text:
Talk:Beverley McLachlin

Biography assessment rating comment
The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. -- KenWalker | Talk 20:27, 23 June 2007 (UTC)

As far as I can tell, you don't say "Rt. Hon. Madam Chief Justice" for the same reason you wouldn't say "Rt. Hon. Mr. Chief Justice." - Montrealais
 * Perhaps she gets the extra title because she served as Deputy Governor General that time... but I'm not sure about that or whether it would follow her afterwords Melander 07:08, 22 March 2007 (UTC)

Children
"She has one son by her first marriage to Roderick McLachlin, who died in 1988." - does this mean her son died, or her husband died ? I think it means her husband but its a little confusing Dowew 16:04, 23 December 2005 (UTC)

I think I fixed the offending sentence properly... It was tough to word. Bravado 01:41, 13 February 2006 (UTC)

Deputy Governor General
Would it be appropriate to include here that Mme. McLachlin is also the Deputy Governor General of Canada? FiveParadox 06:52, 14 March 2006 (UTC)
 * She is only one of nine.
 * True enough. :) Would it be appropriate then, to mention that she is one of nine Deputy Governors General? FiveParadox 20:49, 15 March 2006 (UTC)
 * I think it would be more than appropriate to add that she holds these responsibilities, with a note that she shares them with the puisne judges of the Court. PoliSciMaster 02:56, 16 March 2006 (UTC)
 * Why not just put it in the articles for Chief Justice of Canada and/or Puisne Justice? The duty is not unique to her and is general enough that it doesn't seem worth noting in every judge bio. --PullUpYourSocks 14:37, 22 March 2007 (UTC)

Missing picture
What happened to the picture of Ms. McLachlin? Did someone suddenly decide that it was invalid? NorthernThunder 01:19, 6 May 2007 (UTC)

contradiction
"This was also seen to an extent in her decision of R. v. Sharpe where she upheld the child pornography criminal provisions, but limited it by excluding imaginative works that are for private use. During this, she also ruled that the laws should apply to fictional depictions, declaring that 'person' would include fictional people as well as real people."

The two sentences seem to conflict. Am I missing something, because one says is excludes imaginative works, and the other says it she said it should apply. --74.243.5.25 (talk) 19:35, 17 April 2009 (UTC)

GG duties
We'll need a source, to point out that McLachlin will be performing the Governor-General duties from Sept 27 to Oct 1, 2010 (Jean's resignation to Johnston's swearing in). GoodDay (talk) 15:34, 27 September 2010 (UTC)
 * You won't find one because it isn't true. Here is a media release from Rideau Hall announcing Jean's official functions in her final week as GG.  She has not resigned, and will remain GG until her successor is sworn in on Friday. http://www.gg.ca/document.aspx?id=13868 PoliSciMaster (talk) 20:02, 27 September 2010 (UTC)

Timeliness
Why is this so out of date? --Michael Goodyear (talk) 21:17, 22 December 2013 (UTC)

More content needed
We need to add more content on rulings. She is a very influential person in Canada, and given her long tenure as Chief Justice, more info about her rulings is needed.OnBeyondZebrax (talk) 16:21, 3 May 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 7 one external links on Beverley McLachlin. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive http://web.archive.org/web/20160127163932/http://www.media.uottawa.ca/mediaroom/awards-recipients_153.html to http://www.media.uottawa.ca/mediaroom/awards-recipients_153.html
 * Added archive http://web.archive.org/web/20150420213352/http://www.msvu.ca/en/home/aboutus/universityprofile/senate/honorarydegrees/ourhonorarydegreerecipients.aspx to http://www.msvu.ca/en/home/aboutus/universityprofile/senate/honorarydegrees/ourhonorarydegreerecipients.aspx
 * Added archive http://web.archive.org/web/20150503135110/http://www.cbu.ca:80/honorees to http://www.cbu.ca/honorees
 * Added archive http://web.archive.org/web/20150102064932/http://www.cbu.ca:80/honorees/beverley-mclachlin to http://www.cbu.ca/honorees/beverley-mclachlin#
 * Added archive http://web.archive.org/web/20150427124758/http://www.queensu.ca/secretariat/senate/honorarydegrees/MasterList.pdf to http://www.queensu.ca/secretariat/senate/honorarydegrees/MasterList.pdf
 * Added archive http://web.archive.org/web/20080430210752/http://scc.lexum.umontreal.ca:80/en/2001/2001scc2/2001scc2.html to http://scc.lexum.umontreal.ca/en/2001/2001scc2/2001scc2.html
 * Added archive http://web.archive.org/web/20120927220512/http://thechronicleherald.ca/Front/1150605.html to http://thechronicleherald.ca/Front/1150605.html

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at Sourcecheck).

