text:
Omar Sharif

Omar Sharif (عمر الشريف, born Michel Yusef Dimitri Chalhoub ; 10 April 1932 – 10 July 2015) was an Egyptian actor, generally regarded as one of his country's greatest male film stars. He began his career in his native country in the 1950s. He is best known for his appearances in American, British, French, and Italian productions. His career encompassed over 100 films spanning 50 years, and brought him many accolades including three Golden Globe Awards and a César Award for Best Actor.

Sharif played opposite Peter O'Toole as Sherif Ali in the David Lean epic Lawrence of Arabia (1962), which earned him an Academy Award nomination for Best Supporting Actor, and portrayed the title role in Lean's Doctor Zhivago (1965), earning him the Golden Globe for Best Actor – Motion Picture Drama. He continued to play romantic leads, in films like Funny Girl (1968) and The Tamarind Seed (1974), and historical figures like the eponymous characters in Genghis Khan (1965), The Mamelukes (1965) and Che! (1969). His acting career continued well into old age, with a well-received turn as a Muslim Turkish immigrant in the French film Monsieur Ibrahim (2003). He made his final film appearance in 2015, the year of his death.

Sharif spoke five languages: Arabic, English, French, Italian and Spanish. He bridled at travel restrictions imposed by the government of Egyptian president Gamal Abdel Nasser, leading to self-exile in Europe. He was a lifelong horse racing enthusiast, and at one time ranked among the world's top contract bridge players. He was the recipient of high civil honors from multiple countries, including the Egyptian Order of Merit and the French Legion of Honour. He was one of only 25 grantees of UNESCO's Sergei Eisenstein Medal, in recognition of his significant contributions to world film and cultural diversity.

Early life
Sharif was born Michel Yusef Dimitri Chalhoub (ميشيل يوسف ديمتري شلهوب ) in Alexandria, Kingdom of Egypt (now Republic of Egypt), to a Melkite Greek Catholic family of Syrian and Lebanese descent,   making him and his family members of the Antiochian Greek Christian minority (also known as Rūm). He adopted the surname Sharif, meaning "noble" or "nobleman" in Arabic, after he was picked by Egyptian director Youssef Chahine to star in his film The Blazing Sun. He later converted to Islam and changed his name legally in order to marry Faten Hamama.

His father, Yusef Chalhoub, a precious-woods merchant, moved to the port city of Alexandria with his mother in the early 20th century from Zahlé. Sharif was later born in Alexandria. His family moved to Cairo when he was four. His mother, Claire Saada, was a noted society hostess, in whose house Egypt's King Farouk was a regular visitor prior to his deposition in 1952.

In his youth, Sharif studied at Victoria College, Alexandria, where he showed a talent for languages, He befriended fellow actor Ahmed Ramzy and Youssef Chahine in school. He later graduated from Cairo University with a degree in mathematics and physics. He worked for a while in his father's precious wood business before beginning his acting career in Egypt. In 1955, he adopted the stage name "Omar Sharif". He married fellow Egyptian actress Faten Hamama.

It has been widely reported that Sharif studied acting at the Royal Academy of Dramatic Art in London, but the academy told Al Jazeera that this was not true.

Egyptian film star
Sharif began his acting career in Egypt with a role in The Blazing Sun (1954). He was also in The Devil of the Desert (1954). He quickly rose to stardom, appearing in Our Beautiful Days (1955), The Lebanese Mission (1956) (a French film), Struggle in the Pier (1956), Sleepless (1957), Land of Peace (1957), Goha (1958) (a Tunisian film that marked the debut of Claudia Cardinale).

He also starred in Struggle on the Nile (1958), Sayyidat al-Qasr (1958), A Beginning and an End (1960), A Rumor of Love (1960), and the Anna Karenina adaptation The River of Love by Ezz El-Dine Zulficar (1960). He and his wife co-starred in several films as romantic leads. Sharif achieved success through other movies like Struggle on the Nile (1959), A Rumor of Love (1960), and There Is a Man in Our House (1961), which made him a huge competitor to Salah Zulfikar, Shoukry Sarhan and Rushdy Abaza, the Egyptian cinema giants at the time.

Lawrence of Arabia
Sharif's first English-language role was that of the fictitious Sherif Ali in David Lean's historical epic Lawrence of Arabia in 1962. Sharif was given the role when Dilip Kumar turned it down, Horst Buchholz proved unavailable and Maurice Ronet could not use the contact lenses necessary to hide his eyes.

Casting Sharif in what is now considered one of the "most demanding supporting roles in Hollywood history" was both complex and risky as he was virtually unknown at the time outside Egypt. However, as historian Steven Charles Caton notes, Lean insisted on using ethnic actors when possible to make the film authentic. Sharif would later use his ambiguous ethnicity in other films: "I spoke French, Greek, Italian, Spanish and even Arabic", he said. As Sharif noted, his accent enabled him to "play the role of a foreigner without anyone knowing exactly where I came from", which he stated proved highly successful throughout his career. To secure the role, Sharif had to sign a seven-film contract with Columbia at $50,000 a film. Lawrence of Arabia was a box office and critical sensation. Sharif's performance earned him an Academy Award for Best Supporting Actor nomination and a Golden Globe Award for Best Supporting Actor – Motion Picture, as well as a shared Golden Globe Award for New Star of the Year – Actor.

Sharif went on to star in another Hollywood film, Anthony Mann's The Fall of the Roman Empire (1964) where he played the support role of Sohaemus of Armenia. Sharif was third-billed in Columbia's Behold a Pale Horse (1964), playing a priest in the Spanish Civil War alongside Gregory Peck and Anthony Quinn. Director Fred Zinnemann said he chose Sharif partly on the suggestion of David Lean. "He said he was an absolutely marvellous actor, 'If you possibly can, take a look at him.'" Film historian Richard Schickel wrote that Sharif gave a "truly wonderful performance", especially noteworthy because of his totally different roles in Lawrence of Arabia: "It is hard to believe that the priest and the sheik are played by the same man". The film, like Fall of the Roman Empire, was a commercial disappointment.

Sharif was one of many stars in MGM's The Yellow Rolls-Royce (1964), playing a Yugoslav wartime patriot; the movie was a hit. He had his first lead role in a Hollywood film when he was cast in the title part of Genghis Khan (1965). Produced by Irving Allen and directed by Henry Levin for Columbia, the $4.5 million epic was a box office disappointment. He had a supporting role in a French Marco Polo biopic, Marco the Magnificent (1965), starring Buchholz and Quinn.

Doctor Zhivago
While making Genghis Khan, Sharif heard that Lean was making Doctor Zhivago (1965), an adaptation of Boris Pasternak's 1957 novel. Sharif was a fan of the novel and lobbied for one of the supporting roles, but Lean decided instead to cast him in the lead as Yuri Zhivago, a poet and physician.

Film historian Constantine Santas explained that Lean intended the film to be a poetic portrayal of the period, with large vistas of landscapes combined with a powerful score by Maurice Jarre. He noted that Sharif's role is "passive", his eyes reflecting "reality" which then become "the mirror of reality we ourselves see". In a commentary on the DVD (2001 edition), Sharif described Lean's style of directing as similar to a general commanding an army. The film was a huge hit. For his performance, Sharif won a Golden Globe Award for Best Actor – Motion Picture Drama. Doctor Zhivago remains one of the top ten highest-grossing films of all time after adjusting for inflation.

Sharif followed it with a cameo in The Poppy Is Also a Flower (1966). He was reunited with Lawrence co-star Peter O'Toole and producer Sam Spiegel for The Night of the Generals (1967). His fourth movie for Columbia, Sharif played a German officer in World War II. The film was not a success, nor was the Italian-French fairytale More Than a Miracle (1967), despite featuring Sophia Loren as co-star.

Funny Girl
Sharif was also praised for his portrayal of Nicky Arnstein in Funny Girl (1968) for Columbia Pictures. He portrayed the husband of Fanny Brice, played by Barbra Streisand in her first film role. His decision to work alongside Streisand angered Egypt's government because she was a vocal supporter of the State of Israel, and the country condemned the film. It was also "immediately banned" in numerous Arab nations. Streisand herself jokingly responded, "You think Cairo was upset? You should've seen the letter I got from my Aunt Rose!" Sharif and Streisand became romantically involved during the filming. He admitted later that he did not find Streisand attractive at first, but her appeal soon overwhelmed him: "About a week from the moment I met her", he recalled, "I was madly in love with her. I thought she was the most gorgeous girl I'd ever seen in my life...I found her physically beautiful, and I started lusting after this woman."

Other films
The Mamelukes (1965), an Egyptian epic film with Nabila Ebeid and Emad Hamdy was not a hit in Egyptian box office despite being his first in Egyptian cinema since There is a Man in Our House (1961). Sharif co-starred with Catherine Deneuve in Mayerling (1968), and the following year was reunited with Gregory Peck in the western, Mackenna's Gold (1969), an unsuccessful attempt to repeat the success of The Guns of Navarone (1961). At 20th Century Fox he played Che Guevara in Che! which flopped at the box office. The Appointment (1969) teamed Sharif with Anouk Aimée and director Sidney Lumet but was not a hit. James Clavell's The Last Valley (1971) was a huge flop, despite co-starring Michael Caine. The Horsemen (1971), directed by John Frankenheimer and the last film under his Columbia contract, also performed poorly at the box office. Sharif later said, "What killed my career was appearing in a succession of films you wouldn't turn down. They were by good directors, but they were bad films." He specifically referenced Behold a Pale Horse, The Appointment and The Horsemen.

The Burglars (1971), a French crime film with Jean-Paul Belmondo and Dyan Cannon was a huge hit in France but little seen in the English speaking world.

Sharif played Captain Nemo for European TV in an adaptation of Mysterious Island (1973). He appeared in a romantic thriller alongside Julie Andrews for Blake Edwards, The Tamarind Seed (1974); it did well at the box office and the critics gave good reviews. He then supported Richard Harris and David Hemmings in a thriller, Juggernaut (1974).

Sharif reprised the role of Nick Arnstein in the sequel to Funny Girl, Funny Lady, in 1975. He starred in a West German thriller Crime and Passion (1976) and had a cameo in Edwards' The Pink Panther Strikes Again (1976). Sharif had a small role in Ashanti (1979) and a bigger one in Bloodline (1979), starring Audrey Hepburn.

