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Joe Versus the Volcano

Joe Versus the Volcano is a 1990 American romantic comedy film written and directed by John Patrick Shanley and starring Tom Hanks and Meg Ryan. Executive produced by Steven Spielberg, Kathleen Kennedy, and Frank Marshall of Amblin Entertainment, Joe Versus the Volcano follows the titular Joe Banks (Hanks), who, after being told he is dying of a rare disease, accepts a financial offer to travel to a South Pacific island and throw himself into a volcano on behalf of the superstitious natives. Along the way, he meets and falls in love with Patricia (Ryan), the woman tasked with taking him there.

Joe Versus the Volcano was released theatrically in the United States by Warner Bros. on March 9, 1990. It received mixed reviews from critics, though it was a minor box office success. It has since become a cult film.

Plot
Joe Banks is a downtrodden everyman from Staten Island, working a clerical job in a dreary factory for an unpleasant, demanding boss, Frank Waturi. Joyless, listless and chronically sick, Banks regularly visits doctors who can find nothing wrong with him. Finally, Dr. Ellison diagnoses an incurable disease called a "brain cloud", which has no symptoms, but will kill him within five or six months. Ellison says that the symptoms he has been experiencing are actually psychosomatic, caused by trauma in his previous job as a firefighter. Ellison advises him to live the few remaining months of his life well. Joe tells his boss off, quits his job, and asks former coworker DeDe out on a date. Their date is a success, but when Joe tells DeDe that he is dying, she tells him she cannot deal with the revelation and leaves.

The next day, a wealthy industrialist named Samuel Graynamore makes Joe an unexpected proposition. Graynamore needs "bubaru", a mineral essential for manufacturing superconductors. There are deposits of it on the tiny Pacific island of Waponi Woo, but the resident Waponis will only let him mine it if he solves a problem for them. They believe that the fire god of the volcano on their island must be appeased by a voluntary human sacrifice once every century, but none of them are willing to volunteer this time around. Graynamore offers to pay for whatever Joe wants to enjoy his final days, as long as he jumps into the volcano within 20 days. With nothing to lose, Joe accepts.

Joe spends a day and a night out on the town in New York City, where he solicits advice on everything from style to living life to the fullest from his chauffeur, Marshall. He also purchases four top-of-the-line, waterproof steamer trunks from a fanatically dedicated luggage salesman.

Joe then flies to Los Angeles, where he is met by one of Graynamore's daughters, Angelica, a flighty socialite. The next morning, Angelica takes Joe to her father's yacht, the Tweedledee. The captain is her half-sister Patricia. Patricia has reluctantly agreed to take Joe to Waponi Woo; Graynamore has promised to give her the yacht in return.

After an awkward beginning, Joe and Patricia begin to bond. Then they run into a typhoon. Patricia is knocked unconscious and flung overboard. After Joe jumps in to rescue her, lightning strikes, sinking the yacht. Joe is able to construct a raft by lashing together his steamer trunks. Patricia does not regain consciousness for several days. Joe doles out the small supply of fresh water to her, while he gradually becomes delirious from thirst. He experiences a revelation during his delirium and thanks God for his life. When Patricia finally awakens, she is deeply touched by Joe's self-sacrifice. They then find that they have luckily drifted to their destination.

The Waponis treat them to a grand feast. Their leader, Chief Tobi, asks one last time if anyone else will volunteer, but there are no takers and Joe heads to the volcano. Patricia tries to stop him, declaring her love for him. He admits he loves her as well, "but the timing stinks." Patricia persuades Joe to have the chief marry them.

Afterwards, Patricia refuses to be separated from her new husband. When Joe is unable to dissuade her, they jump in together, but the volcano erupts at that moment, blowing them out into the ocean. The island sinks, but Joe and Patricia land near Joe's trusty steamer trunks. At first ecstatic about their miraculous salvation, Joe tells Patricia about his fatal brain cloud. She recognizes the name of Joe's doctor as that of her father's crony and realizes that Joe has been set up. He is not dying and they can live happily ever after.

Cast
In addition, two other notable actors in smaller roles are Nathan Lane as Baw, the Waponi advance man; and Carol Kane, credited as Lisa LeBlanc, a hairdresser.

Themes and visual motifs
Joe Versus the Volcano contains themes pertaining to mortality and the search for meaning and a sense of purpose in one's life. Writer-director John Patrick Shanley said of his inspiration for making the film: "I started to experience Weltschmerz in New York a couple of years ago because all of my smaller problems were taken away, so I was faced with the really big problems like mortality and being alive on earth for a limited amount of time and what to do with that time. When you're a working stiff, you don't have as much time to brood on these things. [So] I sort of decided to write a film about it and how it might be overcome."

Regarding the film's exploration of coming to terms with one's own mortality, Shanley stated: "Almost all of us are in denial about death. And the weird thing is, you think, 'They do that because if you were to worry about death you couldn't enjoy your life.' But I think the reverse is true—if you don't recognize your mortality, you're tiptoeing through life and not letting in the full reality of what it is. When Joe lets that in, that's when life comes flooding in." The film features a lightning-bolt-like symbol as a recurring motif, first appearing both in the logo of American Panascope—the fictional company at which Joe is initially employed—and as the shape of the pathway that leads to the American Panascope factory. The pattern also appears as a crack in a wall of Joe's apartment; in the lightning bolt that strikes and sinks the Tweedledee; and in the procession of the Waponis to the top of the volcano. Film critic Glenn Erickson wrote: "The zigzag crack represents both the fear we humans need to overcome, and the circuitous, detour-ridden paths our lives become when we don't aim straight for the truth. Like the absurd walkway leading to the hellish Panascope factory [...] we instead walk Joe's "crooked road" of doubt, cynicism and fear of life itself [...] Joe Versus the Volcano wants you [to] shuck off your zombie rags and stop being a Pod Person."

Writing and development
Shanley drew inspiration from his own life experiences in writing Joe Versus the Volcano. The portrayal of the American Panascope working environment was influenced by Shanley's experience working for a company that manufactured medical equipment (including catheters, endoscopes, and artificial testicles) when he was 18 years old. Shanley based the design of Joe's office after the office he worked in while employed there, including the fluorescent lighting and a pipe with a valve that reads, "Do not touch".

After writing a spec script of Joe Versus the Volcano, Shanley sent it to filmmaker Steven Spielberg. Shanley later recalled: "I was in Los Angeles at a hotel doing something, and the phone rang, and it was Spielberg. And he said, 'I read your script and I really like it.' I said, 'thanks,' and he said, 'I understand that you want to direct it,' which I don't remember saying, and I said, 'Yes.' And he said, 'Well, I think that's a great idea.' And that's how I got the directing job of Joe Versus the Volcano!"

Filming
Joe Versus the Volcano was executive produced by Spielberg, Kathleen Kennedy, and Frank Marshall, and their production company Amblin Entertainment. Filming took place in Hawaii, Los Angeles, and New York. Bo Welch served as the film's production designer. The American Panascope factory was a building in Los Angeles; the pathway leading up to the factory, as well as the signage on the building, were added for the film, and smokestacks were matted onto the building in post-production.

Scenes set on the ocean, including the sequence in which the Tweedledee is caught in a typhoon, were shot using a large indoor water tank in a Metro-Goldwyn-Mayer (MGM) studio.

Box office
The film opened in 1,082 theaters on March 9, 1990, grossing $9.2 million on its opening weekend. It opened at number two at the U.S. box office, behind The Hunt for Red October.

Joe Versus the Volcano went on to gross a total of $39,404,261.

Critical response
On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 67% based on 39 reviews, with an average rating of 6.2/10. The website's critical consensus reads: "Joe Versus the Volcano erupts with plenty of screwball energy and thoughtful observations about living to the fullest, but its existential ambition may prove too goofy for some audiences." At Metacritic, the film has a weighted average score of 45 out of 100, based on 18 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "C+" on scale of A to F.

Vincent Canby wrote in his review: "Not since Howard the Duck has there been a big-budget comedy with feet as flat as those of Joe Versus the Volcano. Many gifted people contributed to it, but there's no disbelieving the grim evidence on the screen." Upon its release, Time's Andrea Sachs called it a "wan bit of whimsy ... [that] makes no more sense than its synopsis, though Meg Ryan beguiles in three different roles." Fifteen years later, Time critic Richard Schickel listed it as one of his "Guilty Pleasures"; while acknowledging "there are people who think this film... may be the worst big budget film of modern times," Schickel disagreed: "...you set aside the routine comic expectations its marketing encouraged, you may find yourself entranced by a movie that is utterly sui generis."

Roger Ebert gave Joe Versus the Volcano a score of 3.5 out of 4 stars, calling it "new and fresh and not shy of taking chances... [the film] achieves a kind of magnificent goofiness. Hanks and Ryan are the right actors to inhabit it, because you can never catch them going for a gag that isn't there: They inhabit the logic of this bizarre world and play by its rules." He later brought the film to Ebertfest 2012 and wondered "why he gave 3.5 stars instead of 4."

Soundtrack
The soundtrack, composed by Georges Delerue, was not released in 1990, the year of the movie's release. Because of Delerue's strong following, a sub-label of Varèse Sarabande released a CD in 2002 (limited to 3,000 copies), and again in 2016 (with a few extra songs, limited to 2,000 copies).