Cheers.—cyberbot II  Talk to my owner :Online 10:17, 28 February 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 one external links on Beverley McLachlin. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20160305005446/http://www.qub.ac.uk/home/HonoraryDegree/HonoraryGraduates1871-/ to http://www.qub.ac.uk/home/HonoraryDegree/HonoraryGraduates1871-/
 * Added archive https://web.archive.org/web/20160128063612/http://www.uwindsor.ca/secretariat/sites/uwindsor.ca.secretariat/files/honorary_degree_by_convocation_0.pdf to http://www.uwindsor.ca/secretariat/sites/uwindsor.ca.secretariat/files/honorary_degree_by_convocation_0.pdf
 * Added archive https://web.archive.org/web/20160304065444/http://www.scripts.sasg.ed.ac.uk/registry/Graduations/GraduateDetails.cfm?ID=3431 to http://www.scripts.sasg.ed.ac.uk/registry/Graduations/GraduateDetails.cfm?ID=3431

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.— InternetArchiveBot  (Report bug) 23:26, 9 November 2016 (UTC)

Ontario flag Suggestion
there is an ontario flag on the line with the ll.d. given her by the university of manitoba?! sorry, but fixing it is beyond my ken.Toyokuni3 (talk) 19:35, 5 December 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 4 external links on Beverley McLachlin. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20130522213038/http://www.gazette.gc.ca/archives/p1/2007/2007-11-24/pdf/g1-14147.pdf to http://www.gazette.gc.ca/archives/p1/2007/2007-11-24/pdf/g1-14147.pdf
 * Added archive https://web.archive.org/web/20130522213631/http://www.gazette.gc.ca/archives/p1/2007/2007-04-28/pdf/g1-14117.pdf to http://www.gazette.gc.ca/archives/p1/2007/2007-04-28/pdf/g1-14117.pdf
 * Added archive https://web.archive.org/web/20150318112748/http://secretariat.info.yorku.ca/senate/sub-committee-on-honorary-degrees-and-ceremonials/honorary-degree-recipients/ to http://secretariat.info.yorku.ca/senate/sub-committee-on-honorary-degrees-and-ceremonials/honorary-degree-recipients/
 * Added archive https://web.archive.org/web/20160303210717/http://www.dal.ca/academics/convocation/ceremonies/honorary_degree_recipients/hon_degree_2000_2009.html to http://www.dal.ca/academics/convocation/ceremonies/honorary_degree_recipients/hon_degree_2000_2009.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 06:24, 19 July 2017 (UTC)

As a Hong Kong judge & Allegiance to Hong Kong
Hello. I notice that you have deleted an edit that I made. And I cited a few references to show that non-permanent judges from other common law jurisdictions are considered as local Hong Kong judges.

These references include a statement made by another current judge of the court, saying "It is clearly not universally understood that the composition of the CFA includes a panel of overseas non-permanent judges who form part of the Hong Kong Judiciary. The status of those judges as Hong Kong judges is a matter of surprise and confusion to some unfamiliar with our legal system." I also cited the current law of Hong Kong, namely, Section 17, Part V of Schedule 2, and Part I of Schedule 3 of the. And another reference I was about to cite, which I now think it's better to talk over here first, is that Lord Sumption who is another non-permanent judge from the UK in exactly the position as Judge McLachlin has also made the same claim, "As a Hong Kong judge I serve Hong Kong people."