"I lost money on gambling, buying horses, things like that", he later said. "So I made those movies which I knew were rubbish... I'd call my agent and tell him to accept any part, just to bail myself out."

1980s
Sharif had a lead part in a spy spoof, S*H*E (1980) and was second-billed (after James Coburn) in The Baltimore Bullet (1980). He had supporting parts in a Chevy Chase comedy Oh! Heavenly Dog (1981) and a Ryan O'Neal thriller Green Ice (1981) (which was made in the 1970s), and a small role in the comedy Top Secret! (1984). He appeared on stage in a production of The Sleeping Prince in 1983, saying he "appeared in the bad films of great directors".

Sharif worked steadily in television, appearing in Pleasure Palace (1981), Peter the Great (1986), and Anastasia: The Mystery of Anna (1986) (as Nicholas II of Russia). He had supporting parts in Grand Larceny (1987) and The Possessed (1988). His first notable credit in a while was Mountains of the Moon (1990) but Sharif's part was only small. He was the subject of This Is Your Life in 1989, when he was surprised by Michael Aspel outside his Paris apartment.

1990s
Sharif was reunited with O'Toole again in The Rainbow Thief (1990). He went to Egypt for War in the Land of Egypt (1991) and France for Mayrig (1991) with Claudia Cardinale, an autobiographical tale for Henri Verneuil. The latter was popular enough for a sequel, 588 rue paradis (1992). Sharif could also be seen in Memories of Midnight (1991), Beyond Justice (1992), Catherine the Great (as Alexei Razumovsky), Gulliver's Travels (1996), Heaven Before I Die (1997), and Mysteries of Egypt (1998). In 1996, Sharif starred in the documentary Lebanon...Imprisoned Splendour. The documentary was written and directed by Lebanese-Australian director Daizy Gedeon, who approached Sharif for the project because she wanted someone 'remarkable' to help her tell the true story of Lebanon: a country which, at the time, was still shrouded in the fog of its Civil War. In the film, Sharif shares personal stories of his upbringing in a Lebanese family, and recites the poetry of famous Lebanese poet Khalil Gibran.

He had his first decent role in a big Hollywood film in a long time with The 13th Warrior (1999). The outcome of the film's production disappointed Sharif so much that he temporarily retired from film acting, not taking a role in another major film until 2003's Monsieur Ibrahim:
 * I said to myself, 'Let us stop this nonsense, these meal tickets that we do because it pays well.' I thought, 'Unless I find a stupendous film that I love and that makes me want to leave home to do, I will stop.' Bad pictures are very humiliating, I was really sick. It is terrifying to have to do the dialogue from bad scripts, to face a director who does not know what he is doing, in a film so bad that it is not even worth exploring."

Monsieur Ibrahim and later films
Sharif did have a small role in The Parole Officer (2001). In 2003 he said, "I went 25 years without making a good film." In 2003, Sharif received acclaim for his leading role in Monsieur Ibrahim, a French-language film adaptation of the novel Monsieur Ibrahim et les fleurs du Coran, as a Muslim Turkish merchant who becomes a father figure for a Jewish boy. For this performance, Sharif received the César Award for Best Actor.

Sharif said of the film: "It has nice big chunks of dialogue, which is what I like to do, rather than riding horses or camels. I'd turned down everything and stopped working for four years. I said, 'I'm going to stop doing that rubbish and keep some dignity.' But when I read the script for 'Monsieur Ibrahim,' I phoned the producers immediately. I said, 'Hang on, I'm coming, wait for me.' My problem is finding parts. When you're young and successful, they write or adapt parts for you. But when you're an old chap, let's be frank, you don't sell tickets anymore. If they need an old Englishman, American or Italian, there are plenty of actors around. So what's open for me? Old Arabs. And that's what I play in this film." Sharif's later film roles included performances in Hidalgo (2004), Imperium: Saint Peter (2005) playing the title role for Italian television, One Night with the King (2005) (again with O'Toole), and 10,000 BC (2008) as the narrator.Sharif was seen in The Ten Commandments (2006). Also in 2006, Sharif played the artist Hans Canon in The Crown Prince, a film about Rudolf, the 19th century crown prince of the Austro-Hungarian Empire. In Egypt, he starred in Hassan and Marcus (2008) with Adel Emam and was in The Traveller (2009). He had support roles in The Last Templar (2009) and Rock the Casbah (2013).

Sharif's final role was as lead actor in the short science education film 1001 Inventions and the World of Ibn Al-Haytham, which was directed by Ahmed Salim and was released as part of the United Nations' International Year of Light campaign, operated by UNESCO.

Contract bridge career
Sharif said bridge was his personal passion and at one time was ranked among the world's top 50 contract bridge players. At the 1964 World Bridge Olympiad he represented the United Arab Republic bridge squad and in 1968 he was playing captain of the Egyptian team in the Olympiad. In 1967 he formed the Omar Sharif Bridge Circus to showcase bridge to the world and invited professional players including members of the Italian Blue team, which won 16 World championship titles, to tour and promote the game via exhibition matches including one watched by the Shah of Iran. Touring through Europe, the Circus attracted thousands of spectators who watched the matches via Bridge-O-Rama, a new technology (and predecessor to the modern-day VuGraph) that displayed bidding and cardplay on television monitors. Players included Benito Garozzo (considered by many as the greatest bridge player of all time), plus his Italian compatriots Pietro Forquet and Giorgio Belladonna and Frenchman Claude Delmouly.

In 1970, Sharif and the circus went to London's famous Piccadilly Hotel for an 80-rubber match against British experts Jeremy Flint and Jonathan Cansino. The stakes were £1 per point, huge stakes even by today's standards. The event was to present bridge as a rich, exciting spectacle and to break through into television to bring the game within the reach of millions. The Circus ultimately won the match by 5,470 points, but Sharif still incurred a net loss after paying all related expenses.

The Circus, under the management of Mike Ledeen, toured Canada and the U.S. in 1970–71. Sharif's team joined with the Dallas Aces for a seven-city tour of Chicago, Winnipeg, Los Angeles, Minneapolis–St. Paul, Dallas, Detroit and Philadelphia. In each city, a team of local experts participated in the exhibition.In 1975, sponsored by the Lancia division of Fiat, Sharif and members of the Italian Blue Team faced off in four challenge matches against American teams. Sharif's team won in Chicago, but was defeated in New York, Los Angeles and Miami.

The Omar Sharif World Individual Championship held in 1990 offered the largest total purse ($200,000) in the history of bridge.

In 1997, he was a member of the Committee of Honour for the Bermuda Bowl on the first time it was held in an Arab country, Tunisia. He competed in a transnational team (with French, German and Lebanese players) and finished 11th. In 1999 he played in a French senior team at the European Championships in Malta, finishing second. In 2000 at Maastricht, he joined Egypt's senior team, finishing in ninth place.

With Charles Goren and later Tannah Hirsch, Sharif contributed to a syndicated newspaper bridge column for the Chicago Tribune.

He was also both the author and co-author of several books on bridge and licensed his name to a bridge video game, Omar Sharif Bridge, initially released in an MS-DOS version and Amiga version in 1992 and is still sold in Windows and mobile platform versions. He was also the hand analyst commentator for the Epson worldwide bridge contests.

Sharif was a regular in casinos in France.

By 2000 Sharif had stopped playing bridge entirely. Having once proudly declared the game his passion, he now considered it an addiction: "I didn't want to be a slave to any passion anymore. I gave up card playing altogether, even bridge and gambling." Sharif, however, continued to license his name to bridge software games, and co-authored a book with bridge writer David Bird, "Omar Sharif Talks Bridge". Written in 2004, it includes some of his most famous deals and bridge stories.

Family and personal relationships
Sharif lived in Egypt from his birth until he moved to Europe in 1965. He recounted that in 1932, his father "wasn't a wealthy man", but "earned quite a bit of money". Before the Egyptian Revolution of 1952, King Farouk frequented Sharif's family home, and became a friend and card-game partner of Sharif's mother. His mother was an elegant and charming hostess who was all too delighted with the association because it gave her the privilege of "consorting only with the elite" of Egyptian society. Sharif also recounted that his father's timber business was very successful during that time in ways that Sharif describes as dishonest or immoral. By contrast, after 1952, Sharif stated that wealth changed hands in Egypt under Nasser's nationalisation policies and his father's business "took a beating".In 1954, Sharif starred in the film Struggle in the Valley with Faten Hamama, who shared a kiss with him although she had previously refused to kiss on screen. The two fell in love; Sharif converted to Islam, changed his name, and married her. They had one son, Tarek Sharif, born in 1957 in Egypt, who appeared in Doctor Zhivago as Yuri at the age of eight. The couple separated in 1966 and their marriage ended in divorce in 1974. Sharif never remarried; he stated that after his divorce he never fell in love with another woman again. Before their divorce, Sharif dated actresses Pat Sheehan and Dodie Marshall.

The Nasser government imposed travel restrictions in the form of "exit visas", so Sharif's travel to take part in international films was sometimes impeded, something he found to be intolerable. These restrictions influenced Sharif's decision to remain in Europe between his film shoots, a decision that cost him his marriage, though the couple remained friends. It was a major crossroad in Sharif's life and changed him from an established family man to a committed bachelor living in European hotels. When commenting about his fame and life in Hollywood, Sharif said, "It gave me glory, but it gave me loneliness also. And a lot of missing my own land, my own people and my own country". When Sharif's affair with Streisand was made public in the Egyptian press, his Egyptian citizenship was almost withdrawn by the Egyptian government because of Streisand being Jewish and a vocal supporter of Israel, which was then in a state of war with Egypt. Sharif became friends with Peter O'Toole during the making of Lawrence of Arabia. They appeared in several other films together and remained close friends. He was also good friends with Egyptologist Zahi Hawass. Actor and friend Tom Courtenay revealed in an interview for the 19 July 2008 edition of BBC Radio's Test Match Special that Sharif supported Hull City Association Football Club and in the 1970s he would telephone their automated scoreline from his home in Paris for score updates. Sharif was given an honorary degree by the University of Hull in 2010 and he used the occasion to meet Hull City football player Ken Wagstaff. Sharif also had an interest in horse racing spanning more than 50 years. He was often seen at French racecourses, with Deauville-La Touques Racecourse being his favourite. Sharif's horses won a number of important races and he had his best successes with Don Bosco, who won the Prix Gontaut-Biron, Prix Perth and Prix du Muguet. He also wrote for a French horse racing magazine. In later life, Sharif lived mostly in Cairo with his family and his last partner Andréa Ferréol. In addition to his son Tarek Sharif, he had two grandsons, Omar Sharif Jr (born 1983 in Montreal) and Karim. Omar Sharif Jr is also an actor.