Shanley wrote two songs for the film, "Marooned Without You" and "The Cowboy Song", the former used thematically throughout and the latter performed by Hanks on the ukulele.

Eric Burdon's version of Merle Travis's "Sixteen Tons" was used at the beginning of the film. After Joe leaves the doctor's office, an edited version of Ray Charles's version of "Ol' Man River" plays. "Mas que Nada" by Sergio Mendes & Brazil '66 accompanies Joe while he is driven around New York City. A Spanish version of "On The Street Where You Live" is sung while Joe is on his date with DeDe. Elvis Presley's version of "Blue Moon" plays as Joe spends his final night before departing on his journey. On the boat trip, the Young Rascals' version of "Good Lovin'", the Del-Vikings "Come Go with Me", and The Ink Spots' version of "I Cover the Waterfront" are heard. Waponi tribal music includes the melodies "When Johnny Comes Marching Home" and "Hava Nagila".

Home media
Joe Versus the Volcano was first released on home video in late 1990. In April 2002, it was released on DVD by Warner Home Video.

The manufacture-on-demand Blu-ray was released through Warner Archive Collection on June 20, 2017, and it received positive reviews for the quality. It was released on Blu-ray in the UK for the 1st time by Warner Archive on the 10th June 2024

Stage musical
In 2012, San Diego's Lambs Players Theatre presented the world premiere of a musical based on the film. Directed by Robert Smyth, it featured a book, music and lyrics by Scott Hafso and Darcy Phillips, with musical direction by Jon Lorenz and additional musical arrangements by Taylor Peckham.

title: Joe Versus the Volcano


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Patriarchate

Patriarchate (, ; πατριαρχεῖον, patriarcheîon) is an ecclesiological term in Christianity, designating the office and jurisdiction of an ecclesiastical patriarch. According to Christian tradition three patriarchates were established by the apostles as apostolic sees in the 1st century: Rome, Antioch, and Alexandria (recognized by the Council of Nicaea). Constantinople was added in the 4th century and Jerusalem in the 5th century. Eventually, together, these five were recognised as the pentarchy by the Council of Chalcedon in 451.

In the rest of the history of Christianity, a few other patriarchates were gradually recognised by any of these above ancient episcopal sees. With time, eventually some of them fell due to military occupations following the Islamic conquests of the Middle East and North Africa, and became titular or honorary patriarchates with no actual institutional jurisdiction on the original site.

History
As Christianity expanded in the Roman Empire, larger concentrations of believers were to be found in urban environments. The Bishop of such cities came to hold a pre-eminence of honour in the province of which his diocese was the capital, with some eventually gaining a primacy even over other provinces with their own primus inter pares. The Council of Nicea codified this arrangement into canon law in accordance with the growing standardization of ecclesiastical diocesan structure along the lines of secular Roman blueprints. It also gave the first documented use of the term "Metropolitan" in reference to such bishops as had the presidency over a province. Meanwhile Rome, Alexandria and Antioch had grown in ecclesiastical prominence such that by the early 4th century they had long-recognized jurisdiction over more than one province of bishops each. Alexandria had attained primacy over Roman Egypt, Roman Libya, and Pentapolis. Rome had Primatial authority over provinces within 100 miles of the city. By virtue of their authority over multiple provinces, the Sees of Rome Alexandria and Antioch were by this time already exercising "supra-metropolitan" jurisdiction resembling that which would later become known as Patriarchates. All provinces of Italy were under the broader Primatial oversight of the Archbishop of Rome by the end of the 4th century.

With the Imperial Capital having moved to Byzantium in 330, the re-named city of Constantinople became increasingly important in church affairs of the Greek East. The See of Constantinople was granted Archiepiscopal status prior to a council held in the city in 381, which ranked it second in honour after Rome. Archbishop Atticus would do much to expand the jurisdictional reach of the See in the early 5th century. Following the Council of Ephesus in 431, Bishop Juvenal of Jerusalem began to exert jurisdictional oversight across all three provinces of Roman Palestine, seeking to make Jerusalem into a Metropolitan See, but Cyril of Alexandria and Pope Leo I opposed the separation of Jerusalem from suffrage to Cæsarea and, more broadly, Antioch. Juvenal went as far as to claim Metropolitan authority over Roman Arabia and Phoenicia. At the Council of Chalcedon negotiations with Archbishop Maximus of Antioch resulted in approval of oversight over all of Palestine but no further. The attendees of the council, which included the bishops of Palestine, thus consented to the establishment of the Metropolitinate of Jerusalem. The extent of the oversight granted to the jurisdiction at Chalcedon was both a significant expansion on the precedent established at Nicea and was supra-Metropolitan in scale alongside Rome, Constantinople, Alexandria and Antioch. In light of this, a century later Emperor Justinian would recognise Jerusalem as one of five Patriarchates.

The East-West Schism of 1054 split the Latin Church's see of Rome from the Byzantine patriarchates of the East, thus forming the Catholic Church and the Eastern Orthodox Church.

The four Eastern Orthodox patriarchates (Constantinople, Alexandria, Antioch and Jerusalem), along with their Latin Catholic counterpart in the West, Rome, are distinguished as "senior" (Greek: πρεσβυγενή, presbygenē, "senior-born") or "ancient" (παλαίφατα, palèphata, "of ancient fame") and are among the apostolic sees, traditionally having had one of the apostles or evangelists as their first bishop: Andrew, Mark, Peter, James, and Peter again, respectively. In the case of Constantinople, Andrew is said to have visited the city of Byzantium in 38 AD (not Constantinople, as the Roman Emperor Constantine the Great had not yet declared Constantinople in 330 AD as the new capital of the Eastern Roman Empire on the grounds of the former city of Byzantium). According to tradition, Andrew appointed the bishop Stachys the Apostle who remained bishop in Byzantium until 54 AD. Therefore in the case of Constantinople the apostolic see is the See of Byzantium.

Roman Catholic Church
There are seven current patriarchates within the Catholic Church. Six are patriarchates of Eastern Catholic Churches: Alexandria (Coptic), Antioch (Maronite, Melkite, Syriac), Baghdad (Chaldean), and Cilicia (Armenian). The pope is the Patriarch of The West after Pope Francis recovered the title in 2024

There are also four major archbishops, who operate as patriarch of their autonomous church, but for historical or procedural reasons are not recognized as a full patriarch. The main difference being that a patriarch's election is communicated to the pope, as a sign of communion between equals, but a major archbishop's election must be approved by the pope.

In addition, there are four titular patriarchates - diocesan bishops whose dioceses have been given the honorific title of patriarchate for various historical reasons, but are not heads of autonomous churches sui iuris. These include the Latin Patriarchate of Jerusalem, of Lisbon, Venice and the East Indies.

Some of the Eastern Catholic patriarchates are active on the same territories. Damascus is the seat of the Syriac Catholic and the Melkite Catholic Patriarchates of Antioch, while the Maronite Catholic Patriarchate of Antioch has its see in Bkerké, Lebanon.

Eastern Orthodox Church
Nine of the current autocephalous Eastern Orthodox Churches, including the four ancient churches of Constantinople, Alexandria, Antioch and Jerusalem mentioned above, are organized as patriarchates. In chronological order of establishment, the other five are: Bulgarian Patriarchate (the oldest one following the Pentarchy), Georgian Patriarchate, Serbian Patriarchate, Moscow Patriarchate and Romanian Patriarchate.

The Eastern Orthodox Patriarchate of Antioch moved its headquarters to Damascus in the 13th century, during the reign of the Egyptian Mamelukes, conquerors of Syria. Christian community had flourished in Damascus since apostolic times (Acts 9). However, the patriarchate is still called the Patriarchate of Antioch.

A patriarchate has "legal personality" in some legal jurisdictions, that means it is treated as a corporation. For example, the Eastern Orthodox Patriarchate of Jerusalem filed a lawsuit in New York, decided in 1999, against Christie's Auction House, disputing the ownership of the Archimedes Palimpsest.

Oriental Orthodoxy
There are several patriarchates within Oriental Orthodoxy. These include the four ancient churches of Alexandria, Jerusalem (Armenian), Antioch, and Constantinople (Armenian). Two other patriarchates have been established: the Ethiopian Patriarchate and the Eritrean Patriarchate. In addition, there are a number of autocephalous churches which function as patriarchates although not using the title: the Indian Orthodox Church, the Armenian Catholicosate of Etchmiadzin, and the Armenian Catholicosate of Cilicia.

Church of the East
Patriarch of the Church of the East is the head of the Church of the East. Today, there are three rival patriarchs:
 * Catholicos-Patriarch of the Assyrian Church of the East
 * Catholicos Patriarch of the Ancient Church of the East
 * Chaldean Catholic patriarch of Baghdad (of the Catholic church)

Protestantism
The head of the Czechoslovak Hussite Church is also called a Patriarch.

Apostolic Catholic Church
The Patriarch of the Apostolic Catholic Church is called a Patriarch.

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

title: Patriarchate


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Portland Sea Dogs

The Portland Sea Dogs are a Minor League Baseball team based in Portland, Maine, playing in the Eastern League. Established in 1994, the Sea Dogs are the Double-A affiliate of the Boston Red Sox.

Originally affiliated with the Florida Marlins, the Sea Dogs became part of the Red Sox system for the 2003 season. The team went to the Eastern League championship series in 2005, losing to the Akron Aeros; and again in 2006, when they defeated the Aeros to win the first Double-A championship for a Red Sox farm team since the New Britain Red Sox in 1983.