I wonder why non-permanent judges from other common law jurisdictions are not considered as local Hong Kong judges.--Magnet larry (talk) 09:12, 26 March 2021 (UTC)

sorry, apparently, in the above, I forgot to cite the source for Justice Joseph Fok's statement --Magnet larry (talk) 09:16, 26 March 2021 (UTC)

 * Your edit seems to contradict the first part of the paragraph, which states: "The court appoints foreign judges from common-law jurisdictions outside of Hong Kong, of which McLachlin is the first Canadian, to sit as non-permanent members of the court." I don't think anyone disputes that these "foreign judges" thereby serve as "Hong Kong judges". Of course an individual serving as a judge in Hong Kong is a Hong Kong judge. So your edit is confusing. It almost seems to suggest that McLachlin's citizenship changed the moment she took the oath. Since that's not the case, I don't understand what the purpose of mentioning the oath is. And I would leave out the word "local" since it heavily connotes someone hailing from Hong Kong. Citobun (talk) 09:23, 26 March 2021 (UTC)

 * and this is exactly why I wanted to clarify about it, and so did Justice Joseph Fok. As Justice Fok clearly said so, "the status of those judges as Hong Kong judges" can be confusing. It is because before they take their oaths, they are still "foreign". But the moment when they take the oath and pledge their allegiance to Hong Kong, they become Hong Kong judges instead of merely "foreign". This is also why Lord Sumption claimed, just very recently, "As a Hong Kong judge". Lord Sumption didn't say he was a foreign judge in Hong Kong. He was very straight forward and stated clearly that he was a Hong Kong judge. No ambiguity. And so, it is pretty clear that non-permanent judges from other common law jurisdictions are Hong Kong judges (once they take their oaths).--Magnet larry (talk) 09:41, 26 March 2021 (UTC)

 * and as to purpose of the edit, it was just as why Justice Joseph Fok wanted to clarify and emphasise it in his speech. And it was not meant to be mixed up as a citizenship oath because my original edit stated it was "a judicial oath".--Magnet larry (talk) 09:58, 26 March 2021 (UTC)

 * and also, if it had been very obvious that she was a Hong Kong judge, perhaps my original edit wouldn't have seemed too contradictory, would it? How about this, if I edit it into something like the following, what do you say?

 * ...to sit as non-permanent members of the court. Thus, she was given the status as a Hong Kong judge, but not merely a visiting foreign judge, which may occasionally cause confusion to some. This status was bestowed upon her when she took the Hong Kong judicial oath. Her three-year appointment...

 * --Magnet larry (talk) 10:27, 26 March 2021 (UTC)

title: Talk:Beverley McLachlin


text:
Cour Saint-Émilion station

Cour Saint-Émilion station is a station on Line 14 of the Paris Métro. Opened in 1998, it is named after the wine of Saint-Émilion because it was built at the old railway station of Bercy where wine from Southern France arrived in Paris.

The entrance of the station opens onto Bercy Village, which is a commercial area of Paris that replaced the old wine warehouses of Bercy. This is an area specialising in good food. In the vicinity of the station, it is also possible to visit the Musée des Arts Forains (The Fairground Art Museum).

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

title: Cour Saint-Émilion station


text:
Talk:Assonance

Merge from Vowel harmony (poetry)
A new article; essentially the same subject. Staszek Lem (talk) 03:19, 10 December 2016 (UTC)

I agree, they're practically the same thing.

Commodorelm (talk) 13:07, 3 November 2017 (UTC)

 * The Vowel harmony (poetry) articl is on the same subject, but less well written. It should be purged, merged, or somehow deleted as a separate article.Pete unseth (talk) 23:05, 25 February 2018 (UTC)
 * ✅ Klbrain (talk) 06:41, 5 August 2018 (UTC)

Definition of assonance
Chambers 21st Century Dictionary (1996) gives a different definition of assonance, namely: "a resemblance in the sounds of words or syllables, either between their vowels (e.g. meat, bean) or between their consonants (e.g. keep, cape)". Other dictionaries give similar definitions. For example, if you Google "define assonance" you get: "resemblance of sound between syllables of nearby words, arising particularly from the rhyming of two or more stressed vowels, but not consonants (e.g. sonnet, porridge ), but also from the use of identical consonants with different vowels (e.g. killed, cold, culled )." I think this article should cover both meanings, not just the first. Kanjuzi (talk) 08:14, 31 December 2017 (UTC)