Sharif was also one of the ambassadors of Egypt's bid for the 2010 FIFA World Cup which lost out to South Africa.

His position on the 2011 Egyptian revolution
Sharif was very supportive of the 2011 Egyptian revolution in his home country and called for the resignation of Hosni Mubarak, stating: "Given that the entire Egyptian people don't want him and he's been in power for 30 years, that's enough."

Health problems and death
Sharif had a triple heart bypass operation in 1992 and suffered a mild heart attack in 1994. Until his bypass, Sharif smoked 25 cigarettes a day. He quit smoking after the operation.

In May 2015, it was reported that Sharif was suffering from Alzheimer's disease. His son Tarek Sharif (who portrayed his father's character as a child in Doctor Zhivago) said that his father was becoming confused when remembering some of the biggest films of his career; he would mix up the names of his best-known films, Doctor Zhivago and Lawrence of Arabia, often forgetting where they were filmed.On 10 July 2015, less than six months after his former wife's death at the same age, Sharif died after suffering a heart attack at a hospital in Cairo.

On 12 July 2015, Sharif's funeral was held at the Grand Mosque of Mushir Tantawi in eastern Cairo. The funeral was attended by a group of Sharif's relatives, friends and Egyptian actors, his coffin draped in the Egyptian flag and a black shroud. His coffin was later taken to the El-Sayeda Nafisa cemetery in southern Cairo, where he was buried.

Awards
At the 35th Academy Awards, Sharif was nominated for Best Supporting Actor for his role as Sherif Ali in Lawrence of Arabia but lost to Ed Begley. He won two Golden Globe awards in the same year for his role. In 1966, he won a third Golden Globe award for the titular role in the film Doctor Zhivago. In November 2005, Sharif was awarded the inaugural Sergei Eisenstein Medal by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in recognition of his significant contributions to world film and cultural diversity. The medal, which is awarded very infrequently, is named after Russian director Sergei Eisenstein. Only 25 have been struck, as determined by the agreement between UNESCO, Russia's Mosfilm and the Vivat Foundation.

Honours

 * 🇪🇬 Egypt: Grand Cross of the Order of Merit
 * 🇫🇷 France: Knight of the Legion of Honour
 * 🇲🇦 Morocco: Commander of the Order of Ouissam Alaouite

title: Omar Sharif


text:
Heraldry of Småland

Småland is a province of Sweden and at the funeral of Gustav Vasa in 1560 the province was granted its arms. Today there are also county arms that are based on the arms of Småland.

Småland
The first coat of arms for Småland, granted in 1560, pictured a red crossbow with roses on a golden shield but at the coronation of Johan III in 1569 a new coat of arms was granted. A lion was wielding the crossbow and the roses had fallen off. There was also a revision in 1944, but no alterations were made. Småland is also considered a duchy and has the right to carry a ducal coronet with the arms.

Blazon: "Or a lion rampant Gules langued and armed Azure holding in front paws a Crossbow of the second bowed and stringed Sable with a bolt Argent."

Official blazon in Swedish: "I gyllene fält ett rött lejon med blå beväring, därest sådan skall förekomma, och hållande i tassarna ett uppåtvänt rött armborst med pilspets av silver samt båge och strängar svarta.".

Kronoberg County
Kronoberg County was formally granted its arms in 1944; however, use of the same was already an established practice. It is a variation of the arms of Småland, with the lion standing on a mountain.

Blazon: "Or, a lion rampant Gules langued and armed Azure holding in front paws a Crossbow of the second bowed and stringed Sable with a bolt Argent, standing on a triple Mount Vert."

Official blazon in Swedish: "I fält av guld ett på ett grönt treberg stående, upprest, rött lejon med blå beväring, vilket med båda framtassarna håller ett stolpvis ställt rött armborst med svart båge och pil av silver.".

Kalmar County
Kalmar County includes the eastern part of Småland and the island province of Öland. The arms is a combination of the arms of Småland and Öland.

Blazon: "Quartered, the arms of Småland and Öland"

Official blazon in Swedish: "Sköld kvadrerad av Smålands och Ölands vapen".

Jönköping County
Jönköping County geographically represents the northern part of Småland. The arms of the County, however, are not based on the arms of the province but rather on the combination of the arms for the town of Jönköping and the lesser state arms of Sweden.

Official blazon in Swedish: "I rött fält en från en av en vågskura bildad blå stam uppskjutande krenelerad borg av silver med tre krenelerade torn, det mellersta högst,svarta fönster, dörrar och port samt upphissat portgaller av silver och däröver en med tre bjälkvis ordnade kronor av guld belagd blå ginstam.".

Öland
Öland is a separate province from Småland, however its arms are included in the arms for Kalmar County.

Blazon: "Azure a Deer Or attired, hoofed and gorged Gules."

Official blazon in Swedish: "I blått fält en gående hjort av guld med rött halsband och röd beväring, därest sådan skall komma till användning."

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

title: Heraldry of Småland


text:
Carl Andreas Duker

Carl Andreas Duker (1670 – November 5, 1752) was a German classical scholar and jurist.

Biography
He was born at Unna in Westphalia, and studied at the University of Franeker under Jacob Perizonius. In 1700 he was appointed teacher of history and eloquence at the Herborn gymnasium, in 1704 vice-principal of the school at The Hague, and in 1716 he succeeded (with Drakenborch as colleague) to the professorship formerly held by Peter Burmann at Utrecht. After eighteen years' tenure he resigned his post, and lived in retirement at IJsselstein and Vianen. His health finally broke down under excessive study, and he died, almost blind, at the house of a relative in Meiderich near Duisburg, on 5 November 1752.

Works
His chief classical works were editions of Florus (1722) and Thucydides (1731, considered his best). He brought out the 2nd edition of Perizonius's Origines Babylonicae et Aegyptiacae (1736) and his commentary on Pomponius Mela (1736–1737). Duker was also an authority on ancient law, and published Opuscula varia de latinitate veterum jurisconsultorum (1711), and a revision of the Leges Atticae of S. Petit (1741).

title: Carl Andreas Duker


text:
Perizonius

Perizonius (or Accinctus) was the name of Jakob Voorbroek (26 October 1651 – 6 April 1715), a Dutch classical scholar, who was born at Appingedam in Groningen.

He was the son of Anton Perizonius (1626–1672), the author of a once well-known treatise, De ratione studii theologici. Having studied at the University of Utrecht, he was appointed in 1682 to the chair of eloquence and history at Franeker through the influence of J. G. Graevius and Nikolaes Heinsius. In 1693 he was promoted to the corresponding chair at Leiden, where he died on 6 April 1715.

The numerous works of Perizonius entitle him to a high place among the scholars of his age. Special interest attaches to his edition of the Minerva sive de causis linguae latinae (Salamanca: Renaut, 1587) of Francisco Sánchez de las Brozas, aka El Brocense, (ed. C. L. Bauer, 1793–1801), one of the last developments of the study of Latin grammar in its pre-scientific stage, when the phenomena of language were still regarded as for the most part disconnected, conventional or fortuitous.

Mention should also be made of his Animadversiones historicae (1685), which may be said to have laid the foundations of historical criticism, and of his treatises on the Roman republic, alluded to by Niebuhr as marking the beginning of the new era of historical study with which his own name is associated.

Collection and heritage
Perizonius was a collector of rare books and manuscripts. To the Leiden University Library he bequeathed 134 manuscripts, one painting, many printed books and a legacy to buy new books. The manuscripts are kept separate as the Collection Perizonius in the library. One of the famous manuscripts in the Perizonius collection is a manuscript, probably from the Abbey of Saint Gall dating from the 10th century. It includes 1 Maccabees and the fourth book of Epitoma Rei Militaris by Vegetius. The manuscript includes many richly decorated pages depicting the historic invasion of Germany by the Hungarians. The digital version of MS PER F 17 is available on Leiden's Digital Collections.

title: Perizonius


text:
Peter Paul Dobrée

Peter Paul Dobrée (26 June 1782 – 24 September 1825) was a British classical scholar and critic.

Early life and education
He was born in 1782 in Guernsey, the Channel Islands to the Reverend William Dobrée. He was educated at Reading School under Richard Valpy and at Trinity College, Cambridge, where he was elected fellow.

Career
Dobrée was an intimate friend of Richard Porson, whom he took as his model in textual criticism, although he showed less caution in conjectural emendation. After Porson's death (1808) Dobrée was commissioned with James Henry Monk and Charles James Blomfield to edit his literary remains, which had been bequeathed to Trinity College.

Illness and a subsequent journey to Iglesias, Sardinia to visit Fabrizio Dobre delayed the work until 1820, when Dobree brought out the Plutus of Aristophanes (with his own and Porson's notes) and all Porson's Aristophanica. Two years later, he published the Lexicon of Photius from Porson's transcript of the Gale manuscript in Trinity College library, to which he appended a Lexicon rhetoricum, from the margin of a Cambridge manuscript of Harpocration.

He was appointed Regius Professor of Greek in 1823. He died on 24 September 1825 at Trinity College, after a short illness.

James Scholefield, his successor in the Greek professorship, brought out selections from his notes (Adversaria, 1831–1833) on Greek and Latin authors (especially the orators), and a reprint of the Lexicon rhetoricum, together with notes on inscriptions (1834–1835).

title: Peter Paul Dobrée


text:
Universally unique identifier

A Universally Unique Identifier (UUID) is a 128-bit label used for information in computer systems. The term Globally Unique Identifier (GUID) is also used, mostly in Microsoft systems.

