on escalators or becoming trapped in the closing doors. This rabbit is now a cultural icon in Paris similar to the "mind the gap" phrase in London.

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

title: Paris Métro


text:
User:WOL~enwiki

WOL is a Wikipedian and Nupedia member "under the name of Sanders" (^ ^,) This is a user page, not an encylopedia entry.

Diderot, Webster, and Roget wannabe.

Wodehousean <>.

My favorite A. A. Milne quote: "HIPY PAPY BTHUTHDTH THUTHDA BTHUTHDY"
 * "Well actually, of course, I'm saying 'A Very Happy Birthday with love from Pooh.' Naturally it takes a good deal of pencil to say a long thing like that."

/Talk

title: User:WOL~enwiki


text:
User talk:WOL~enwiki

Normally, Wikipedian articles include some sort of personal information (such as nationality, etc.) The presence of Pooh-related information (and absence of personal information) confused me at first. --Damian Yerrick

Apologies for the removed WOL advert edits. It was not an attempt to malign you or the sterling work that you do. -- 62.253.64.xxx

- Truly no offense taken, I do SEE the WOL signed edits. I think this was the work of a well-meaning friend, I honestly did not make these. I feel besmirched and tainted and, well, I will just continue on my boring way doing articles on biomes and biscuits. Sorry for the unclear personal page. I will fix this. WOL

File permission problem with File:Wol 468x60.gif
Thanks for uploading File:Wol 468x60.gif I noticed that while you provided a valid copyright licensing tag, there is no proof that the creator of the file agreed to license it under the given license.

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If you did not create it entirely yourself, please ask the person who created the file to take one of the two steps listed above, or if the owner of the file has already given their permission to you via email, please forward that email to .

If you believe the media meets the criteria at Non-free content, use a tag such as or one of the other tags listed at Image copyright tags, and add a rationale justifying the file's use on the article or articles where it is included. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have provided evidence that their copyright owners have agreed to license their works under the tags you supplied, too. You can find a list of files you have uploaded by following this link. Files lacking evidence of permission may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.  MBisanz  talk 07:55, 19 August 2009 (UTC)

Your user page
I found your old user page while checking out some old edits. I have history merged it, so that all edits are in one place. Hope you don't mind. Graham 87 12:09, 18 December 2009 (UTC)
 * I've done the same thing to your talk page. Graham 87 12:09, 18 December 2009 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called WOL. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name WOL~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 03:33, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 20:22, 22 April 2015 (UTC)

title: User talk:WOL~enwiki


text:
User:Wmorgan

Hi, I'm William. This page is probably just going to be a list of links to which I would like to contribute.

I'm interested in machine learning (particularly reinforcement learning), computability theory, tea, mathematics in general, bluegrass, the banjo, public key cryptography including elliptic curve cryptography, the works of Ursula K. Le Guin and Gene Wolfe, and in privacy. I'm a student of Mandarin Chinese and would-be student of Japanese.

Currently doing research in machine learning, information retrieval and natural language processing.

Pages I've touched:
 * reinforcement learning
 * banjo
 * pipe
 * Mandarin
 * Chinese language
 * Boba milk tea
 * Oolong tea
 * GuanYin
 * Primitive recursive function
 * Recursive function
 * Li Bai

I can be reached via email with the same user name at masanjin.net.

title: User:Wmorgan


text:
User talk:Wmorgan

Ignore the vandals, and they'll get bored. This one just wants to jerk you around. Ed Poor

Your old user page
I have history merged your user page, so that all the edits are in one place. Hope you don't mind. Graham 87 04:31, 22 January 2009 (UTC)
 * And, seven years later, I've just imported some edits from old copies of the Wikipedia database into your user talk page. Graham 87 12:39, 8 November 2016 (UTC)

title: User talk:Wmorgan


text:
Talk:Wakizashi

Image Issues
The image is broken; it seems to be cut off partway through the file. Could the person who posted it please fix and re-upload? Brion VIBBER, Sunday, April 28, 2002

 * Looks great now, thanks! —The preceding unsigned comment was added by Brion VIBBER (talk • contribs) 20:12, 28 April 2002.