Galloway quotation
The issue concerns the following quotation given as an example of assonance in prose: "Senator, in everything I said about Iraq I turned out to be right and you turned out to be wrong". An editor has deleted this with the comment "marginal at best". Could we have a second opinion from other editors please? It seems a very obvious case of assonance, first of all because these words are the key words of the antithesis and therefore emphasised; secondly because the first two have the bright wide open vowel [ɐi] and the second two have the dark, lip-rounded, very similar vowels [ʉ] and [ɔ]. When you hear the speech on YouTube (about minute 22 of this film: ) the assonance stands out clearly. Contrast this with the example which previously stood here: "an anxiety which almost amounted to agony" (Mary Shelley). There may be assonance between the two main words "anxiety" and "agony" (even though one vowel is stressed and the other not), but to include the unemphatic "an" and the unstressed vowel of "amounted" seems improbable. Kanjuzi (talk) 04:13, 9 January 2018 (UTC)

 * A point on the Shelley quotation: sometimes poets use alliteration of the eye that may not be as truly alliteration in the ear. Pete unseth (talk) 15:37, 10 January 2018 (UTC)
 * True, but this is a prose quotation, so perhaps it doesn't count. I think as a rule, in English, assonance applies mainly to stressed syllables just as rhyme does, isn't that right? Kanjuzi (talk) 15:44, 10 January 2018 (UTC)

British vs American usage
O.E.D. does not note a difference between British and American English use of 'assonance', as implied by the opening section (of both assonance and consonance, only the latter actually differing in usage). "Prosody. The correspondence or rhyming of one word with another in the accented vowel and those which follow, but not in the consonants, as used in the versification of Old French, Spanish, Celtic, and other languages."

Cf. "Correspondence of sounds in words or syllables; recurrence of the same or like sounds, e.g. in a verse; = 1."

"Resemblance or correspondence of sound between two words or syllables."

192.17.149.4 (talk) 22:59, 13 July 2019 (UTC)

 * @192.17.149.4 {*#}
 * Adamae Love (talk) 03:33, 12 October 2023 (UTC)
 * Adamae Love (talk) 03:36, 12 October 2023 (UTC)
 * atomic clock synchronized Adamae Love (talk) 03:37, 12 October 2023 (UTC)
 * Adamae Love (talk) 03:36, 12 October 2023 (UTC)
 * atomic clock synchronized Adamae Love (talk) 03:37, 12 October 2023 (UTC)

Is there a word for the opposite of assonance?
I just read a snippet from Calvert Watkins where he noted the artistry of Hesiod in using so many different vowels in a passage about singers. Is there a term that is the opposite of assonance, the use of many different vowels? Pete unseth (talk) 15:28, 18 September 2019 (UTC)
 * I found that the word "dissonance" is used to convey the opposite of assonance. This is the answer I sought. Should this be reflected in the article? Pete unseth (talk) 16:10, 18 September 2019 (UTC)

fog and dog or history and mystery.
fog and dog or history and mystery. For me the first two don't rhyme but the last two rhyme. So you need to add more detail to the discussion. Jidanni (talk) 00:40, 28 September 2020 (UTC)
 * Are you saying that "fog" and "dog" do not rhyme? I am curious as to how you would pronounce those two words. Kotterdale99 (talk) 15:30, 10 October 2021 (UTC)

title: Talk:Assonance


text:
MOP

A mop is an implement for mopping floors

MOP, mop or MoP may refer to:

Computer science

 * Maintenance Operations Protocol, in computer networks
 * Metaobject protocol, a technique that allows a computer programmer to extend or alter the semantics of a language
 * Multiple Online Programming – see MINIMOP

Government and organizations

 * Macanese pataca, the currency of Macau, by ISO 4217 code
 * Ministry of Public Works (Chile)
 * United Nations Messengers of Peace
 * Messengers of Peace (Scouting)

Places

 * Manila Ocean Park, an aquarium in the Philippines
 * Mount Pleasant Municipal Airport (Michigan) (IATA: MOP), in Mount Pleasant, Michigan