When generated according to the standard methods, UUIDs are, for practical purposes, unique. Their uniqueness does not depend on a central registration authority or coordination between the parties generating them, unlike most other numbering schemes. While the probability that a UUID will be duplicated is not zero, it is generally considered close enough to zero to be negligible.

Thus, anyone can create a UUID and use it to identify something with near certainty that the identifier does not duplicate one that has already been, or will be, created to identify something else. Information labeled with UUIDs by independent parties can therefore be later combined into a single database or transmitted on the same channel, with a negligible probability of duplication.

Adoption of UUIDs is widespread, with many computing platforms providing support for generating them and for parsing their textual representation.

History
In the 1980s, Apollo Computer originally used UUIDs in the Network Computing System (NCS). Later, the Open Software Foundation (OSF) used UUIDs for their Distributed Computing Environment (DCE). The design of the DCE UUIDs was partly based on the NCS UUIDs, whose design was in turn inspired by the (64-bit) unique identifiers defined and used pervasively in Domain/OS, an operating system designed by Apollo Computer. Later, the Microsoft Windows platforms adopted the DCE design as "Globally Unique IDentifiers" (GUIDs).

registered a URN namespace for UUIDs and recapitulated the earlier specifications, with the same technical content. When in July 2005 was published as a proposed IETF standard, the ITU had also standardized UUIDs, based on the previous standards and early versions of. On May 7, 2024, was published, introducing 3 new "versions" and clarifying some ambiguities.

Standards
UUIDs are standardized by the Open Software Foundation (OSF) as part of the Distributed Computing Environment (DCE).

UUIDs are documented as part of ISO/IEC 11578:1996 "Information technology – Open Systems Interconnection – Remote Procedure Call (RPC)" and more recently in ITU-T Rec. X.667 | ISO/IEC 9834-8:2014.

The Internet Engineering Task Force (IETF) published the Standards-Track from the "Revise Universally Unique Identifier Definitions Working Group" as revision for. is technically equivalent to ITU-T Rec. X.667 | ISO/IEC 9834-8, but is now obsolete.

Binary wire format
A UUID is a 128 bit label. Initially, Apollo Computer designed the UUID with the following wire format:

 * {| class="wikitable"

! Name ! Offset ! Length ! Description
 * + The legacy wire format
 * time_high
 * 0x00
 * 4 octets / 32 bits
 * rowspan="2" | The first 6 octets are the number of four-microsecond (μs) units of time that have passed since 1980-01-01 00:00 UTC. The time 248 × 4 μs after 1980 started was 2015-09-05 05:58:26.84262 UTC. Thus, the last time at which UUIDs could be generated in this original format was in 2015.
 * time_low
 * 0x04
 * 2 octets / 16 bits
 * reserved
 * 0x06
 * 2 octets / 16 bits
 * These octets are reserved for future use.
 * family
 * 0x08
 * 1 octet / 8 bits
 * This octet is an address family.
 * node
 * 0x09
 * 7 octets / 56 bits
 * These octets are a host ID in the form allowed by the specified address family.
 * }
 * node
 * 0x09
 * 7 octets / 56 bits
 * These octets are a host ID in the form allowed by the specified address family.
 * }

Later, the UUID was extended by combining the legacy family field with the new variant field. Because the family field only had used the values ranging from 0 to 13 in the past, it was decided that a UUID with the most significant bit set to 0 was a legacy UUID. This gives the following table for the family group:

 * {| class="wikitable"

! MSB 0 ! MSB 1 ! MSB 2 ! Legacy family field value range ! In hex ! Description
 * + Family / variant field
 * 0
 * x
 * x
 * 0–127 (Only 0–13 are used)
 * 0x00–0x7f
 * The legacy Apollo NCS UUID
 * 1
 * 0
 * x
 * 128–191
 * 0x80–0xbf
 * OSF DCE UUID
 * 1
 * 1
 * 0
 * 192–223
 * 0xc0–0xdf
 * Microsoft COM / DCOM UUID
 * 1
 * 1
 * 1
 * 224–255
 * 0xe0–0xff
 * Reserved for future definition
 * }
 * 224–255
 * 0xe0–0xff
 * Reserved for future definition
 * }

The legacy Apollo NCS UUID has the format described in the previous table. The OSF DCE UUID variant is described in. The Microsoft COM / DCOM UUID has its variant described in the Microsoft documentation.

To assist human reading the groups are typically presented in hexadecimal format where the groups are separated with the dash (-) symbol

Textual representation
Because a UUID is a 128 bit label, it can be represented in different formats.

In most cases, UUIDs are represented as hexadecimal values. The most used format is the 8-4-4-4-12 format,, where every   represents 4 bits. Other well-known formats are the 8-4-4-4-12 format with braces,, like in Microsoft's systems, e.g. Windows, or  , where all hyphens are removed. In some cases, it is also possible to have  with the "0x" prefix or the "h" suffix to indicate hexadecimal values. The format with hyphens was introduced with the newer variant system. Before that, the legacy Apollo format used a slightly different format:. The first part is the time (time_high and time_low combined). The reserved field is skipped. The family field comes directly after the first dot, so in this case  (13 in decimal) for DDS (Data Distribution Service). The remaining parts, each separated with a dot, are the node bytes.

The lowercase form of the hexadecimal values is the generally preferred format. Specifically in some contexts such as those defined in ITU-T Rec. X.667, lowercase is required when the text is generated, but the uppercase version must also be accepted.

A UUID can be represented as a 128 bit integer. For example, the UUID  can also be represented as 113059749145936325402354257176981405696. Note that it is possible to have both signed and unsigned values if the first bit of the UUID is set to 1.

A UUID can be represented as a 128 bit binary number. For example, the UUID  can also be represented as 01010101000011101000010000000000111000101001101101000001110101001010011100010110010001000110011001010101010001000000000000000000.

registers the "uuid" namespace. This makes it possible to make URNs out of UUIDs, like. The normal 8-4-4-4-12 format is used for this. It is also possible to make a OID URN out of UUIDs, like. In that case, the unsigned decimal format is used. The "uuid" URN is recommended over the "oid" URN.

Variants
The variant field indicates the format of the UUID (and in case of the legacy UUID also the address family used for the node field). The following variants are defined:

 * The Apollo NCS variant (indicated by the one-bit pattern 0xxx2) is for backwards compatibility with the now-obsolete Apollo Network Computing System 1.5 UUID format developed around 1988. Though different in detail, the similarity with modern UUIDv1 is evident. The variant bits in the current UUID specification coincide with the high bits of the address family octet in NCS UUIDs. Though the address family could hold values in the range 0..255, only the values 0..13 were ever defined. Accordingly, the bit pattern  avoids conflicts with historical NCS UUIDs, should any still exist in databases. This variant defines "families" as subtype.
 * The OSF DCE variant (10xx2) are referred to as RFC 4122/DCE 1.1 UUIDs, or "Leach–Salz" UUIDs, after the authors of the original Internet Draft. This variant defines "versions" as subtype.
 * The Microsoft COM/DCOM variant (110x2) is characterized in the RFC as "reserved, Microsoft Corporation backward compatibility" and was used for early GUIDs on the Microsoft Windows platform.
 * The Reserved variant space is not currently used by any specification.

Versions
The OSF DCE variant defines eight "versions" in the standard, and each version may be more appropriate than the others in specific use cases. The version is indicated by the value of the higher nibble (higher 4 bits, or higher hexadecimal digit) of the 7th byte of the UUID. In hex, this is the character after the second dash. For example, the UUID  is version 4, because of the digit after the second dash is 4 in.

Versions 1 and 6 (date-time and MAC address)
Version 1 concatenates the 48-bit MAC address of the "node" (that is, the computer generating the UUID), with a 60-bit timestamp, being the number of 100-nanosecond intervals since midnight 15 October 1582 Coordinated Universal Time (UTC), the date on which the Gregorian calendar was first adopted by the bulk of Europe, which at that time was dominated by Roman Catholic Spain. RFC 4122 states that the time value rolls over around 3400 AD, depending on the algorithm used, which implies that the 60-bit timestamp is a signed quantity. However some software, such as the libuuid library, treats the timestamp as unsigned, putting the rollover time in 5623 AD. The rollover time as defined by ITU-T Rec. X.667 is 3603 AD.

A 13-bit or 14-bit "uniquifying" clock sequence extends the timestamp in order to handle cases where the processor clock does not advance fast enough, or where there are multiple processors and UUID generators per node. When UUIDs are generated faster than the system clock could advance, the lower bits of the timestamp fields can be generated by incrementing it every time a UUID is being generated, to simulate a high-resolution timestamp. With each version 1 UUID corresponding to a single point in space (the node) and time (intervals and clock sequence), the chance of two properly generated version-1 UUIDs being unintentionally the same is practically nil. Since the time and clock sequence total 74 bits, 274 (1.8, or 18 sextillion) version-1 UUIDs can be generated per node ID, at a maximal average rate of 163 billion per second per node ID.

In contrast to other UUID versions, version-1 and -2 UUIDs based on MAC addresses from network cards rely for their uniqueness in part on an identifier issued by a central registration authority, namely the Organizationally Unique Identifier (OUI) part of the MAC address, which is issued by the IEEE to manufacturers of networking equipment. The uniqueness of version-1 and version-2 UUIDs based on network-card MAC addresses also depends on network-card manufacturers properly assigning unique MAC addresses to their cards, which like other manufacturing processes is subject to error. Additionally some operating systems permit the end user to customise the MAC address, notably OpenWRT.

Usage of the node's network card MAC address for the node ID means that a version-1 UUID can be tracked back to the computer that created it. Documents can sometimes be traced to the computers where they were created or edited through UUIDs embedded into them by word processing software. This privacy hole was used when locating the creator of the Melissa virus.

does allow the MAC address in a version-1 (or 2) UUID to be replaced by a random 48-bit node ID, either because the node does not have a MAC address, or because it is not desirable to expose it. In that case, the RFC requires that the least significant bit of the first octet of the node ID should be set to 1. This corresponds to the multicast bit in MAC addresses, and setting it serves to differentiate UUIDs where the node ID is randomly generated from UUIDs based on MAC addresses from network cards, which typically have unicast MAC addresses.

Version 6 is the same as version 1 except all time bits are placed in the opposite order. This will give systems the opportunity to sort in order of creation by UUID, where this wasn't possible with version 1.