All games are carried on a network of radio stations with Emma Tiedemann providing the play-by-play, with the flagship WPEI doing both home and away games.

History
Minor league baseball returned to Maine on October 4, 1992, when Portland was awarded one of two Eastern League expansion franchises (the other being the New Haven Ravens) to begin play in April 1994. The Sea Dogs signed an affiliation agreement with the Florida Marlins on May 3, 1993, beginning a nine-season relationship. The city renovated Hadlock Field, transforming a high-school stadium into a professional ballpark. City manager Robert Ganley led efforts to renovate Hadlock Field and return professional baseball to Portland.

The team won its first game, defeating the Reading Phillies on the road 2–1, with the help of a 14th-inning home run by future major league catcher Charles Johnson. The team opened Hadlock Field on April 18, 1994, losing 7–6 to the Albany-Colonie Yankees.

Cartoonist Guy Gilchrist designed the team's logo. His comic strip Mudpie had a series of strips in which the young cat's family visit the Portland area and attend a Sea Dogs game.

The team won its sole league title on September 17, 2006, defeating the Akron Aeros 8–5, in a rematch of the series from the previous year.

When Major League Baseball restructured Minor League Baseball in 2021, the Sea Dogs were organized into the Double-A Northeast. In 2022, the division was renamed the Eastern League, the name used by the regional circuit before the 2021 reorganization.

Ahead of the 2023 season, the Sea Dogs' longtime owners, the Burke family, sold the team to Diamond Baseball Holdings.

Stadium

The Sea Dogs' home stadium is Hadlock Field, named after longtime Portland High School baseball coach Edson Hadlock. It has a seating capacity of 7,368. Hadlock Field is often visited by vacationing celebrities, such as former NFL coach Bill Parcells, former U.S. President George H. W. Bush, and his wife Barbara. In left field stands the Maine Monster, a 37 ft replica of Fenway Park's Green Monster, complete with Coke bottle and Citgo sign. Along the right-field foul line just beyond first base, a picnic pavilion is available for group outings from 20 up to 300 people. In 2006, a new pavilion opened above the right-field wall over the Sea Dogs bullpen. Modeled after the Green Monster seats at Fenway Park in Boston, it seats up to 393 people and gives fans an opportunity to catch a home run ball.

Slugger the Sea Dog has been the Sea Dogs' mascot since May 6, 1994.

Season records
The team was a member of the Northeast division of the Eastern League from 1994 to 2020 and the Northeast division of Double-A Northeast in 2021. They have been members of the Eastern League's Northeast division since 2022.

In the below table, "Place" represents finish within the team's division for the overall regular reason. Note that in 2019 and 2022, the Eastern League played a split-season schedule, with first-half and second-half winners advancing to the postseason.

title: Portland Sea Dogs


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Talk:Intension

Usage of intension
Must "intension" refer to a definition in terms of necessary and sufficient conditions, or can "intension" take more complex (and perhaps more psychologically plausible) forms, such as a fuzzy categories with "prototype effects"? In otherwords, can I use the word "intension" without comitting myself to classical categories? Also, would it be misleading to add a comment that extension is somehow "in the world", while intension is somehow "in the mind". (The answer is yes.) Is there a better way to put this? --Ryguasu 00:37 Jan 30, 2003 (UTC)

Mixed up description
Uhh, I'm pretty sure these pages are a bit mixed up. What is described as Intension here should be on the Intention page. As in Intentionality. At least that is my understanding from reading.. (Page 58 onwards) "Why Humans Have Cultures" by Michael Carrithers, 1992, Opus / Oxford Uni. Press. -- FeFiFoFum 22:43 Jan 8, 2004 (GMT) — Preceding unsigned comment added by 82.69.97.233 (talk) 22:43, 8 January 2005

Recent 'cleanup'
The recent anon edit that dealt with the 'cleanup' tag seems to have done so by removing most of the content of the page, which apart from some structuring issues, and the unfortunate example, seemed essentially sound to me. What we have in its place is terse, opaque, and is much reduced in scope. (You'd never guess from this it was a term in philosophy, maths, and computing science.) I'd propose to restore most of the deleted text, unless someone has specific objections... Alai 04:36, 21 Feb 2005 (UTC)

Merge with connotation article?
Or can anyone think of a worthy difference between these two words? Since Quine's "Two Dogmas...", they've been treated as synonyms. Lucidish 1 July 2005 19:33 (UTC)

 * No, I think they differ on some points. Intension is used in relation to semantic opacity in a way that connotation is not.  For example, "John believes that . . ." creates an intensional context for a sentence, meaning that expression with the same semantic value can't be intersubstituted within it.  You could stretch "connotation" to fit this, but to my knowledge it isn't done.  The connotation/denotation pair, furthermore, has a casual (or historical?) use that doesn't line up with its technical use.  In many contexts a word's connotations are its "suggested" meanings: Nigger, for example, has negative connotations that Black does not. We would not say they differ in intention.  (Technically: intension seems to be wholly a matter of semantics.  Connotation is also a matter of pragmatics.)
 * So intension and connotation overlap, but each have distinct meanings as well. — Preceding unsigned comment added by 136.142.21.199 (talk) 06:45, 10 February 2006

 * There is a rather vast literature on this issue that flows on before, around, and after Quine. And Quine had deliberately non-standard — if there ever was a standard — accounts of things like denotation, extension, function, relation, not to mention connotation, intension, intention, modality, and so on.  Yes, it will take some triangulation work to stake out the exact transmission locations of the varied and sundried perspectives, but that work will not be served by slashing, burning, and mushing things together that the analytic philosophers of the 1900's were awonton to do. Jon Awbrey 13:24, 10 February 2006 (UTC)

Excellent description
I usually avoid Wikipedia articles about mathematics or logic because they tend to overcomplicate otherwise simple concepts, so I'm pleased to say that this paragraph...

 * Intension is generally discussed with regard to extension (or denotation). Intension refers to the set of all possible things a word could describe, extension to the set of all actual things the word describes. For example, the intension of a car is the all-inclusive concept of a car, including, for example, mile-long cars made of chocolate that may not actually exist. But the extension of 'car' is all actual instances of cars (past, present, and future), which will amount to millions or billions of cars, but probably does not include any mile-long cars made of chocolate.

...is a great example of good writing. Less than a minute of reading and I understood a new concept. So congratulations to the author who realised complex formal definitions aren't the only way to get your point across! —The preceding unsigned comment was added by 84.92.169.164 (talk) 12:58, 7 March 2007 (UTC).

 * Only a concept is not a set... 169.231.128.198 (talk) 20:22, 29 June 2022 (UTC)

Saussure / "sound image"
I don't know Saussure that well but the 3-way division described in this article sounds very wrong. My understanding has always been that the "sound image" is quite distinct from the "signifier." That is to say, many different "sound images" will evoke the same signifier, in much the same way that many different referents will evoke the same signified. So for example, a cockney "'ello" and a SAE "hello" are very different sound images, but they both yield the same signifier -- likewise, a particular oak and a particular chestnut are both referents of the signified of "tree." The linking of Signifier and Signified happens only after all the concrete pattern-recognition is done, and you have pure abstractions to work with on either side. I think? Solemnavalanche (talk) 21:12, 30 July 2008 (UTC)

 * Good point. I have a more general complaint, which is that Saussure's 'signified' seems to be what I would use 'intension' to mean. It does not seem to be "analogous" to it. The intension described in the lead and most of the article seems to bring with it a particular theory I'm not really familiar with, mixing in Platonic Ideas and possible worlds. The article could be much clearer about this. Ocanter (talk) 19:10, 18 March 2009 (UTC)

Removed paragraph
The following was removed by an anon
 * Intension refers to the possible things a word or phrase could describe. It stands in contradistinction to extension (or denotation), which refers to the actual things the word or phrase does describe. For example, the intension of the word "car" is the all-inclusive concept of a car, including, for example, mile-long cars made of chocolate that may not actually exist, while the extension of "car" is all actual instances of cars (past, present, and future), which will amount to millions or billions of cars, but probably does not include any mile-long cars made of chocolate.

I don't know enough to know if it should stay or not. --Salix (talk): 07:51, 8 April 2009 (UTC)

 * I'm the person who made the edit. The paragraph said that intension refers to possible things, which is incorrect. The intension of a word refers to the properties that are used to pick out the objects. See this definition by Alonzo Church and this one by Dennett. -- 99.141.22.126 (talk) 04:51, 10 April 2009 (UTC)

 * The two descriptions of the meaning of intension don't contradict and, in fact, coincide. The Stanford Encyclopedia of Philosophy even writes "An intension is a function from possible worlds to extensions." Kevin 06:05, 13 April 2011 (UTC)

 * Nevertheless, a new paragraph marking the distinction between extension and intension should be inserted. This article should certainly mention Frege's distinction between sense and reference, which can be thought of as intension vs. extension. — Preceding unsigned comment added by 192.76.7.199 (talk) 13:37, 12 January 2012 (UTC)

 * Might oughta look at the comment higher up on this page entitled "Excellent description." I personally think he has a point; being exact and precise often means being unintelligible to most people. I would think the omitted description could be restored with a suitable disclaimer. Mcswell (talk) 19:29, 20 March 2013 (UTC)
 * Again, a concept is not a set... 169.231.128.198 (talk) 20:25, 29 June 2022 (UTC)

Etymology
intension (n.) c.1600, from Latin intensionem (nominative intensio) "a stretching, straining, effort," noun of action from past participle stem of intendere (see intend). Online Etymology Dictionary

—Pawyilee (talk) 16:48, 26 June 2014 (UTC)

Remove "and small fragments of natural languages"?
The current version contains the sentence "The only extensional languages are artificially constructed languages used in mathematics or for other special purposes and small fragments of natural languages." For this to make sense, a "small fragment" of a language would have to be considered a language in its own right. Is that ever the case?