I love that picture. It is definitely cool despite being a weapon. Taku

Conflict between wakizashi and kodachi
Expert

The wakizashi article says that it is "quite longer" than a kodachi. Yet on the page for kodachi, it says that the kodachi is longer. I don't know which is correct, but obviously one or both is wrong (they might of course be the same size, or of varying sizes). —The preceding unsigned comment was added by 128.216.1.8 (talk • contribs) 08:18, 1 June 2005.

 * The kodachi is (was) a set length, depending upon certain variables such as the rank, position, and status of the wielder. Also, it's curvature is greater than that of the wakizashi and thus the measurement of it will vary depending upon the way it is measured.  The wakizashi, is (was) built for a specific warrior, and so the length of its blade varied depending on the warrior it was made for.  Wakizashis were also sometimes made to specifically pair a katana, and so were a set length shorter than the katana, and the katana was built for a certain warrior.  The hilt or grip of a wakizashi as compared to a kodachi however, may or may not be longer.  Tassadar237 06:58, 30 December 2005 (UTC)

Average Length
Are we saying mean, median, mode,...?Cameron Nedland 20:16, 18 March 2006 (UTC)

Other Uses For The Wakizashi
Wasn't there another use for the Wakizashi, where if the samurai were to be defeated, he would use it to disembowl himself out of shame? If this is true, may I add this to the article? —The preceding unsigned comment was added by ManVsMachine (talk • contribs) 22:43, 6 April 2006.

 * That was known as Seppuku. I don't see why it shouldn't be added as, as far as I know, it was the main weapon used for it and it's worth noting. Jgamekeeper 23:45, 3 June 2006 (UTC)

I went ahead and added a short sentence with a link to Wikipedia's Seppuku entry. This should work.Grendel 05:23, 13 June 2006 (UTC)

 * I believe that the Wakzashi was used for up-close combat; more of an indoors waepon. I am just learning about Japanese history though, so i may be wrong. also I thought the Tanto was used for seppuku. Cody Hahn 20:15, 10 October 2006 (UTC)

It all depends on the period in question. The Tanto and Tachi combination predates the Wakizashi and Katana. Different formulations for different periods.--M.J.Stanham 19:29, 14 October 2006 (UTC)

Were wakizashis ever used? I posted a similar question on the katana talk page. My understanding was that the daisho was effectively ornamental, and was adopted after warfare ended in Japan, and after the gun had already changed Japanese warfare. The way I learned it, the whole samurai image in fiction -- the bushido code, daisho, fighting to the death -- was a fantasy invented after warfare in Japan had ended. Similar to the fantasy of the cowboy and his sixgun, invented during the 20th century, or the chivalrous knights in feudal europe, invented after feudalism ended. Not that samurai didn't carry the daisho during the Edo period, but it wasn't a practical weapon. TRWBW 05:45, 24 October 2006 (UTC)

Plus, whatever happened to the part about the wakizashi being used to finish off/decapitate a defeated opponent? Where did that go? —Preceding unsigned comment added by 75.204.12.206 (talk) 03:46, 2 September 2010 (UTC)

Fiction
I don't think that either Fuu or Mugen in Samurai Champloo ever uses a wakizashi - both use tantō as per other sources. Jin uses a wakizashi though.

Is this much depth really needed for this article? I came here to learn about wakizashi, not some stupid cartoon.