Version 2 (date-time and MAC address, DCE security version)
reserves version 2 for "DCE security" UUIDs; but it does not provide any details. For this reason, many UUID implementations omit version 2. However, the specification of version-2 UUIDs is provided by the DCE 1.1 Authentication and Security Services specification.

Version-2 UUIDs are similar to version 1, except that the least significant 8 bits of the clock sequence are replaced by a "local domain" number, and the least significant 32 bits of the timestamp are replaced by an integer identifier meaningful within the specified local domain. On POSIX systems, local-domain numbers 0 and 1 are for user ids (UIDs) and group ids (GIDs) respectively, and other local-domain numbers are site-defined. On non-POSIX systems, all local domain numbers are site-defined.

The ability to include a 40-bit domain/identifier in the UUID comes with a tradeoff. On the one hand, 40 bits allow about 1 trillion domain/identifier values per node ID. On the other hand, with the clock value truncated to the 28 most significant bits, compared to 60 bits in version 1, the clock in a version 2 UUID will "tick" only once every 429.49 seconds, a little more than 7 minutes, as opposed to every 100 nanoseconds for version 1. And with a clock sequence of only 6 bits, compared to 14 bits in version 1, only 64 unique UUIDs per node/domain/identifier can be generated per 7-minute clock tick, compared to 16,384 clock sequence values for version 1. Thus, Version 2 may not be suitable for cases where UUIDs are required, per node/domain/identifier, at a rate exceeding about one every seven minutes.

Versions 3 and 5 (namespace name-based)
Version-3 and version-5 UUIDs are generated by hashing a namespace identifier and name. Version 3 uses MD5 as the hashing algorithm, and version 5 uses SHA-1.

The namespace identifier is itself a UUID. The specification provides UUIDs to represent the namespaces for URLs, fully qualified domain names, object identifiers, and X.500 distinguished names; but any desired UUID may be used as a namespace designator.

To determine the version-3 UUID corresponding to a given namespace and name, the UUID of the namespace is transformed to a string of bytes, concatenated with the input name, then hashed with MD5, yielding 128 bits. Then 6 or 7 bits are replaced by fixed values, the 4-bit version (e.g. 00112 for version 3), and the 2- or 3-bit UUID "variant" (e.g. 102 indicating a UUIDs, or 1102 indicating a legacy Microsoft GUID). Since 6 or 7 bits are thus predetermined, only 121 or 122 bits contribute to the uniqueness of the UUID.

Version-5 UUIDs are similar, but SHA-1 is used instead of MD5. Since SHA-1 generates 160-bit digests, the digest is truncated to 128 bits before the version and variant bits are replaced.

Version-3 and version-5 UUIDs have the property that the same namespace and name will map to the same UUID. However, neither the namespace nor name can be determined from the UUID, even if one of them is specified, except by brute-force search. recommends version 5 (SHA-1) over version 3 (MD5), and warns against use of UUIDs of either version as security credentials.

Version 4 (random)
A version 4 UUID is randomly generated. As in other UUIDs, 4 bits are used to indicate version 4, and 2 or 3 bits to indicate the variant (102 or 1102 for variants 1 and 2 respectively). Thus, for variant 1 (that is, most UUIDs) a random version 4 UUID will have 6 predetermined variant and version bits, leaving 122 bits for the randomly generated part, for a total of 2122, or 5.3 (5.3 undecillion) possible version-4 variant-1 UUIDs. There are half as many possible version 4, variant 2 UUIDs (legacy GUIDs) because there is one less random bit available, 3 bits being consumed for the variant.

Per, the seventh octet's most significant 4 bits indicate which version the UUID adheres to. This means that the first hexadecimal digit in the third group always starts with a  in UUIDv4s. Visually, this looks like this, where   is the UUID version field. The upper two or three bits of digit  encode the variant. For example, a random UUID version 4, variant 2 could be.

Version 7 (timestamp and random)
Version 7 UUIDs (UUIDv7) are designed for keys in high-load databases and distributed systems.

UUIDv7 begins with a 48 bit big-endian Unix Epoch timestamp with approximately millisecond granularity. The timestamp can be shifted by any time shift value. Directly after the timestamp follows the version nibble, that must have a value of 7. The variant bits have to be. Remaining 74 bits are random seeded counter (optional, at least 12 bits but no longer than 42 bits) and random.

Two counter rollover handling methods can be used together:

 * Zero seeded most significant, leftmost guard bit of the counter.
 * Increment of the timestamp ahead of the actual time and reinitialize the counter when it overflows.

In DBMS UUIDv7 generator can be shared between threads (tied to a table or to a DBMS instance) or can be thread-local (with worse monotonicity, locality and performance).

Version 8 (custom)
Version 8 only has two requirements:

 * The variant bits have to be.
 * The version nibble has to be the value of 8.

Those requirements tell the system that it is a version 8 UUID. The remaining 122 bits are up to the vendor to customize. The difference with version 4 is that those 122 bits are random, but the 122 bits in UUID version 8 are not, because they follow vendor specific rules.

Special UUIDs
The "nil" UUID is the UUID ; that is, all bits set to zero.

The "max" UUID, sometimes also called the "omni" UUID, is the UUID ; that is, all bits set to one.

Encoding
The binary encoding of UUIDs varies between systems. Variant 1 UUIDs, nowadays the most common variant, are encoded in a big-endian format. For example,  is encoded as the bytes.

Variant 2 UUIDs, historically used in Microsoft's COM/OLE libraries, use a little-endian format, but appear mixed-endian with the first three components of the UUID as little-endian and last two big-endian, due to the missing byte dashes when formatted as a string. For example,  is encoded as the bytes.

Collisions
Collision occurs when the same UUID is generated more than once and assigned to different referents. In the case of standard version-1 and version-2 UUIDs using unique MAC addresses from network cards, collisions are unlikely to occur, with an increased possibility only when an implementation varies from the standards, either inadvertently or intentionally.

In contrast to version-1 and version-2 UUIDs generated using MAC addresses, with version-1 and -2 UUIDs which use randomly generated node ids, hash-based version-3 and version-5 UUIDs, and random version-4 UUIDs, collisions can occur even without implementation problems, albeit with a probability so small that it can normally be ignored. This probability can be computed precisely based on analysis of the birthday problem.

For example, the number of random version-4 UUIDs which need to be generated in order to have a 50% probability of at least one collision is 2.71 quintillion, computed as follows:

 * $$n \approx \frac{1}{2} + \sqrt{\frac{1}{4} + 2 \times \ln(2) \times 2^{122}} \approx 2.71 \times 10^{18}.$$

This number is equivalent to generating 1 billion UUIDs per second for about 86 years. A file containing this many UUIDs, at 16 bytes per UUID, would be about 45 exabytes.

The smallest number of version-4 UUIDs which must be generated for the probability of finding a collision to be p is approximated by the formula

 * $$\sqrt{2 \times 2^{122} \times \ln\frac{1}{1 - p}}.$$

Thus, the probability to find a duplicate within 103 trillion version-4 UUIDs is one in a billion.

Collisions have occurred when manufacturers assign a default UUID to a product, such as a motherboard, and then fail to over-write the default UUID later in the manufacturing process. For example, UUID 03000200-0400-0500-0006-000700080009 occurs on many different units of Gigabyte-branded motherboards.

Uses
Significant uses include ext2/ext3/ext4 filesystem userspace tools (e2fsprogs uses libuuid provided by util-linux), LVM, LUKS encrypted partitions, GNOME, KDE, and macOS, most of which are derived from the original implementation by Theodore Ts'o. One of the uses of UUIDs in Solaris (using Open Software Foundation implementation) is identification of a running operating system instance for the purpose of pairing crash dump data with Fault Management Event in the case of kernel panic. The "partition label" and the "partition UUID" are both stored in the superblock. They are both part of the file system rather than of the partition. For example, ext2–4 contain a UUID, while NTFS or FAT32 do not. The superblock is a part of the file system, thus fully contained within the partition, hence doing dd if=/dev/sda1 of=/dev/sdb1 leaves both sda1 and sdb1 with the same label and UUID.

There are several flavors of GUIDs used in Microsoft's Component Object Model (COM):

 * IID – interface identifier; (The ones that are registered on a system are stored in the Windows Registry at [HKEY_CLASSES_ROOT\Interface] )
 * CLSID – class identifier; (Stored at [HKEY_CLASSES_ROOT\CLSID])
 * LIBID – type library identifier; (Stored at [HKEY_CLASSES_ROOT\TypeLib] )
 * CATID – category identifier; (its presence on a class identifies it as belonging to certain class categories, listed at [HKEY_CLASSES_ROOT\Component Categories] )

UUIDs are commonly used as a unique key in database tables. The NEWID function in Microsoft SQL Server version 4 Transact-SQL returns standard random version-4 UUIDs, while the NEWSEQUENTIALID function returns 128-bit identifiers similar to UUIDs which are committed to ascend in sequence until the next system reboot. The Oracle Database SYS_GUID function does not return a standard GUID, despite the name. Instead, it returns a 16-byte 128-bit RAW value based on a host identifier and a process or thread identifier, somewhat similar to a GUID. PostgreSQL contains a UUID datatype and can generate most versions of UUIDs through the use of functions from modules. MySQL provides a UUID function, which generates standard version-1 UUIDs. The random nature of standard UUIDs of versions 3, 4, and 5, and the ordering of the fields within standard versions 1 and 2 may create problems with database locality or performance when UUIDs are used as primary keys. For example, in 2002 Jimmy Nilsson reported a significant improvement in performance with Microsoft SQL Server when the version-4 UUIDs being used as keys were modified to include a non-random suffix based on system time. This so-called "COMB" (combined time-GUID) approach made the UUIDs non-standard and significantly more likely to be duplicated, as Nilsson acknowledged, but Nilsson only required uniqueness within the application. By reordering and encoding version 1 and 2 UUIDs so that the timestamp comes first, insertion performance loss can be averted.