Hypehuman (talk) 21:30, 17 April 2015 (UTC)

Specification necessary
“Such terms may be suggestive, but a term can be suggestive without being meaningful.” In ordinary understanding, “suggestion” is equal to “meaning”. (That is why it is very difficult for a layman to understand why the “green ideas” “have no meaning”, if they transport the idea perfectly.) We further differentiate between useful meanings and useless meanings, but that's another story. Therefore, we have here a special usage of the word “meaning”. Therefore, it should be articulated in the article, what is the special area of knowledge where such usage can be encountered, and the sources for such specification should be given. - 91.122.0.30 (talk) 06:52, 2 August 2016 (UTC)

Bad examples of intensional statement forms
"Everyone who has read Huckleberry Finn knows that the author of 'Corn-Pone Opinions' wrote it," does not, as such, necessitate that the readers of Huck Finn know Huck Finn's author as also the author of "Corn-Pone Opinions". It could just mean that whoever it is authored "Corn-Pone Opinions" is someone who is known by all readers of Huck Finn to have written Huck Finn. If and only if we read it as "Everyone who has read Huckleberry Finn knows that it and 'Corn-Pone Opinions' were written by the same author," do we have an intensional statement form.

The second example is self-contradictory. "Aristotle" is coextensive with "the tutor of Alexander the Great" if and only if we assume that Aristotle did in fact definitely tutor Alexander the great—the very thing denied by the statement "It is possible that Aristotle did not tutor Alexander the Great."

As for the third example... I just don't get it at all. What's the difference between "Aristotle was pleased he had a sister" and "Aristotle was pleased he had a female sibling"? I don't see any. 35.40.172.111 (talk) 22:48, 10 February 2020 (UTC)

 * I guess the third example is an unintentionally ironic example of an invalid (almost) co-extensional substitution. The original version before September 2018 used the phrase "sibling with two X-chromosomes". @Spacemarine10: Any suggestion how to preserve the original meaning of the article while being as inclusive and accurate as possible? Placekeeper (talk) 16:46, 8 March 2023 (UTC)
 * Actually, "female" can refer to both female gender and sex, and in the latter case there is a definition in the relevant Wikipedia article. I'll change this article accordingly. Placekeeper (talk) 17:00, 8 March 2023 (UTC)

title: Talk:Intension


text:
Infallibility

Infallibility refers to an inability to be wrong. It can be applied within a specific domain, or it can be used as a more general adjective. The term has significance in both epistemology and theology, and its meaning and significance in both fields is the subject of continued debate.

In philosophy
Epistemology, a branch of philosophy, is concerned with the question of what, if anything, humans can know. The answer to the issue of whether or not a human can be infallible depends on the philosophical school.

 * Advocates of philosophical skepticism claim that one cannot know anything with certainty, much less be infallible.
 * Infallibilists hold that knowledge requires absolute certainty, in the sense that if one knows that something is true, it is impossible that it could have turned out to be false.
 * Advocates of subjectivism claim that there is no objective reality or truth, and therefore anyone can be considered infallible, since whatever is within a person's consciousness is considered the real and the true.
 * Advocates of reason and rationality claim that one can gain certainty of knowledge, through a process of extreme refinement measures unlikely to be perfected enough for someone to assurably say "certainty of this knowledge is absolute", yet also assume by chance that one could land on the objective without the knowledge being confidently described as "universally certain", thus as a result, advocates tend to avoid this altogether and instead rely upon Occam's Razor as a suitable means for obtaining knowledge.

Christianity
The Oxford Dictionary of the Christian Church defines infallibility as "Inability to err in teaching revealed truth". Catholic and Eastern Orthodox theology claim that the Church is infallible, but disagree as to where infallibility exists, whether in doctrines, scripture, or church authorities.

In Catholic theology, Jesus, who is the Truth, is infallible, but only a special act of teaching by the church's bishops may properly be called "infallible". According to the First Vatican Council (1869–71) and as reaffirmed at Vatican II (1962–1965), the earthly head of the Catholic Church, the Pope, is infallible when speaking ex cathedra on matters of faith and morals (that is, when he explicitly intends to use his papal office to teach the whole Church definitively and irreformably on matters which deal directly with faith and morals). However, papal infallibility does not extend beyond such cases, thus making it possible for a Pope to sin and to be incorrect. Papal infallibility also belongs to the body of bishops as a whole, when, in doctrinal unity with the pope, they solemnly teach a doctrine as true.

In contrast, Protestant and non-denominational Christian churches believe that the Christian Church is indeed fallible, as evidenced by the requirement of Christ's sacrifice on the cross to pay for the sins of the world, including those of his Church, and that only God's word in scripture is infallible. They also completely reject the Catholic claim regarding papal infallibility, citing not just scriptural reasons, but also the many times popes have contradicted each other and the history of mistakes committed by many popes throughout Roman Catholic Church history.

Because of the complexity in defining infallibility, some Protestant and non-denominational views confuse papal infallibility with impeccability, as if the Pope were immune from sin. This is not the Catholic Church's doctrine, which concedes that Popes can sin and may even contradict one another's personal theological opinions. It is evident that the Pope can sin (which every Pope explicitly states in the Confiteor, and whenever he receives the Sacrament of Penance) and a Pope may even succumb to heresy, as suggested in the condemnation by the Third Council of Constantinople (13th and 16th session) which anathematized Pope Honorius I for supporting the heresy of Monothelitism, and which Pope John XXII admitted when he retracted his views on the Beatific vision.

Universal teachings
Islam teaches that the teachings and guidance by the Prophets with regard to bringing the message of the One true God is infallible. Islam also teaches that the Quran is an infallible text.

Additional Shi'a teachings
In Shi'a theology, one of the two branches of Islam, the belief is that the Ahl al-Bayt, including Muhammad, his daughter Fatima Zahra and Shi'a Imams are all infallible. It is believed that they are infallible in the sense that all statements or teachings made by them can be relied on to be certainly true, that all information believed by themselves is true, and that they have complete knowledge about right and wrong and never intend to disobey God. It is also held by Shi'as that there were 124,000 Prophets, beginning with Adam and ending with Muhammad - with all, including the last, being infallible in the same sense as the Ahl al-Bayt.

Judaism
The notion of infallibility in Judaism as it relates to the Tannaim and Amoraim of the Talmud, as well as the Rishonim, Achronim and modern day Gedolim is one surrounded by debate.

Some who reject infallibility cite the Talmud, Pesachim 94b: "The sages of Israel say: "The sphere (Earth) remains fixed and the constellations revolve," while the sages of the nations say: "The sphere revolves and the constellations remain fixed."...the sages of Israel say: "during the day the sun moves below the canopy (sky) and at night above the canopy," while the sages of the nations say: "during the day the sun moves below the canopy and at night below the ground." Rebbi said: "Their words seem more correct than ours...""

The words of the Mishnah are commented on by numerous commentators, and Yehuda Levi argues that the Geonim and Maimonides perceived that the sages of the Talmud "erred in a matter of astronomy". Maimonides wrote that the great sages are not expected to advocate positions perfectly in-line with modern science because they were "scholars of that generation," often basing their assessments of what "they learned from the scholars of the era."

In the Hasidic tradition, however, infallibility is taught in the Chabad tradition in connection with a rebbe.

Vaishnavism (Hinduism)
In the Bhagavad Gita, Krishna explains to Arjuna (Bg 15.16 to 15.20): "There are two classes of beings, the fallible and the infallible. In the material world every living entity is fallible, and in the spiritual world every living entity is called infallible. Besides these two, there is the greatest living personality, the Supreme Soul, the imperishable Lord Himself, who has entered the three worlds and is maintaining them. Because I am transcendental, beyond both the fallible and the infallible, and because I am the greatest, I am celebrated both in the world and in the Vedas as that Supreme Person. Whoever knows Me as the Supreme Personality of Godhead, without doubting, is the knower of everything. He therefore engages himself in full devotional service to Me, O son of Bharata. This is the most confidential part of the Vedic scriptures, O sinless one, and it is disclosed now by Me. Whoever understands this will become wise, and his endeavors will know perfection."

Baháʼí Faith
The Baháʼí Faith teaches the doctrine of the Most Great Infallibility (al-'ismah al-kubra) which applies to the Manifestations of God who founded the world's major religions, including Abraham, Krishna, Zoroaster, Moses, Buddha, Jesus Christ, Muhammad, as well as the Báb (1819–1850) and Baháʼu'lláh (1817–1892), the prophet-founder of the faith.

Infallibility also extends to ʻAbdu'l-Bahá (1844–1921), the son of the faith's founder; to the Guardian of the faith Shoghi Effendi (1897–1957); and to the Universal House of Justice, the faith's nine-member supreme ruling body.