Science

 * mu opioid peptide (MOP) receptor, also referred to as mu Opioid receptor
 * MOP Flippase, Multidrug/Oligosaccharidyl-lipid/Polysaccharide (MOP) Flippase superfamily of transport proteins
 * Muriate of potash, see potassium chloride
 * Mathematical Olympiad Program, held at Carnegie Mellon University to train team members for the International Mathematical Olympiad

Sports

 * Major Opportunity Point, tennis terminology used to describe the point 0-30
 * Most Outstanding Player, see also Most Valuable Player
 * NCAA basketball tournament Most Outstanding Player in the NCAA basketball tournaments
 * List of NCAA Division I Ice Hockey Tournament Most Outstanding Player in NCAA ice hockey tournaments

Other

 * GBU-57A/B MOP, or Massive Ordnance Penetrator, a bomb used by the United States Air Force
 * Manual of Practice, or Project Resource Manual, published by the Construction Speficiations Institute
 * M.O.P., or Mash Out Posse, an American rap duo
 * Mother of pearl
 * Museum of Printing, a collection and library dedicated to the history and culture of printing and graphic arts
 * A type of paintbrush

title: MOP


text:
Talk:Reflexology

Unhelpful article
This article is not about reflexology. It is about why the author thinks reflexology is quackery. Honestly, this article should be renamed to “reflexology is quackery”. That way an actual reflexologist could write a helpful article called “Reflexology”.

I would like to see Wikipedia or the author retitle this article. 98.31.6.130 (talk) 01:32, 29 August 2022 (UTC)

 * Since reflexologists are quacks, it would be a bad idea to have them write articles here. It would go against Wikipedia's goal of summarizing reliable sources.
 * You can get what you want in other places, so your wish to get it here too is pointless. --Hob Gadling (talk) 06:44, 29 August 2022 (UTC)

Pseudoscience
I suggest we remove the "pseudoscience" claims here. They are quite aggressive and honestly not even scientifically accurate. Just pop open pubmed and read some research. There are over 19,000 results in my last search: pubmed search. It has, indeed, been scientifically shown to treat a number of issues, including pain, e.g. Foot Reflexology: An Intervention for Pain and Nausea Among Inpatients With Cancer and this literature review [https://pubmed.ncbi.nlm.nih.gov/38289312/ [Reflexology in patient rehabilitation with postoperative pain. (Literature review)]]. This study is also quite interesting: Effects of reflexology on child health: A systematic review. Let us reiterate that Wikipedia is not the place for personal opinions. Claims about science are supposed to be based on actual scientific research, and if the research says X then we say "the research says X."

Also the citations claiming it is pseudoscience are very old, from before 2010. A general rule of thumb regarding research is that it should be within the past five years. DivineReality (talk) 06:55, 22 June 2024 (UTC)
 * Pseudoscience is not defined by the number of studies being below a certain value.
 * The "inpatients with cancer" paper is WP:PRIMARY. The second is from a journal called "Vopr Kurortol Fizioter Lech Fiz Kult" which does not seem to be well-known. The third is from a complementary-medicine journal. Please consult WP:MEDRS to find better criteria for sources to suggest.
 * If the sources from 2010 are outdated, you can find newer sources of similar quality that contradict them. --Hob Gadling (talk) 09:30, 22 June 2024 (UTC)
 * There are reliable sources from the mainstream pov that win against fringe concepts on wp 66.41.165.13 (talk) 05:05, 28 June 2024 (UTC)

title: Talk:Reflexology


text:
Oculomancy

Oculomancy (from the Latin oculus, "eye") is a form of scrying where the diviner gazes into the questioners' eyes and reads the reflections.

title: Oculomancy


text:
Regency architecture

Regency architecture encompasses classical buildings built in the United Kingdom during the Regency era in the early 19th century when George IV was Prince Regent, and also to earlier and later buildings following the same style. The period coincides with the Biedermeier style in the German-speaking lands, Federal style in the United States and the French Empire style. Regency style is also applied to interior design and decorative arts of the period, typified by elegant furniture and vertically striped wallpaper, and to styles of clothing; for men, as typified by the dandy Beau Brummell and for women the Empire silhouette.