Some web frameworks, such as Laravel, have support for "timestamp first" UUIDs that may be efficiently stored in an indexed database column. This makes a COMB UUID using version 4 format, but where the first 48-bits make up a timestamp laid out like in UUIDv1. More specified formats based on the COMB UUID idea include:

 * "ULID", which ditches the 4 bits used to indicate version 4, and uses a base32 encoding by default.
 * UUID versions 6 through 8, a formal proposal of three COMB UUID formats.

title: Universally unique identifier


text:
James Henry Monk

James Henry Monk (12 December 1784 – 6 June 1856) was an English divine and classical scholar.

Life
He was born at Buntingford, Hertfordshire. He was educated at Norwich School, Charterhouse School and Trinity College, Cambridge, and in 1809 was elected Regius Professor of Greek in succession to Porson. The establishment of the classical tripos was in great measure due to his efforts. In 1822 he was appointed Dean of Peterborough; in 1830, bishop of Gloucester (with which the see of Bristol was amalgamated in 1836). He took his seat in the House of Lords in July 1831.

Works
He is best known as the author of a Life of Bentley (1830) and as the editor (with CJ Blomfield) of Porson's Adversaria (1812).

title: James Henry Monk


text:
James Scholefield

James Scholefield (15 November 1789 – 4 April 1853) was an English classical scholar.

Life and career
James Scholefield was born at Henley-on-Thames on 15 November 1789. He was educated at Christ's Hospital and Trinity College, Cambridge, and was in 1825 appointed professor of Greek in the university. He was for some time curate to Charles Simeon, the evangelical churchman, and his low church views involved him in disputes with his own parishioners at St Michael's, Cambridge, of which he was perpetual curate from 1823 till his death at Hastings on 4 April 1853. From 1849 until his death he was canon of Ely.

Scholefield was an excellent teacher with his students coming up with the name Duke Scholefield to pay tribute to his muscular physique and exceptionally wide shoulders. His most useful work was his edition of the Adversaria of PP Dobree, his predecessor in the chair of Greek. He also published editions of Aeschylus (1828), in which he dealt very conservatively with the text, and of Porson's four plays of Euripides. His Hints for an improved Translation of the New Testament met with considerable success. He was one of the examiners in the first Classical Tripos (1824). The Scholefield Theological Prize at Cambridge was established in commemoration of him in 1856.

Other works

 * The Greek and English Testament (1879)
 * Hints for an Improved Translation in the Authorised Version of the New Testament (1857)

title: James Scholefield


text:
Passing (sociology)

Passing is the ability of a person to be regarded as a member of an identity group or category, such as racial identity, ethnicity, caste, social class, sexual orientation, gender, religion, age and/or disability status, that is often different from their own. Passing may be used to increase social acceptance to cope with stigma by removing stigma from the presented self and could result in other social benefits as well. Thus, passing may serve as a form of self-preservation or self-protection if expressing one's true or prior identity may be dangerous.

Passing may require acceptance into a community and may lead to temporary or permanent leave from another community to which an individual previously belonged. Thus, passing can result in separation from one's original self, family, friends, or previous living experiences. Successful passing may contribute to economic security, safety, and stigma avoidance, but it may take an emotional toll as a result of denial of one's previous identity and may lead to depression or self-loathing. When an individual deliberately attempts to "pass" as a member of an identity group, they may actively engage in performance of behaviors that they believe to be associated with membership of that group. Passing practices may also include information management of the passer in attempting to control or conceal any stigmatizing information that may reveal disparity from their presumed identity.

Etymologically, the term is simply the nominalisation of the verb pass in its phrasal use with for or as, as in a counterfeit passing for the genuine article or an impostor passing as another person. It has been in popular use since at least the late 1920s.

Academic framework
Passing, as a sociological concept, was first coined by Erving Goffman as a term for one response to possessing some kind of stigma that is often less visible. Stigma, according to Goffman's framework in his work Stigma: Notes on the Management of Spoiled Identity (1963), "refer[s] to an attribute that is deeply discrediting" or "an undesired differentness from what [was] anticipated". According to Goffman, "This discrepancy, when known about or apparent, spoils his social identity; it has the effect of cutting him off from society and from himself so that he stands a discredited person facing an unaccepting world".

Thus, inhabiting an identity associated with stigma may be particularly dangerous and harmful. According to Link and Phelan, Roschelle and Kaufman, and Marvasti, it may lead to loss of opportunities due to status loss and discrimination, alienation and marginalization, harassment and embarrassment, and social rejection. These can be a persistent source of psychological issues.

To resist, manage, and avoid stigma and its associated consequences, individuals might choose to pass as a non-stigmatized identity. According to Nathan Shippee, "Passing communicates a seemingly "normal" self, one that does not apparently possess the stigma." According to Patrick Kermit, "To be suspected of being "not quite human" is the essence of stigmatisation, and passing is a desperate means to the end of appearing fully human in the sense of being like most other people."

When making the decision of whether to pass or not, there are many factors stigmatized actors may consider. Firstly, there is the notion of visibility. How visible their stigma is may problematize how much ease or difficulty they may face in attempting to pass. However, how visible their stigma is may also determine the intensity and frequency of adversity they may face from others as a result of their stigma. Goffman explains, "Traditionally, the question of passing has raised the issue of the "visibility" of a particular stigma, that is, how well or how badly-the stigma is adapted to provide means of communicating that the individual possesses it." Other scholars further emphasize the cruciality of visibility and conclude that "whether a stigma is evident to the audience can mark the difference between being discredited or merely discreditable".

Other factors may include risk, context, and intimacy. Different contexts and situations may make passing more easy or difficult and/or more safe or risky. How well others know the passer may impede their abilities as well. One scholar explains, "Individuals may pass in some situations but not others, effectively creating different arenas of life (depending on whether the stigma is known or not). Goffman claimed that actors develop theories about which situations are risky for disclosure, but risk is only one factor: intimacy with the audience can lead actors to disclose, or to feel guilty for not doing so." In addition to guilt, since passing can sometimes involve the fabrication of a false personal history to aid in concealment of their stigma, passing can complicate personal relationships and cause feelings of shame at having to be dishonest about their identity. According to Goffman, "It can be assumed that the possession of a discreditable secret failing takes on a deeper meaning when the persons to whom the individual has not yet revealed himself are not strangers to him but friends. Discovery prejudices not only the current social situation, but established relationships as well; not only the current image others present have of him, but also the one they will have in the future; not only appearances, but also reputation." Relating to this experience of passing, actors may have an ambivalent attachment to their stigma that can cause them to fluctuate between acceptance and rejection of their stigmatized identity. Thus, there may be times when the stigmatized individual will feel more inclined to pass and others when they feel less inclined.

Despite the potentially-distressing and dangerous parts of passing, some passers have expressed a habituation with it. In one study, Shippee accounts that "participants often portrayed it as a normal or mundane event." For those whose stigma invites particularly hostile responses from most of society, passing may become a regular part of everyday life that is necessary to survive in that society.

Regardless, the stigma that passers are subject to is not inherent. As Goffman explains, stigma exists not within the person but between an attribute and an audience. As a result, stigma is socially constructed and differs based on the cultural beliefs, social structures, and situational dynamics of various contexts. Thus, passing is also immersed in different contexts of the socially-structured meaning and behavior of daily life and passing implies familiarity with that knowledge.

Passing has been interpreted in sociology and cultural studies through different analytical lenses such as that of information management by Goffman and that of as cultural performance by Bryant Keith Alexander.

Passing as information management
Goffman defines passing as 'the management of undisclosed discrediting information about self."    Similarly, other scholars add that "Passing is mostly associated with strategies of information management that the discreditable use to pass for normal [in everyday life]". Whereas some individuals' stigma is immediately apparent, passers deal with different problems in that their stigma is not always so obvious. Goffman elaborates "The issue is not that of managing tension generated during social contacts, but rather that of managing information about his failing. To display or not to display; to tell or not to tell; to let on or not to let on; to lie or not to lie; and in each case, to whom, how, when, and where."

In Goffman's understanding, individuals possess various symbols that convey social information about us. There are prestige symbols that convey creditable information and there are stigma symbols that convey discrediting information. By managing the visibility and apparentness of their stigma symbols, passers prevent others from learning of their discredited and stigmatized status and remain discreditable. Passing may also include the adoption of certain prestige symbols and personal history or biography of social information that aids to conceal and draw attention away from their actual stigmatized status.

Goffman also briefly notes, "The concealment of creditable facts-reverse passing-of course occurs." Reverse passing, related to terms like "blackfishing", has emerged as a topic of discourse as critics raise concerns over cultural appropriation and accuse nonstigmatized individuals, such as prominent celebrities Kim Kardashian and Ariana Grande, of concealing creditable information about themselves for some social benefit. Notions of cultural appropriation, racial fetishization, and reverse passing entered public debate particularly in 2015, after a former college instructor and president of the Spokane, Washington, NAACP, Rachel Dolezal, was discovered to be white with no black racial heritage after she had presented herself as black for several years. As many point out, reverse passing crucially differs from passing in that individuals who reverse pass are not stigmatized and therefore are not subject to the harms of stigma that may force stigmatized individuals to pass.

Passing as cultural performance
Bryant Keith Alexander, a professor of Communication, Performance and Cultural Studies at Loyola Marymount University, defines cultural performance as "a process of delineation using performative practices to mark membership and association." Using this definition, passing is reframed as a method to maintain cultural performance and choose both consciously and unconsciously to participate in other performances. Rather than through the management of symbols and the social information they convey, passers assume "the necessary and performative strategies that signal membership." Alexander reiterates, "Cultural membership is thus maintained primarily through recognizable performative practices." Hence, to successfully pass is to have your cultural performance assessed and validated by others.

With that interpretation, avoiding stigma by passing necessitates intimate understanding and awareness of social constructions of meaning and expected behaviors that signal membership. Shippee explains that "far from merely appraising situations to determine when concealment is required, passing encompasses active interpretations of several aspects of social life. It requires an understanding of cultural conventions, namely: what is considered "normal" and what is required to maintain it; customs of everyday interaction; and the symbolic character of the stigma itself.... Passing, then, embodies a creative mobilization of situational and cultural awareness, structural considerations, self-appraisals, and sense-making". Alexander recognizes that and then asserts that "passing is a product (an assessed state), a process (an active engagement), performative (ritualized repetition of communicative acts), and a reflection of one's positionality (politicized location), knowing that its existential accomplishment always resides in liminality."