In the Kitáb-i-Aqdas, the central religious text of the faith, Baháʼu'lláh describes himself as having "no partner in the Most Great Infallibility". He later expounds on the doctrine in the ʼIs͟hráqát, a tablet written circa 1885 to a believer from Azerbaijan.

ʻAbdu'l-Bahá described infallibility as being of two kinds: the "essential infallibility" of the Manifestations of God, and the "acquired infallibility" of the Guardian and the Universal House of Justice.

In the Will and Testament of ʻAbdu'l-Bahá, he describes both the Guardian and the Universal House of Justice as being "under the care and protection of the Abhá Beauty, under the shelter and unerring guidance of the Exalted One": "Whatsoever they decide is of God. Whoso obeyeth him not, neither obeyeth them, hath not obeyed God; whoso rebelleth against him and against them hath rebelled against God; whoso opposeth him hath opposed God; whoso contendeth with them hath contended with God; whoso disputeth with him hath disputed with God; whoso denieth him hath denied God; whoso disbelieveth in him hath disbelieved in God; whoso deviateth, separateth himself and turneth aside from him hath in truth deviated, separated himself and turned aside from God. May the wrath, the fierce indignation, the vengeance of God rest upon him!"Shoghi Effendi describes the limits of the Guardian's infallibility as such :"The infallibility of the Guardian is confined to matters which are related strictly to the Cause and interpretation of the teachings; he is not an infallible authority on other subjects, such as economics, science, etc. When he feels that a certain thing is essential for the protection of the Cause, even if it is something that affects a person personally, he must be obeyed, but when he gives advice, such as that he gave you in a previous letter about your future, it is not binding; you are free to follow it or not as you please."

title: Infallibility


text:
Talk:Teabagging

Teabagging is not healthy
The testicles aren't made to be subjected to strain.

add official medical links (not jokes), especially from Harvard University, the Rockefeller University or any other major university — Preceding unsigned comment added by 2a02:587:410c:8900:2c98:61e0:4652:6ef8 (talk • contribs)

 * Can you give some links to these resources, please? -- The Anome (talk) 11:17, 16 March 2019 (UTC)

 * I don't see how you'd be straining them unless you were pulling on them. Suckling isn't pulling. If you have links from "Harvard University ... or any other major university" please do post them. 47.28.179.232 (talk) 16:47, 5 November 2019 (UTC)

 * The use of the passive voice in the caption of the illustration (woman being tea-bagged) suggests that the recipient remains wholly passive and serves merely as receptacle. If she reciprocates by sucking or biting the scrotum, this is not integral to the tea-bagging per se. Tea-bagging may, however, involve the stuffing of one's testicles through a narrow orifice, which can result in strain. 2A01:CB0C:CD:D800:F496:D5F7:A6E3:59B0 (talk) 13:42, 10 December 2021 (UTC)

Use of Man in the Opening Section
I don't think it is fully accurate to use the term man here since it is entirely possible for transwomen or non-binary people to teabag. — Preceding unsigned comment added by 100.36.141.51 (talk) 20:25, 14 July 2020 (UTC)

 * Concur - this edit seems to be a primary source of page edits and rollbacks. There should be consensus here to potentially help avoid the churn. TRL (talk) 23:05, 7 April 2024 (UTC)

 * Agree - the less restrictive version ('someone', 'their') is preferable.  signed, Willondon (talk)  23:30, 7 April 2024 (UTC)

 * Transwomen and non-binary are still males, regardless of identity, they are still male. Penises and scrotums are male sexual characteristics, and belong to no other. CherryCola33 (talk) 23:35, 7 April 2024 (UTC)

Sexual imagery shows up on mouseover
While I was enjoying my breakfast this morning reading a completely unrelated wikipedia article my mouse cursor happened to pass over the word 'teabagging' and my screen filled with a picture of a dick and ballbags. Needless to say I did not enjoy the rest of my breakfast.

Can we remove that picture so it does not show up on mouseover? Since teabagging is a term used in gaming it is quite likely to appear to young people.

2404:4404:1794:D200:7C63:B63A:1E8F:D978 (talk) 00:39, 25 August 2021 (UTC)

 * If your mouseover occurred on a truly unrelated use of the term, then the link there is out of order. I came across a similar mouse-over when tea bagging in the sexual sense was meant (reading about It is always sunny in Philadelphia), and was grateful for the immediate graphic explanation. Sex acts do not make me lose my lunch, but then I am not 12. 2A01:CB0C:CD:D800:F496:D5F7:A6E3:59B0 (talk) 13:45, 10 December 2021 (UTC)
 * coward 2603:9001:21F0:8430:32BC:702F:8C7E:1BE (talk) 14:56, 10 March 2024 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 06:53, 29 September 2021 (UTC)
 * X-pac-branco-buster-x-pac-bronco-buster.gif

title: Talk:Teabagging


text:
User:Derek davis

I don't know as anyone should care, but I'm a freelance writer/editor who just found out about this place and like it a lot.

I'm a University of Pennsylvania alumnus, have written an (unpublished) history of the Law School, edited the Law School's alumni journl and done other writing around campus, so a lot of my editons and updates here have to do with Penn.

Now, my main gig is trying to make British translations of German articles on software sound like American English. A double whammy.

title: User:Derek davis


text:
User talk:Derek davis

Hello and Welcome! I hope you like the place. --mav

title: User talk:Derek davis


text:
User talk:Crystal hawk777

Hello and Welcome! I hope you like the place. --mav

title: User talk:Crystal hawk777


text: Wikipedia:Wikipedia3 documentation

title: Wikipedia:Wikipedia3 documentation


text:
User:Jghiii

I made my first Wikipedia posting on Jan 29, 2003. It was about the Portland Sea Dogs.

I live in Portsmouth, New Hampshire. I work as a writer, computer trainer, event producer, non-profit fundraiser, and other stuff.

I write a weblog that can be viewed at http://www.jackhodgson.com/weblog/

Here's part of a bio that's on one of my websites:

 * Jack divides his time these days between work as a Marketing Consultant & as the founder of Davenport4 Productions.

 * He provides marketing advice and programs for corporate, non-profit and community programs such as theatre companies, museums, theme parks, community festivals and other destination attractions. He specializes in what he calls "Live Audience Marketing", creating campaigns that attract visitors to exhibits, presentations, and other "shared experience" activities.

 * His clients have included America Online, Netscape Communications, The Wings of History Air Museum, IDG, Apple Computer, Pro Portsmouth (NH), and the City of Palo Alto (CA).

 * |Davenport4 Productions creates a wide variety of content for conventional and new media channels. It creates presentations and exhibits for Audio, Video, Print, Web, Live Audiences, and other new media.

 * Other areas of his expertise include website software developent where he has designed and maintained a wide variety of websites, from the simple to the sophisticated. He specialized in dynamic, interactive, database-driven sites. And has done alot of work with perl, php, XML and SQL.

 * He's also worked in theatrical stage and video production, where he produced corporate videos & local TV programming, worked in theatrical production management, and has stage-managed seven theatrical shows since 1993, including the world-premiere original musical Honor Song For Crazy Horse.

 * A 20 year veteran of the computer industry, he has worked in virtually every aspect of that business, from training to writing to web development to marketing to programming to event management.

 * He is a Board Member of the |Prescott Park Arts Festival in Portsmouth NH. He's also an avid Private Pilot, sailor, motorcycle rider, and a really bad golfer. He grew up in Boston, Massachusetts, spent 12 years in Silicon Valley, and now lives in Portsmouth, NH.

title: User:Jghiii


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User talk:Jghiii

Hello and Welcome! I hope you like the place. --mav

I answered your question on my talk page. --mav 05:53 Jan 30, 2003 (UTC)

The entry on Aviation is looking great.

Thanks

Hi Jghiii. I've just posted a discussion of aircraft naming conventions on Wikipedia talk:Naming conventions (aircraft). Slip over there and see what you think. Comment, add, change, whatever.

Also, I've made a start on trying to list all the many different entries on individual aircraft types. There are lots of great articles about particular aircraft (and some horrible stubs!), but (so far as I know) no central index, so you only stubmle over most of the entries through blind luck. Last night I listed as many military types as I could find, putting the results in Weapon. That list is more-or-less up to date, and could usefully be copied over to other places - List of aircraft types or something like that. We still need to add civil types and non-combat military types. Maybe I'll do them in a day or two.

Cheers, Tannin 14:33 Feb 5, 2003 (UTC)

New category
Based on your user page, this may be of interest to you:. Best regards, C HAIRBOY (☎) 17:03, 18 December 2005 (UTC)

title: User talk:Jghiii


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Wikipedia talk:Wikipedia3 documentation

I would highly recommend putting software internals documentation & discussion like this on the meta-wikipedia rather than trying to stuff it into the English-language encyclopedia section's wikipedia: namespace. --Brion 00:57 Jan 30, 2003 (UTC)

I know that but as you know the meta-wikipedia is getting in chaos. Oh, well, anyway this is not proper space either. I will post a message regarding this to wikitech-l (because it seems there is only place to discuss the technology side of wikipedia). -- 140.190.68.157 02:02 Jan 30, 2003 (UTC)

Should this just be deleted? Or redirected to any meta-documentation there is... Martin 15:43, 11 Oct 2003 (UTC)

title: Wikipedia talk:Wikipedia3 documentation


text:
Talk:Magical realism

Merge proposal
We already have magic realism - some merging is in order, methinks. --Camembert

 * Oops. I'd only ever heard of it referred to as 'magical,' but this does need to be merged. Atorpen

title: Talk:Magical realism


text:
User talk:Williamv1138

File source problem with File:Ib for wikipedia.jpg
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Wikipedia Meetup
You are invited to "Come Edit Wikipedia!" at the West Hollywood Library on Saturday, July 27th, 2013. There will be coffee, cookies, and good times! -- Olegkagan (talk) — Message delivered by Hazard-Bot at 04:32, 21 July 2013 (UTC)

Wikipedia Meetup
Help build the Wikipedia community in Southern California at "Come Edit Wikipedia!" presented by the West Hollywood Library on Saturday, August 31st, 2013 from 1-5pm. Drop in for some lively editing and conversation! Plus, it's a library, so there are plenty of sources. --Olegkagan (talk) — Message delivered by Hazard-Bot at 03:20, 22 August 2013 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 08:52, 23 November 2015 (UTC)

title: User talk:Williamv1138


text:
User talk:Mia~enwiki

Question: could someone give me an example of nonnormal distribution with and explanation why it is not normal? Welcome!