The style is strictly the late phase of Georgian architecture, and follows closely on from the neo-classical style of the preceding years, which continued to be produced throughout the period. The Georgian period takes its name from the four Kings George of the period 1714–1830, including King George IV. The British Regency strictly lasted only from 1811 to 1820, but the term is applied to architecture more widely, both before 1811 and after 1820; the next reign, of William IV from 1830 to 1837, has not been given its own stylistic descriptor. Regency architecture is especially distinctive in its houses, and also marked by an increase in the use of a range of eclectic Revival styles, from Gothic through Greek to Indian, as alternatives to the main neoclassical stream.

The opening years of the style were marked by greatly reduced levels of building because of the Napoleonic Wars, which saw government spending on building eliminated, shortages of imported timber, and high taxes on other building materials. In 1810 there was a serious financial crisis, though the only major asset class not to lose value was houses, at least in London, mainly because the low level of recent building had created pent-up demand. After the decisive victory at the Battle of Waterloo in 1815 ended the wars for good, there was a long financial boom amid greatly increased British self-confidence. Most Regency architecture comes from this period.

Houses
Many buildings of the Regency style have a white painted stucco façade and an entryway to the main front door (usually coloured black) which is framed by two columns. In town centres the dominance of the terraced house continued, and crescents were especially popular. Elegant wrought iron balconies and bow windows came into fashion as part of this style. Further out of town the suburban "villa" detached house was popular in a range of sizes. Whereas most earlier Georgian housing for the middle classes had little ornament, the Regency period brought modest architectural pretensions to a much wider range of buildings, in a relaxed and confident application of the classical tradition as filtered through Palladianism.

For large country houses a range of picturesque styles were available, and the Gothic Revival was gathering strength, with many architects able to turn to different styles as their patron required. Ashridge (to 1817), Belvoir Castle and Fonthill Abbey (to 1813, now demolished), were all by James Wyatt, whose late career specialized in extravagant Gothic houses. Sezincote House (1805), designed by Samuel Pepys Cockerell, is a Neo-Mughal country house for a "nabob" returned from British India. Brighton Pavilion (to 1822) by John Nash, the seaside home of the Prince Regent, is Indian on the exterior, but the interiors include attempts at a Chinese style by Frederick Crace.

Churches
Until the Church Building Act 1818, church building had been at a very low ebb for over 50 years. The Act allocated some public money for new churches required to reflect changes in population, and a commission to allocate it. Building of Commissioners' churches gathered pace in the 1820s, and continued until the 1850s. The early churches, falling into the Regency period, show a high proportion of Gothic Revival buildings, along with the classically inspired. Strict Greek Revival buildings were mixed with those continuing the modified Baroque and Roman Neoclassical traditions.

Public buildings
The period saw a great increase in public buildings, at both the national and local level. In London, three bridges were built over the Thames between 1813 and 1819: Vauxhall Bridge, Waterloo Bridge and Southwark Bridge, all privately financed by toll charges. Shops began to be included systematically into newly planned developments, and the covered arcade of shops was introduced, with the Burlington Arcade in London (1815–19) the earliest.

Leading architects
John Nash was the architect most associated with the Regency style; he was fully in tune with the commercial requirements of developers and designed the Regency terraces of Regent's Park and Regent Street in London. He had many pupils who disseminated his style, or in the case of Pugin rebelled against it. In London itself there are many streets in the style in the areas around Victoria, Pimlico, Mayfair and other central districts. John Soane was more individualistic, one of a number of European experimenters in Neoclassicism, but details from his inventive buildings were often picked up by other architects.

The public buildings of George Dance the Younger, City Architect of London from 1768, were precursors of the Regency style, though he designed little himself after 1798. Robert Smirke could produce both classical (British Museum) and Gothic designs, and also mainly worked on public buildings. With Nash and Soane he was one of the Board of Works' architects during the peak Regency period. A large commission of the period was the expansion of Windsor Castle for the king, which eventually cost over a million pounds, over three times the original budget. Smirke, Nash, Soane and Jeffry Wyatville were invited to tender, Wyatville winning the competition. He was a prolific designer, mostly for country houses, new-built or refurbished, able to work in a variety of styles. His uncle James Wyatt was a leading architect of the previous generation, and James' sons Benjamin Dean Wyatt and Philip Wyatt were also successful architects in the period.