Ethnicity and race

Historically and genealogically, the term passing has referred to mixed-race, or biracial Americans identifying as or being perceived as belonging to a different racial group. In Passing and the Fictions of Identity, Elaine Ginsberg cites an ad for escaped slave Edmund Kenney as an example of racial passing; Edmund Kenney, a biracial person, was able to pass as white in the United States in the 1800s. In the entry "Passing" for the GLBTQ Encyclopedia Project, Tina Gianoulis states that "for light-skinned African Americans during the times of slavery and the intense periods of racial resegregation that followed, passing for white was a survival tool that allowed them to gain education and employment that would have been denied them had they been recognized as "colored" people." The term passing has since been expanded to include other ethnicities and identity categories. Discriminated groups in North America and Europe may modify their accents, word choices, manner of dress, grooming habits, and even names in an attempt to appear to be members of a majority group or of a privileged minority group.

Nella Larsen's 1929 novella, Passing, helped to establish the term after several years of prior use. The writer and subject of the novella is a mixed African-American/Caucasian who passes for white. The novella was written during the Harlem Renaissance, when passing was commonly found in both reality and fiction. Since the 1960s Civil Rights Movement, racial pride has decreased the weight that is given to passing as an important issue for black Americans. Still, it is possible and common for biracial people to pass based on appearance or by hiding or omitting their backgrounds.

In "Adjusting the Borders: Bisexual Passing and Queer Theory," Lingel discusses bell hooks' notion of racial passing in conjunction with discussion of bisexual engagement in passing.

Romani people have a history of passing as well, particularly in the United States and often tell outsiders that they belong to other ethnicities such as Latino, Greek, Middle Eastern, or Native American.

Social class and caste
Class passing, similar to racial and gender passing, is the concealment or misrepresentation of one's social class. In Class-Passing: Social Mobility in Film and Popular Culture, Gwendolyn Audrey Foster suggests that racial and gender passing is often stigmatized but that class passing is generally accepted as normative behavior. Class passing is common in the United States and is linked to the notions of the American Dream and of upward class mobility.

Popular culture
English-language novels that feature class passing include The Talented Mr. Ripley, Anne of Green Gables, and Horatio Alger novels. Films featuring class-passing characters include Catch Me If You Can, My Fair Lady, Pinky, ATL, and Andy Hardy Meets Debutante. Class passing also figures into reality television programs such as Joe Millionaire in which contestants are often immersed in displays of great material wealth or may have to conceal their class status.

Sexuality and gender
The perception of an individual's sexual orientation is often based on their visual identity. The term visual identity refers to the expression of personal, social, and cultural identities through dress and appearance. In Visible Lesbians and Invisible Bisexuals: Appearance and Visual Identities Among Bisexual Women it is proposed that through the expression of a visual identity, others "read" a person's appearance and make assumptions about their wider identity. Therefore, visual identity is a prominent tool of non-verbal communication. The concept of passing is showcased in research by Jennifer Taub in her Bisexual Women and Beauty Norms. Some participants in the study stated that they attempted to dress as what they perceived as heterosexual when they partnered with a man, and others stated that they tried to dress more like a "lesbian." That exemplifies how visual identities can greatly alter people's immediate assumptions of sexuality. Therefore, presenting oneself as "heterosexual" is effectively "passing."

Passing by sexual orientation occurs when an individual's perceived sexual orientation or sexuality differs from the sexuality or sexual orientation with which they identify. In the entry "Passing" for the GLBTQ Encyclopedia Project, Tina Gianoulis notes "the presumption of heterosexuality in most modern cultures," which in some parts of the world, such as the United States, may be effectively compulsory, "most gay men and lesbians in fact spend a great deal of their lives passing as straight even when they do not do so intentionally." The phrase "in the closet" may be used to describe individual who hide or conceal their sexual orientation. In Passing: Identity and Interpretation in Sexuality, Race, and Religion, Maria Sanchez and Linda Schlossberg state that "the dominant social order often implores gay people to stay in the closet (to pass)." Individuals may choose to remain "in the closet" or to pass as heterosexual for a variety of reasons, including a desire to maintain positive relationships with family and policies or requirements associated with employment such as "Don't Ask, Don't Tell", a policy that required passing as heterosexual within the military or armed forces.

Bisexual erasure causes some bisexual individuals to feel the need to engage in passing within presumed predominantly-heterosexual circles and even within LGBTQ circles for fear of stigma. In Adjusting the Borders: Bisexual Passing and Queer Theory, Jessica Lingel notes, "The ramifications of being denied a public sphere in which to practice a sexual identity that isn't labeled licentious or opportunistic leads some women to resort to manufacturing profiles of gayness or straightness to pledge membership within a community."

Gender passing refers to individuals who are perceived as belonging to a gender identity group that differs from the gender with which they were assigned at birth. In Passing and the Fictions of Identity, Elaine Ginsberg provides the story of Brandon Teena, who was assigned female at birth but lived as a man, as an example of gender passing in the United States. In 1993, Brandon moved to Falls City, Nebraska, where he initially passed as a man. However, community members discovered that Brandon had been assigned female at birth, and two men in it shot and murdered him. Ginsberg cites for another example of gender passing Billy Tipton, a jazz musician who was also assigned female at birth but lived and performed as a man until his death in 1989.

Within the transgender community, passing refers to the perception or recognition of trans individuals as belonging to the gender identity to which they are transitioning rather than the sex or gender they were assigned at birth.

Religion
Passing as a member of a different religion or as not religious at all is not uncommon among minority religious communities. In the entry "Passing" for the GLBTQ Encyclopedia Project, Tina Gianoulis states "at times of rabid anti-Semitism in Europe and the Americas, many Jewish families also either converted to Christianity or passed as Christian" for the sake of survival. Circumcised Jewish males in Germany during World War II attempted to restore their foreskins as part of passing as Gentile. The film Europa, Europa explores that theme.

Shia Islam has the doctrine of taqiyya in which one is lawfully allowed to disavow Islam and profess another faith but secretly remain a Muslim if one's life is at risk. The concept has also been practised by various minority faiths in the Middle East such as the Alawites and Druze.

Ability or disability
Disability passing may refer to the intentional concealment of impairment to avoid the stigma of disability, but it may also describe the exaggeration of an ailment or impairment to receive some benefit, which may take the form of attention or care. In Disability and Passing: Blurring the Lines of Identity, Jeffrey Brune and Daniel Wilson define passing by ability or disability as "the ways that others impose, intentionally or not, a specific disability or non-disability identity on a person." Similarly, in "Compulsory Able-Bodiedness and Queer/Disabled Existence," Robert McRuer argues that "the system of compulsory able-bodiedness...produces disability."

Passing as disabled
People with disabilities may exaggerate their disabilities when they are evaluated for medical care or accommodations often for fear of being denied support. "There are too many agencies out there with the ostensible purpose of helping us that still believe that as long as we technically can do something, like crab-walking our way into a subway station, we should have to do it," writes Gabe Moses, a wheelchair user who has a limited ability to walk. Those pressures may result in disabled people exaggerating symptoms or tiring out their body before an evaluation so that they are seen on a "bad day," instead of a "good day."

In sports, some mobility impaired individuals have been observed strategically exaggerating the extent of their disability to pass as more disabled than they are and be placed in divisions in which they may be more competitive. In quadriplegic rugby, or wheelchair rugby, some players are described as having "incomplete" quadriplegia in which they may retain some sensation and function in their lower limbs that may allow them to stand and walk in limited capacities. Based on a rule from the United States Quad Rugby Association (USQRA) that states that players need only a combination of upper- and lower-extremity impairment that precludes them from playing able-bodied sports, the incomplete quads may play alongside other quadriplegics who have no sensation or function in their lower limbs. That is justified by classifications the USQRA has developed in which certified physical therapists compare arm and muscle flexibility, trunk and torso movement, and ease of chair operation between players and rank them by injury level.

However, inconsistencies between medical diagnoses of injury and those classifications allows players to perform higher levels of impairment for the classifiers and pass for being more disabled than they are. As a result, their ranking may underestimate their capacity and they may attain a competitive advantage over teams with players whose capacity is not equivalent. That policy has raised questions from some about the ethics and fairness of comparing disabilities, as well as about how competition, inclusion, and ability should be defined in the world of sports.

Passing as non-disabled
Individuals whose disabilities are "invisible," such as people with mental illness; intellectual or cognitive disabilities; or physical disabilities that are not immediately obvious to others such as IBS, Crohn's disease, or ulcerative colitis may choose whether or not to reveal their identity or to pass as "normal." Passing as non-disabled may protect against discrimination but may also result in lack of support or accusations of faking.

Autistic people may employ strategies known as "masking" or "camouflaging" to appear neurotypical. That can involve behavior like suppressing or redirecting repetitive movements (stimming), maintaining eye contact despite discomfort, mirroring the body language and tone of others, or scripting conversations. Masking may be done to reduce the risk of ostracism or abuse. Autistic masking is often exhausting and linked to adverse mental health outcomes such as burnout, depression, and suicide. Autistic masking has been viewed as "passing as neurotypical". However, that perspective has been challenged in a 2023 review of autistic masking by Valentina Petrolini, Ekaine Rodríguez-Armendariz, and Agustín Vicente who question whether all autistic people see "being autistic" as a central aspect of their identity and whether all autistic people are capable of truly hiding their autistic status. Both conditions, they argue, would have to be fulfilled for the analogy to hold and conclude that only a subgroup of autistic people experiences masking as passing.

Individuals with visible physical impairments or disabilities, such as people with mobility impairment, including individuals who use wheelchairs or scooters, face greater challenges in concealing their disability.

In a study on individuals' experience with prosthetics, the ability of users to be able to pass as if they were "like everybody else" with their prosthetic based on the realistic or unrealistic appearance of the prosthetic was one factor in predicting whether patients would accept or reject prosthetic use. Cosmetic prosthetics that were, for example, skin-colored or had the added appearance of veins, hair, and nails were often harder to adapt to and use, but many individuals expressed a preference for them over more functional and more conspicuous prosthetics to maintain their personal conceptions of social and bodily identity.