Hello, Mia, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are some pages that you might find helpful: I hope you enjoy editing here and being a Wikipedian! Please sign your messages on discussion pages using four tildes ( ~ ); this will automatically insert your username and the date. If you need help, check out Questions, ask me on my talk page, or ask your question on this page and then place  before the question. Again, welcome!
 * The five pillars of Wikipedia
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 * How to edit a page and How to develop articles
 * How to create your first article (using the Article Wizard if you wish)
 * Manual of Style

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 Mia. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Mia~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.

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title: User talk:Mia~enwiki


text:
The Beggar's Opera

The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time.

The Beggar's Opera premiered at the Lincoln's Inn Fields Theatre on 29 January 1728 and ran for 62 consecutive performances, the second-longest run in theatre history up to that time (after 146 performances of Robert Cambert's Pomone in Paris in 1671). The work became Gay's greatest success and has been played ever since; it has been called "the most popular play of the eighteenth century". In 1920, The Beggar's Opera began a revival run of 1,463 performances at the Lyric Theatre in Hammersmith, London, which was one of the longest runs in history for any piece of musical theatre at that time.

The piece satirised Italian opera, which had become popular in London. According to The New York Times: "Gay wrote the work more as an anti-opera than an opera, one of its attractions to its 18th-century London public being its lampooning of the Italian opera style and the English public's fascination with it." Instead of the grand music and themes of opera, the work uses familiar tunes and characters that were ordinary people. Some of the songs were by opera composers like Handel, but only the most popular of these were used. The audience could hum along with the music and identify with the characters. The story satirised politics, poverty and injustice, focusing on the theme of corruption at all levels of society. Lavinia Fenton, the first Polly Peachum, became an overnight success. Her pictures were in great demand, verses were written to her and books published about her. After appearing in several comedies, and then in numerous repetitions of The Beggar's Opera, she ran away with her married lover, Charles Powlett, 3rd Duke of Bolton.

Bertolt Brecht (working from a translation into German by Elisabeth Hauptmann) adapted the work into Die Dreigroschenoper (The Threepenny Opera) in 1928, sticking closely to the original plot and characters but with a new libretto, and mostly new music by Kurt Weill.

Origin and analysis
The original idea of the opera came from Jonathan Swift, who wrote to Alexander Pope on 30 August 1716 asking "...what think you, of a Newgate pastoral among the thieves and whores there?" Their friend, Gay, decided that it would be a satire rather than a pastoral opera. For his original production in 1728, Gay intended all the songs to be sung without any accompaniment, adding to the shocking and gritty atmosphere of his conception. However, a week or so before the opening night, John Rich, the theatre director, insisted on having Johann Christoph Pepusch, a composer associated with his theatre, write a formal French overture (based on two of the songs in the opera, including a fugue based on Lucy's 3rd act song "I'm Like A Skiff on the Ocean Toss'd") and also to arrange the 69 songs. Although there is no external evidence of who the arranger was, inspection of the original 1729 score, formally published by Dover Books, demonstrates that Pepusch was the arranger.

The work took satiric aim at the passionate interest of the upper classes in Italian opera, and simultaneously set out to lampoon the notable Whig statesman Robert Walpole, and politicians in general, as well as such notorious criminals as Jonathan Wild, the thief-taker, Claude Duval, the highwayman, and Jack Sheppard, the prison-breaker. It also deals with social inequity on a broad scale, primarily through the comparison of low-class thieves and whores with their aristocratic and bourgeois "betters."

The airs of The Beggar's Opera in part allude to well-known popular ballads, and Gay's lyrics sometimes play with their wording in order to amuse and entertain the audience. Gay used Scottish folk melodies mostly taken from the poet Allan Ramsay's hugely popular collection The Gentle Shepherd (1725) plus two French tunes (including the carol "Bergers, écoutez la musique!" for his song "Fill Every Glass"), to serve his hilariously pointed and irreverent texts. Macheath's satire on modern society ("The modes of the court so common are grown") is also sung to Henry Purcell's Lillibullero. Pepusch composed an overture and arranged all the tunes shortly before the opening night at Lincoln's Inn Fields on 28 January 1728. However, all that remains of Pepusch's score are the overture (with complete instrumentation) and the melodies of the songs without figured basses. Various reconstructions have been attempted, and a 1990 reconstruction of the score by American composer Jonathan Dobin has been used in a number of modern productions.

Gay uses the operatic norm of three acts (as opposed to the standard in spoken drama of the time of five acts), and tightly controls the dialogue and plot so that there are surprises in each of the forty-five fast-paced scenes and 68 short songs. The success of the opera was accompanied by a public desire for keepsakes and mementos, ranging from images of Polly on fans and clothing, playing cards and fire-screens, broadsides featuring all the characters, and the rapidly published musical score of the opera.

The play is sometimes seen to be a reactionary call for libertarian values in response to the growing power of the Whig party. It may also have been influenced by the then-popular ideology of John Locke that men should be allowed their natural liberties; these democratic strains of thought influenced the populist movements of the time, of which The Beggar's Opera was a part.

The character of Macheath has been considered by critics as both a hero and an anti-hero. Harold Gene Moss, arguing that Macheath is a noble character, has written, "[one] whose drives are toward love and the vital passions, Macheath becomes an almost Christ-like victim of the decadence surrounding him." Contrarily, John Richardson in the peer-reviewed journal Eighteenth-Century Life has argued that Macheath is powerful as a literary figure precisely because he stands against any interpretation, "against expectation and illusion." He is now thought to have been modeled on the gentleman highwayman, Claude Duval, although interest in criminals had recently been raised by Jack Sheppard's escapes from Newgate.

The Beggar's Opera has had an influence on all later British stage comedies, especially on nineteenth century British comic opera and the modern musical.

Act 1
Peachum, a fence and thief-catcher, justifies his actions. Mrs Peachum, overhearing her husband's blacklisting of unproductive thieves, protests regarding one of them: Bob Booty (the nickname of Robert Walpole). The Peachums discover that Polly, their daughter, has secretly married Macheath, the famous highwayman, who is Peachum's principal client. Upset to learn they will no longer be able to use Polly in their business, Peachum and his wife ask how Polly will support such a husband "in Gaming, Drinking and Whoring." Nevertheless, they conclude that the match may be more profitable to the Peachums if the husband can be killed for his money. They leave to carry out this errand. However, Polly has hidden Macheath.

Act 2
Macheath goes to a tavern where he is surrounded by women of dubious virtue who, despite their class, compete in displaying perfect drawing-room manners, although the subject of their conversation is their success in picking pockets and shoplifting. Macheath discovers, too late, that two of them (Jenny Diver, Suky Tawdry) have contracted with Peachum to capture him, and he becomes a prisoner in Newgate prison. The prison is run by Peachum's associate, the corrupt jailer Lockit. His daughter, Lucy Lockit, has the opportunity to scold Macheath for having agreed to marry her and then broken this promise. She tells him that to see him tortured would give her pleasure. Macheath pacifies her, but Polly arrives and claims him as her husband. Macheath tells Lucy that Polly is crazy. Lucy helps Macheath to escape by stealing her father's keys. Her father learns of Macheath's promise to marry her and worries that if Macheath is recaptured and hanged, his fortune might be subject to Peachum's claims. Lockit and Peachum discover Macheath's hiding place. They decide to split his fortune.

Act 3
Meanwhile, Polly visits Lucy to try to reach an agreement, but Lucy tries to poison her. Polly narrowly avoids the poisoned drink, and the two girls find out that Macheath has been recaptured owing to the inebriated Mrs Diana Trapes. They plead with their fathers for Macheath's life. However, Macheath now finds that four more pregnant women each claim him as their husband. He declares that he is ready to be hanged. The narrator (the Beggar), notes that although in a properly moral ending Macheath and the other villains would be hanged, the audience demands a happy ending, and so Macheath is reprieved, and all are invited to a dance of celebration, to celebrate his wedding to Polly.