I have to agree with your assessment. The text under the "Use in Fiction" heading is nearly as long as the actual description of wakizashi and is filled with otaku-culture arcana. The first paragraph alone makes clear its inclusion in modern Japanese visual arts. To go beyond this, with citations of specific characters and even descriptions of their respective wakizashi, is to cross the threshold into not just irrelevancy but also absurdity. If you want to rigorously document the wakizashi in entertainment, go make an article or list and put it on the site (there are precedents of this) but when you go on about Ichiro and Gin Ichimaru from Bleach, you're no longer talking about the wakizashi itself---the subject of the article---you're talking about Bleach. BAKirken 06:49, 24 October 2006 (UTC)

 * I half asked this question in the section above, but to put it another way, the wakizashi was mostly a fictional weapon, right? It was used 100 times more in fiction than it ever was in real life. TRWBW 06:55, 24 October 2006 (UTC)

 * I'm afraid I can't speak with any real authority on the historical use or non-use of the wakizashi. If what you are saying is true (and I've heard it before from a friend), it should be worked into the article and a reputable source cited. What I contest is the inclusion of trivial details from Final Fantasy and cartoons in an unrelated encyclopedia article. Although this article has a vastly smaller scope than the katana article, it should be seen as a model in this regard. An old version ( http://en.wikipedia.org/w/index.php?title=Katana&oldid=15225898#In_Fiction ) contained some passing general remarks about anime but nowhere near so specific and pedantic as the stuff we had here, and this is despite the wakizashi's comparatively smaller role in modern fiction. Given enough time, though, a consensus developed that even that was too much, and it was dropped. The article Katana is all the better for the change. BAKirken 09:20, 24 October 2006 (UTC)

Pop Culture
Wakisashi is one of the three random moves by the Aeon "Yojimbo" in the game Final Fantasy X. Any more?

Sure, the film "The Twilight Samurai" which holds the record for most Japanese Academy Awards, climaxes in a fight betwen wakizashi (used kodachi style) and katana. TRWBW 10:22, 24 October 2006 (UTC)

Where are the Japanese editors of this article?
I don't see any Japanese people contributing, this article is biased towards the white man's viewpoint. --65.97.14.167 20:55, 24 October 2006 (UTC)

 * Could you identify areas where it is biased, and how you think it should be fixed? --TRWBW 21:09, 24 October 2006 (UTC)

Clarification
What is meant by the line "Its hilt is normally of a square shape, but on rare occasion it has none." a Wak with no Hilt? Do they mean no tsuba/handle guard? — Preceding unsigned comment added by 121.44.32.117 (talk • contribs) 03:55, 1 January 2007 (UTC)

Call for References (March 2007)
Possible discussion topic: common knowledge/ too many references to list. (?) Please remove this discussion label if you add references to the main page.

Use: Wakizashi - Jutte
The following statement should be deleted (or at least be read with great caution): "Musashi might have used the wakizashi like a jutte (truncheon), which he was trained with in his youth, to trap an opponent's weapon".

It is most probably wrong to assume that a wakizashi can be used like a jutte to "trap" an opponent's weapon: A normal wakizashi has neither hook nor tine (typical for a jutte) to trap an opponent's weapon with.23:37, 7 February 2009 (UTC)

Use photos?
It would be nice to see photos of how it is worn and held / used. Darxus (talk) 02:20, 13 January 2010 (UTC)

Structure of the post
The bulgarian version of the text is much more well-structured and clear to the reader in regard the uses of wakizashi, though the history of wakizashi is barely mentioned. — Preceding unsigned comment added by 87.120.220.73 (talk) 11:45, 2 November 2011 (UTC)

twin wakizashi
What about combing two into one? Was that done? Just for the purpose of wearing the swords or was it also possible to use them in battle as one sword? 213.149.51.126 (talk) 16:50, 16 February 2019 (UTC)

Inejiro Asanuma
Maybe the assassination is worth a mention here under 'history and use'?--Phil of rel (talk) 23:29, 20 January 2022 (UTC)

"Honour blade" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Honour blade and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 April 13 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Steel1943 (talk) 16:10, 13 April 2022 (UTC)

title: Talk:Wakizashi