One user of protetics characterized her device as one that could "maintain her humanness ('half way human'), which in turn prevented her, quite literally, from being seen to have an 'odd' body." Users also discussed wanting prosthetics that could help them maintain a walking gait, which would attract no stares and prosthetics that could be disguised or concealed under clothes in efforts to pass as able-bodied.

Intersectional
Though passing may occur on the basis of a single subordinate identity such as race, often people's intersectional locations involve multiple marginalized identities. Intersectionality provides a framework for seeing the interconnected nature of oppressive systems and how multiple identities interact within them. Gay Asian men possess two key subordinated identities; in combination, they create unique challenges for them when passing. Sometimes, those men must pass as straight to avoid stigma, but around other gay men, they may attempt to pass as a non-racialized person or white to avoid the disinterest or fetishization often encountered upon revealing their Asian identities. By recognizing the hidden intersection of the gendered aspects of gay and Asian male stereotypes, these two distinct experiences make even more sense. Gay men are often stereotyped as effeminate and thereby insufficiently masculine as men. Stereotypes characterizing Asian men as too sexual (overly masculine) or too feminine (hypo-masculine) or even both also exhibit the gendered nature of racial stereotypes. Thus, passing as the dominant racial or sexuality category also often means passing as gender correct.

When Black transgender men transition in the workplace from identifying as female to passing as cisgender men, gendered racial stereotypes characterizing Black men as overly masculine and violent may affect how previously acceptable behaviors will be interpreted. One such Black trans man discovered that he had gone from "being an obnoxious Black woman to a scary Black man" and therefore had to adapt his behavior to gendered scripts to pass.

title: Passing (sociology)


text:
Guggenheim

Guggenheim may refer to:

Buildings

 * Guggenheim Building, in Rochester, Minnesota
 * Guggenheim Museums, global network of museums established by the Solomon R. Guggenheim Foundation
 * Murry Guggenheim House, also known as the Guggenheim Library of Monmouth University, Monmouth County, New Jersey

Other uses

 * Guggenheim (surname), including a list of people with the name
 * Guggenheim Exploration Company, notable for Beatty v. Guggenheim Exploration Co.
 * Guggenheim family, an American family of Swiss Jewish ancestry
 * Guggenheim Fellowship, an American grant awarded by the John Simon Guggenheim Memorial Foundation
 * Guggenheim Partners, a financial services firm
 * "Guggenheim", a song on the 2012 album Sounds from Nowheresville by The Ting Tings
 * John Simon Guggenheim Memorial Foundation, founded in 1925
 * Solomon R. Guggenheim Foundation, founded in 1937
 * Martin Guggenheim, a character in the Amazon Prime video original Mozart in the Jungle
 * Guggenheim, a variant of the word game Categories

title: Guggenheim


text:
Constantine Phipps, 1st Marquess of Normanby

Constantine Henry Phipps, 1st Marquess of Normanby, (15 May 1797 – 28 July 1863), styled Viscount Normanby between 1812 and 1831 and known as The Earl of Mulgrave between 1831 and 1838, was a British Whig politician and author. He notably served as Lord Lieutenant of Ireland from 1835 to 1839 and as Home Secretary from 1839 to 1841 and was British Ambassador to France between 1846 and 1852.

Early life and education
Normanby was the son of Henry Phipps, 1st Earl of Mulgrave and Martha Sophia, daughter of Christopher Thompson Maling. His great-grandfather William Phipps had married Lady Catherine Annesley, who was the daughter and heiress of James Annesley, 3rd Earl of Anglesey and his wife Lady Catherine Darnley (an illegitimate daughter of King James II by his mistress Catherine Sedley, Countess of Dorchester). Lady Catherine Darnley had later married John Sheffield, 1st Duke of Buckingham and Normanby, and hence Constantine Phipps, 2nd Earl of Mulgrave and later 1st Marquess of Normanby was the step-great-great-grandson of the 1st Duke of Buckingham and Normanby. He was educated at Harrow and Trinity College, Cambridge, where he was the second President of the Cambridge Union Society.

Lt.-Gen. Sir Henry Warre was his first cousin, born to his mother's youngest sister, who married Sir William Warre.

Political career
After attaining his majority, he was returned on his father's interest for Scarborough in 1818. However, in the summer of 1819, he began to break with his family's Tory politics, and signalised his conversion to the Whigs by joining Brooks' Club on 3 December. When Parliament was dissolved in 1820, Normanby was in Florence, Italy, to which he was a regular visitor. His brother Charles kept up the family interest with the Scarborough corporation, and Normanby was returned in absentia in March, despite being politically at odds with his father. This state of affairs was not to last long: in May, Normanby was compelled to take the Chiltern Hundreds by Lord Mulgrave, to vacate the seat for Mulgrave's brother Edmund.

His standing as a former Tory minister's son made Normanby valuable to the Whigs, and they hoped to return him to Parliament in another seat. An attempt was made to have him put in at St Ives at a by-election in 1821, but support proved to be lacking, and Normanby withdrew without contesting the seat. The illness and death of William Plumer in the beginning of 1822 allowed him to take his seat in February for Higham Ferrers, a pocket borough of the Whig grandee Earl Fitzwilliam. He made a considerable reputation by political pamphlets and by his speeches in the house. He was returned for Malton at the general election of 1826, another one of Fitzwilliam's boroughs. He was already known as a writer of romantic tales, The English in Italy (1825); in the same year he made his appearance as a novelist with Matilda, and in 1828 he produced another novel, Yes and No. He declined to be nominated again for Malton in 1830, anticipating the imminent death of his father, and was thus out of Parliament when Lord Grey formed a government in November 1830. Normanby hoped for employment by the foreign office, but none was forthcoming. Through Lord Durham, Normanby solicited a writ in acceleration from Grey in early 1831, which would have brought him up to the House of Lords before his father's death; but Normanby succeeded to the Earldom of Mulgrave on his father's death in April, rendering it moot. In 1832, Mulgrave was sent out as Governor of Jamaica and was afterwards appointed Lord Lieutenant of Ireland (1835–1839). On his visit to Wexford in 1836 he heard a Congratulatory Address in the ancient Forth and Bargy dialect, then already on the point of becoming extinct. He was created Marquess of Normanby on 25 June 1838, and held successively the offices of colonial secretary and home secretary in the last years of Lord Melbourne's ministry. While Colonial Secretary, he wrote a letter of instructions to William Hobson, in which the government's policy for the sovereignty of New Zealand was set out.

Diplomatic career
From 1846 to 1852 he was ambassador at Paris, and from 1854 to 1858 minister at Florence. The publication in 1857 of a journal kept in Paris during the stormy times of 1848 (A Year of Revolution), brought him into violent controversy with Louis Blanc, and he came into conflict with Lord Palmerston and William Ewart Gladstone, after his retirement from the public service, on questions of French and Italian policy.

Marriage and children
Lord Normanby married Maria Liddell (1798–1882), daughter of Thomas Liddell, 1st Baron Ravensworth, in 1818. They had one son:

 * George Augustus Constantine Phipps, 2nd Marquess of Normanby (23 Jul 1819 - 3 April 1890)

Death
Normanby died in London on 28 July 1863, aged 66, and was succeeded in his titles by his son George. The Marchioness of Normanby died in October 1882, aged 84.

Writings

 * The English in Italy, a novel in three volumes (1825):
 * (four editions).
 * Historiettes, in three volumes (1827):
 * The English in France, in three volumes (1828):
 * Yes and No: a Tale of the Day, in two volumes (1828):
 * The Contrast, in three volumes (1832):
 * The English in France, in three volumes (1828):
 * Yes and No: a Tale of the Day, in two volumes (1828):
 * The Contrast, in three volumes (1832):
 * The English in France, in three volumes (1828):
 * Yes and No: a Tale of the Day, in two volumes (1828):
 * The Contrast, in three volumes (1832):
 * Yes and No: a Tale of the Day, in two volumes (1828):
 * The Contrast, in three volumes (1832):
 * The Contrast, in three volumes (1832):
 * The Contrast, in three volumes (1832):
 * The Contrast, in three volumes (1832):


text:
Thomas Tyrwhitt

Thomas Tyrwhitt (27 March 1730 – 15 August 1786) was an English writer, classical scholar, and critic. He was best known for his edition of The Canterbury Tales in which he modernized the language and provided extensive notes as well as a glossary.

Early life and education
He was born in London, where he also died. He was educated at Eton College and Queen's College, Oxford. He was elected a fellow of Merton College, Oxford in 1755. In 1756, he was appointed under-secretary at war, in 1762 clerk of the House of Commons. In 1768, he resigned his post, and spent the remainder of his life in learned retirement. In February 1771, he was elected a Fellow of the Royal Society. In 1784, he was elected a trustee of the British Museum, to which he bequeathed a portion of his valuable library.

Works
His principal classical works are:
 * Fragmenta Plutarchi II. inedita (1773), from a Harleian manuscript
 * Dissertatio de Babrio (1776), containing some fables of Aesop, hitherto unedited, from a Bodleian manuscript
 * the pseudo-Orphic De lapidibus (1781), which he assigned to the age of Constantius
 * Conjecturae in Strabonem (1783)
 * Isaeus De Meneclis hereditate (1785)
 * Aristotle's Poetica, his most important work, published after his death under the superintendence of Thomas Burgess, bishop of Salisbury, in 1794.

Special mention is due of his editions of Chaucer's Canterbury Tales (1775–1778); and of Poems, supposed to have been written at Bristol by "Thomas Rowley" and others in the 15th century (1777–1778), with an appendix to prove that the poems were all the work of Thomas Chatterton. Tyrwhitt's bibliophile friend Thomas Crofts is credited with introducing Tyrwhitt in 1776 to George Catcott, the owner of the "manuscripts" of the poems. Initially Tyrwhitt was convinced that they were authentic, and pressed for publication in 1777. It was only when the third edition was published that Tyrwhitt changed his mind and pronounced the poems forgeries.

In 1782, he published a Vindication of the Appendix in reply to the arguments that they were authentic. While clerk of the House of Commons he edited Proceedings and Debates of the House of Commons, 1620–1621 from the original manuscript in the library of Queen's College, Oxford, and Henry Elsynge's The Manner of Holding Parliaments in England (1768).

title: Thomas Tyrwhitt