Selected musical numbers

 * Can Love be control'd by Advice? (Polly, act 1)
 * Let us take the Road (Chorus of Highwaymen, act 2)
 * At the Tree I shall suffer (Macheath, act 2)
 * How cruel are the Traitors (Lucy, act 2)
 * How happy could I be with either (Macheath, act 2)
 * In the Days of my Youth (Mrs Diana Trapes, act 3)
 * The Charge is prepar'd (Macheath, act 3)
 * The Modes of the Court so Common are Grown (Macheath, act 3)

Reaction
The Beggar's Opera was met with widely varying reactions. Its popularity was documented in The Craftsman with the following entries:

"This Week a Dramatick Entertainment has been exhibited at the Theatre in Lincoln's-Inn-Fields, entitled The Beggar's Opera, which has met with a general Applause, insomuch that the Waggs say it has made Rich very Gay, and probably will make Gay very Rich." (3 February 1728)

"We hear that the British Opera, commonly called The Beggar's Opera, continues to be acted, at the Theatre in Lincoln's-Inn Fields with general Applause, to the great Mortification of the Performers and Admirers of the Outlandish Opera in the Haymarket." (17 February 1728)

Two weeks after opening night, an article appeared in The Craftsman, the leading opposition newspaper, ostensibly protesting at Gay's work as libellous and ironically assisting him in satirising the Walpole establishment by taking the government's side: It will, I know, be said, by these libertine Stage-Players, that the Satire is general; and that it discovers a Consciousness of Guilt for any particular Man to apply it to Himself. But they seem to forget that there are such things as Innuendo's (a never-failing Method of explaining Libels)… Nay the very Title of this Piece and the principal Character, which is that of a Highwayman, sufficiently discover the mischievous Design of it; since by this Character every Body will understand One, who makes it his Business arbitrarily to levy and collect Money on the People for his own Use, and of which he always dreads to give an Account – Is not this squinting with a vengeance, and wounding Persons in Authority through the Sides of a common Malefactor?

The commentator notes the Beggar's last remark: "That the lower People have their Vices in a Degree as well as the Rich, and are punished for them," implying that rich People are not so punished.

Criticism of Gay's opera continued long after its publication. In 1776, John Hawkins wrote in his History of Music that due to the opera's popularity, "Rapine and violence have been gradually increasing" solely because the rising generation of young men desired to imitate the character Macheath. Hawkins blamed Gay for tempting these men with "the charms of idleness and criminal pleasure," which Hawkins saw Macheath as representing and glorifying.

Sequel
In 1729, Gay wrote a sequel, Polly, set in the West Indies: Macheath, sentenced to transportation, has escaped and become a pirate, while Mrs Trapes has set up in white-slaving and shanghais Polly to sell her to the wealthy planter Mr Ducat. Polly escapes dressed as a boy, and after many adventures marries the son of a Carib chief.

The political satire, however, was even more pointed in Polly than in The Beggar's Opera, with the result that Prime Minister Robert Walpole leaned on the Lord Chamberlain to have it banned, and it was not performed until fifty years later.

Adaptations
As was typical practice of the time in London, a commemorative "score" of the entire opera was assembled and published quickly. As was common, this consisted of the fully arranged overture followed by the melodies of the 69 songs, supported by only the simplest bass accompaniments. There are no indications of dance music, accompanying instrumental figures or the like, except in three instances: Lucy's "Is Then His Fate Decree'd Sir" – one measure of descending scale marked "Viol." –; Trape's "In the Days of My Youth", in which the "fa la la chorus is written as "viol."; and the final reprieve dance, Macheath's "Thus I Stand Like A Turk", which includes two sections of 16 measures of "dance" marked "viol." (See the 1729 score, formerly published by Dover).

The absence of the original performing parts has allowed producers and arrangers free rein. The tradition of personalised arrangements, dating back at least as far as Thomas Arne's later 18th century arrangements, continues today, running the gamut of musical styles from Romantic to Baroque: Austin, Britten, Sargent, Bonynge, Dobin and other conductors have each imbued the songs with a personal stamp, highlighting different aspects of characterisation. The hornpipe tune to which Nancy Dawson danced between acts in The Beggar's Opera in the mid-1700s is now used for "Here We Go Round the Mulberry Bush". Following is a list of some of the most highly regarded 20th-century arrangements and settings of the opera.
 * In 1920, the baritone Frederic Austin newly arranged the music (and also sang the role of Peachum) for the long-running production (1,463 performances) at the Lyric Theatre, Hammersmith. The Irish baritone Frederick Ranalow sang the role of Captain Macheath in every performance. In 1955 this version was recorded by conductor Sir Malcolm Sargent with John Cameron as Macheath and Monica Sinclair as Lucy.
 * In 1928, on the 200th anniversary of the original production, Bertolt Brecht (words) and Kurt Weill (music) created a popular new musical adaptation of the work in Germany entitled Die Dreigroschenoper (The Threepenny Opera). In this work, the original plot is followed fairly closely (although the time is brought forward over a hundred years) but the music is almost all new.
 * In 1946, John La Touche (book and lyrics) and Duke Ellington (music) created another musical adaptation of the work for Broadway entitled Beggar's Holiday. An updated rendition of the story focused on a corrupt world inhabited by rakish Mobsters, raffish Madams and their dissolute whores, panhandlers and street people.
 * In 1948, Benjamin Britten created an adaptation with new harmonisations and arrangements of pre-existing tunes. Additional dialogue was written by the producer, Tyrone Guthrie. Peter Pears was the first singer of Macheath. It was dedicated to James Haldane Lawrie, who would go on to chair the English Opera Group.
 * The opera was made into a film version in 1953, and starred Laurence Olivier as Captain Macheath.
 * In 1975, Czech playwright (and future president) Václav Havel created a non-musical adaptation.
 * In 1977, the Nigerian Nobel Prize-winning playwright and dramatist Wole Soyinka wrote, produced and directed Opera Wonyosi (publ. 1981), an adaptation of both John Gay's The Beggar's Opera and Bertolt Brecht's The Threepenny Opera; most of his characters as well as some of the arias are from the two earlier plays.
 * In 1978, the Brazilian singer-songwriter Chico Buarque wrote Ópera do Malandro (1978), an adaptation of both John Gay's The Beggar's Opera and Bertolt Brecht's The Threepenny Opera, with new songs and set in 1940s Rio de Janeiro,which was later adapted as a film by director Ruy Guerra.
 * In 1981 Richard Bonynge and Douglas Gamley arranged a new edition for The Australian Opera (now Opera Australia). It was recorded the same year with Joan Sutherland, Kiri Te Kanawa, James Morris and Angela Lansbury.
 * The opera was adapted for BBC television in 1983. This production was directed by Jonathan Miller and starred Roger Daltrey in the role of Macheath, Stratford Johns as Peachum, Gary Tibbs as Filch, and Bob Hoskins as the Beggar. The "happy" ending was changed so that Macheath is hanged instead of being reprieved.
 * In 1984 in the play (and later film) A Chorus of Disapproval by Alan Ayckbourn, an amateur production of The Beggar's Opera is a major plot driver and excerpts are performed.
 * In 1990 Jonathan Dobin created his period-styled performing edition for the Ten Ten Players (now Theatre 2020) and it has since been performed at venues throughout the United States. This edition is based on the 1728 printed edition and includes the full overture as detailed by Pepusch and fleshes out all of the remaining 69 airs and dances of the original 18th century production.
 * In 1998, the all female Japanese troupe, Takarazuka Revue, produced an adaptation titled Speakeasy. The play was Maya Miki's retirement play.
 * In 2008 the Sydney Theatre Company of Australia and Out of Joint Theatre Company co-produced a version entitled The Convict's Opera written by Stephen Jeffreys and directed by Max Stafford-Clark. This version is set aboard a convict ship bound for New South Wales, where convicts are putting on a version of The Beggar's Opera. The lives of the convicts partly mirror their characters in The Beggars' Opera, and modern popular songs are performed throughout the piece. The Convict's Opera began touring the UK in early 2009.
 * The theatre company Vanishing Point created a modern production of The Beggar's Opera in 2009 for The Royal Lyceum Theatre and Belgrade Theatre, Coventry, set in a near-future apocalypse world. It features music from A Band Called Quinn.
 * The original opera was performed in an 18th-century setting at the Regent's Park Open Air Theatre in summer 2011 in a production directed by Lucy Bailey.
 * In 2019, Kneehigh Theatre Company in association with Liverpool Everyman & Playhouse created and toured a reinvention of The Beggar's Opera, called Dead Dog in a Suitcase (and other love songs).
 * In 2021, French mezzo-soprano and composer Hélène Ducos created Minuit Montmartre, a four-act opera inspired by The Beggar's Opera. The first performance took place in Paris on 10 July.

title: The Beggar's Opera


text:
Talk:The Beggar's Opera

Comments
Text is a modified version of the intro from http://www.uoregon.edu/~rbear/beggar.html.

That page says:

 * This text was prepared by Richard Bear from a 1921 B. Huebsch edition of the 1765 text. The text is in the public domain; markup is copyright © The University of Oregon, 1995. Additions, emendations, or commments to: rbear@oregon.uoregon.edu.