Locations
Apart from London, a number of English towns hold especial concentrations of Regency architecture. Several of the least-spoiled of these are new resort towns, attempting to emulate the success of Bath, Somerset and Buxton, spas which had been extensively developed in the mid-century Georgian period and the 1780s respectively. Brighton and other coastal resorts had become fashionable, and other towns that greatly expanded were Royal Leamington Spa in Warwickshire, the Clifton suburb of Bristol, Tunbridge Wells, Newcastle upon Tyne, and Cheltenham, "perhaps the most complete surviving Regency town".

Excellent examples of Regency properties dominate Brighton and Hove in East Sussex; in particular in its Kemp Town and Brunswick (Hove) estates.

title: Regency architecture


text:
Medium-range ballistic missile

A medium-range ballistic missile (MRBM) is a type of ballistic missile with medium range, this last classification depending on the standards of certain organizations. Within the U.S. Department of Defense, a medium-range missile is defined by having a maximum range of between 1000 and 3,000 km. In modern terminology, MRBMs are part of the wider grouping of theatre ballistic missiles, which includes any ballistic missile with a range of less than 3500 km. Roughly speaking, MRBM covers the ranges over SRBM (tactical) and under IRBM.

Specific MRBMs
🇨🇳 China

 * DF-2 – 1,250 km
 * DF-16 – 1000-1,600 km
 * DF-17 – 1,800–2,500 km
 * DF-21 – 1,500-1,700 km

🇫🇷 France

 * SSBS S1
 * S2 (missile)

🇮🇳 India

 * Agni-II – 2,000–3,000 km
 * Agni-P – 1,000-2,000 km

🇮🇷 Iran

 * Ashoura – 2,000–2,500 km
 * Emad – 1,700 km
 * Fajr-3 – 2,500 km(estimation)
 * Fattah – 1,400 km
 * Ghadr-110 – 2,000–3,000 km
 * Kheibar Shekan – 1400 kilometers (900 miles)
 * Khorramshahr – 2000 km
 * Sejjil – 2,000–4,500 km
 * Shahab-3 – 1,000-2,000 km

🇮🇶 Iraq

 * Badr-2000 – 1000 km

🇮🇱 Israel

 * Jericho II – 1,300 km

🇰🇵 North Korea

 * Hwasong-9 – 1,000 km
 * Hwasong-10/RD-B Musudan – 2,500-4,000 km
 * Pukguksong-1 – 500-2,000 km
 * Pukguksong-2 – 1,200-3,000 km
 * Pukguksong-3 – 2,500-3,000 km
 * Rodong-1 – 1,000–1,500 km

🇵🇰 Pakistan

 * Ababeel – 2,200 km
 * Ghauri-I – 1,500 km
 * Ghauri-II – 1,800-2,000 km
 * Ghauri-III – 3,000-3,500 km (Cancelled)
 * Shaheen-II – 2,500 km
 * Shaheen-III – 2,750 km

🇹🇷 Turkey

 * Cenk – 1000 km

Soviet Union

 * R-5 Pobeda – 1,200 km
 * R-12 Dvina – 2,080 km
 * RT-15 – 2,500 km

🇺🇸 United States

 * Long-Range Hypersonic Weapon – over 2775 km
 * OpFires – around 1609 km
 * Pershing II – 1,770 km
 * PGM-19 Jupiter – 2,400 km

title: Medium-range ballistic missile


text:
Gertrudis Gómez de Avellaneda

Gertrudis Gómez de Avellaneda y Arteaga (March 23, 1814 – February 1, 1873) was a 19th-century Cuban-born Spanish writer. Born in Puerto Príncipe, now Camagüey, she lived in Cuba until she was 22. Her family moved to Spain in 1836, where she started writing as La Peregrina (The Pilgrim) and lived there until 1859, when she moved back to Cuba with her second husband until his death in 1863, after which she moved back to Spain. She died in Madrid in 1873 from diabetes at the age of 58.

She was a prolific writer and wrote 20 plays and numerous poems. Her most famous work, however, is the antislavery novel Sab, published in Madrid in 1841. The eponymous protagonist is a slave who is deeply in love with his mistress Carlota, who is entirely oblivious to his feelings for her.