I moved over only the text, and NOT any of the markup, which is under copyright. -- Dreamword 01:45 Jan 30, 2003 (UTC)

 * It shouldn't matter that this is public domain. If an entry quotes something word for word, it needs more than a footnote. If this appeared in any form of print it would be labeled as plagiarism. It does not need to be taken down, but it does need to be made clear that the entry is almost entirely verbatim from a source and not written by any wikipedia editors. 129.59.47.19 (talk) 17:54, 12 December 2008 (UTC)

Err... you are replying to a six-year-old comment. Check the dates above. In addition, note that the only copied text in this article is in the Synopsis, and what the above comment seems to be saying is that the source of the orginal text from the opera that is quoted in the synopsis comes from the annotated on-line edition cited. So there never was any plagiarism. Can someone archive the older comments on this page, please? Best regards, -- Ssilvers (talk) 18:44, 12 December 2008 (UTC)

 * Sorry, I didn't realize that the comment was six years old, but it still raises an important issue with the article. The problem is that the article does not cite the text, rather it merely lists it as an external link. The list of characters and the synopsis are both directly taken from the source, which has been placed online by various universities. A few lines appear to have been omitted from the synopsis, but it is otherwise a direct copy. WP:PD clearly states that "Proper attribution to the author or source of a work, even if it is in the public domain, is still required to avoid plagiarism."

 * I would change it myself, but I am not sure how to properly signify that the entire synopsis is a direct quotation. Perhaps, it should be prefaced with something along the lines of "The following synopsis is taken directly from Bear's 1995 transcription..." Maybe someone with a better knowledge of the play could rewrite the synopsis (as it is still somewhat lacking). Regardless, it must be clear that the entire section is a direct quotation, and a simple footnote does not emphasize this enough. 129.59.47.19 (talk) 06:36, 14 December 2008 (UTC)

Sorry, I didn't realize that not only the text of the libretto, but also Bear's "Introduction" is quoted in the Synopsis. I agree that it would be much better to re-write the Synopsis using your own words to summarize the libretto. All you have to do is hit the edit button. Why don't you register on Wikipedia and establish a user name? Best regards, -- Ssilvers (talk) 17:00, 14 December 2008 (UTC)

Further to the above, Bear's introduction is copyright; this isn't made clear on the webpage with the text, but on the homepage of Renascence Editions is the message: "unique site content is copyright ©1992-2008 the editors and the University of Oregon". As such, I have deleted the synopsis. If any more of the article comes from the webpage - I'll have a look later - that'll have to go too. 129.67.20.170 (talk) 17:23, 26 February 2009 (UTC)

Separate article for the film
i am in favour of making a separate article for the film. - Kleinzach 20:43, 28 June 2006 (UTC)

Inspiration for the name Macheath?
Mac was a highwayman, and one of the most popular hangouts for such men was Blackheath, a suburb of London. The place must have been an inspiration for the character, but I wouldn't want to add that into the article without the proper citation, as it'd be OR.

Note: also posted on Talk:The Threepenny Opera. -- Ci e lomobile talk / contribs 07:13, 5 January 2007 (UTC)

 * Well, James MacLaine was a notorious highwayman of the time. -- ALoan (Talk) 12:32, 2 April 2007 (UTC)

 * Interesting. I wish there was a source for linking the two, but it is not all that important, I suppose. -- Cielomobile talk / contribs 23:51, 4 April 2007 (UTC)
 * Added--217.155.32.221 (talk) 13:25, 2 May 2015 (UTC)

Satire
Can we explain in what way this is a satire on Walpole and the Whigs ? -- Beardo 14:29, 11 August 2007 (UTC)

Original Research?
Someone added a whole lot of unreferenced info to the article. If you cannot reference this information (see WP:RS it must be deleted. Where does this information come from?  I tried to clean up the grammar and remove some of the hyperbole at least, but I have no idea if the new info is completely WP:OR.  It also needs to be wikified. -- Ssilvers 15:50, 10 November 2007 (UTC)

The band...
I know this sounds dumb, but why dont we add the band called "beggars opera" for good measure. They got their name from the play.

 * Is this band notable? See WP:MUS.  -- Ssilvers (talk) 05:50, 25 November 2008 (UTC)

 * Yes, in the UK. Here's a fan site making notice of them. I'm not much of a wiki person, but I'm sure someone who would like to WOULD add this.  -- Dwo shwoom (talk) 10:41, 26 November 2008 (UTC)

A fan site is not a WP:Reliable source. You need features about them in major newspapers, Rolling Stone magazine and similar major media, a book about them, etc. If their albums were popular, they must have gotten a significant amount of press. If so, you could write an article called "Beggar's Opera (band)" and cite those reviews and features. The way Wikipedia works, is that first you do research, like a research paper for school, and then write an article that is well-referenced. See, for example, this excellent article about a band: Phish. -- Ssilvers (talk) 04:49, 27 November 2008 (UTC)

Famous saying at the time
It was said that the play's success "made Gay rich, and Rich gay"... AnonMoos (talk) 13:37, 1 November 2010 (UTC)

Adaptations
The introduction to this section announces "a list of the most highly regarded 20th century arrangements ...". Yet the list ends with three 21st century productions, one of which is a future production announced for 2011: how can a production that has not even taken place yet be highly regarded? Moreover, in my opinion announcements of future productions belong on news-sites, not in an encyclopedia. Regards. Francesco Malipiero (talk) 16:31, 29 November 2010 (UTC)
 * I agree. While the introduction to that section is probably too narrow ("20th century arrangements"), each entry should at least have 1 one blue link or seriously top sources to satisfy a notion of notability. -- Michael Bednarek (talk) 02:22, 30 November 2010 (UTC)

Thomas Arne
1. Thomas Arne had a version (see 1759 under Stage Works in List of compositions by Thomas Arne) -- it should be under Adaptations.

2. http://www.revolvy.com/main/index.php?s=The%20Beggar%27s%20Opera&item_type=topic would seem to a duplicate of this page -- with the exception of the References at the end. Which is copied from which? It does mention Wikisource and Wikimedia Commons, but not Wikipedia.BlueIris2 (talk) 04:34, 9 October 2016 (UTC)
 * For #2, Revolvy is known mirror, and credits Wikipedia on the page ("Content from Wikipedia"). Kuru   (talk)  16:14, 15 October 2016 (UTC)

"by"
Surely it would be better to say it was "by" Gay with Pepusch as the composer (or arranger)? I know the convention is to give the main credit to the composer but that seems inappropriate in this case. Roryharrow (talk) 19:38, 18 May 2024 (UTC)

 * I don't know what the musicological terminology is, but the role of Pepusch in the Beggar's Opera was not remotely comparable to Mozart in a Mozart opera. Pepusch was brought in to adapt melodies (written and chosen by others) to fit the particular performance needs of the Beggar's Opera, and to write them down in a rather simple form.  The only somewhat creative thing (and the only somewhat fully orchestrated music notation in the original publication) was the overture... AnonMoos (talk) 07:09, 19 May 2024 (UTC)

title: Talk:The Beggar's Opera


text:
Saint John County, New Brunswick

Saint John County (2016 population: 74,020 ) is located in southern New Brunswick, Canada. The city of Saint John dominates the county. Elsewhere in the county, tourism is focused around the Bay of Fundy.

Communities
There are two municipalities within Saint John County (listed by 2016 population):

Parishes
The county is subdivided by the Territorial Division Act (Section 27) into one city and three parishes (listed by 2016 population):

Demographics
As a census division in the 2021 Census of Population conducted by Statistics Canada, Saint John County had a population of $76,558$ living in $34,634$ of its $36,964$ total private dwellings, a change of NaN% from its 2016 population of $74,020$. With a land area of 1461.05 km2, it had a population density of in 2021.

Access Routes
Highways and numbered routes that run through the county, including external routes that start or finish at the county limits:

 * Highways

 * Principal Routes

 * Secondary Routes:

 * External Routes:
 * None

title: Saint John County, New Brunswick


text:
USS Mercy

Three hospital ships of the United States Navy have borne the name USS Mercy, in honor of the virtue of compassion (and owing to their purpose).

 * USS Mercy (AH-4), was built in 1907 as Saratoga and was commissioned Mercy (ID-1305) on 24 January 1918, before being re-designated AH-4 in 1920. She served in the Atlantic Fleet during World War I.
 * USS Mercy (AH-8), was a Comfort-class hospital ship commissioned on 7 August 1944. She served during World War II.
 * USNS Mercy (T-AH-19), was placed in service in 1986 and served during the Gulf War, as well as numerous Humanitarian Assistance Missions. She is currently in active service.

title: USS Mercy


text:
Sunbury County, New Brunswick

Sunbury County (2016 population 27,644 ) is located in central New Brunswick, Canada. A large military base (CFB Gagetown) is located in the western part of the county south of the town of Oromocto. The county also hosts forestry and mixed farming. Burton is the county shire town.

Communities
There are three municipalities within Sunbury County (listed by 2016 population):

Much of the Village of Minto lies within Sunbury County, but since most of it is in Queens County, Statistics Canada considers it as part of Queens. Similarly, a small portion of the city of Fredericton lies within Sunbury County, but is counted as part of York.

First Nations
There is one First Nations reservation in Sunbury County (listed by 2016 population):

Parishes
The county is subdivided into seven parishes (listed by 2016 population):

Demographics
As a census division in the 2021 Census of Population conducted by Statistics Canada, Sunbury County had a population of $27,864$ living in $11,310$ of its $11,903$ total private dwellings, a change of NaN% from its 2016 population of $27,644$. With a land area of 2692.97 km2, it had a population density of in 2021.

Population trend

Mother tongue (2016)

Access Routes
Highways and numbered routes that run through the county, including external routes that start or finish at the county limits:

 * Highways

 * Principal Routes

 * Secondary Routes:

 * External Routes:
 * None

title: Sunbury County, New Brunswick