Early life
María Gertrudis de los Dolores Gómez de Avellaneda y Arteaga was born on March 23, 1814, in Santa María de Puerto Príncipe, which was often referred to simply as Puerto Príncipe and which is now known as Camagüey. Puerto Príncipe was a provincial capital in central Cuba in Avellaneda's day, and Cuba was a region of Spain. Her father, Manuel Gómez de Avellaneda y Gil de Taboada, had arrived in Cuba in 1809 and was a Spanish naval officer in charge of the port of Nuevitas. Her mother, Francisca María del Rosario de Arteaga y Betancourt, was a criolla with ascendants from the Basque Country and the Canary Islands, member of the wealthy Arteaga y Betancourt family, which was one of the most prominent and important families in Puerto Príncipe. Avellaneda was the first of five children from her parents' marriage, but only she and her younger brother Manuel survived childhood.

Her father died in 1823 when she was nine years old, and her mother remarried ten months later to Gaspar Isidoro de Escalada y López de la Peña, who was a Spanish lieutenant colonel posted in Puerto Príncipe. Avellaneda strongly disliked him and thought that he was too strict; she was glad whenever he was stationed away from home. From the time her mother remarried until the time she left Cuba for Spain, Avellaneda only saw her stepfather two or three months a year. She had two older half-siblings from her father's first marriage named Manuel and Gertrudis, a younger brother also named Manuel, and three younger half-siblings from her mother's marriage to Escalada: Felipe, Josefa, and Emilio. Little is known about Avellaneda's relationship with her older half-siblings, except that they lived somewhere else. Her younger brother Manuel was her favorite, and she was in charge of her three younger half-siblings.

When she was 13 years old she was betrothed to a distant relative who was one of the wealthiest men in Puerto Príncipe. Her maternal grandfather promised her a fifth of his estate if she went through with this marriage, which he had arranged himself. At the age of 15 she broke off that engagement against her family's wishes, and as a result she was left out of her grandfather's will. (Her grandfather died in 1832, when she was 17 or 18.) It is thought that this traumatic experience fueled her hatred of arranged marriages and patriarchal authority and her belief that married women were essentially slaves. Her aversion to marriage was also due to the unhappy marriage of her cousin Angelita, who was her only friend after she refused to marry the man her family had chosen for her.

Avellaneda was, by her own admission, a spoiled child, as her family's slaves did all the chores. She had a lot of free time, which she used to read voraciously. One of her tutors was the Cuban poet José María Heredia.

Move to Spain
By 1836 Escalada had become concerned enough about the possibility of a slave rebellion that he persuaded his wife to sell off her property and slaves and move the family from Cuba to Spain. Avellaneda, now 22, supported the idea because she wanted to meet her father's relatives in Andalusia. The family set sail for Europe on April 9, 1836, and arrived in Bordeaux, France two months later. They spent 18 days there before sailing to A Coruña in Galicia, Spain. They stayed in A Coruña with Escalada's family for two years. Avellaneda was invited into some distinguished social circles in Galicia and in 1837 was engaged to Francisco Ricafort, son of Mariano Ricafort, the Captain-General of Galicia at the time. She did not marry him, however, as she had decided not marry until she was economically independent, and her stepfather withheld her inheritance. When Francisco was sent to fight in the Carlist Wars, she left Galicia to go to Seville with her younger brother Manuel; she would never see him again. She was glad to leave Galicia, as she was criticized by Galician women for her refusal to do manual labor and for her love of study. She also disliked the damp climate and lack of cultural life.

In the province of Seville in Andalusia she visited Constantina, where her father's family lived. In 1839, shortly after her arrival in Seville, she met and fell deeply in love with Ignacio de Cepeda y Alcalde, a wealthy, well-educated, and socially prominent young man. The first man that Avellaneda had a loved was Ignacio de Cepeda, who was the focus of many of her writings, mainly love letters. (There were forty love letters total, spanning from 1839 until 1854. After his death, his widow inherited and published them.) She also wrote him an autobiography in July 1839. Biographers of Avellaneda have relied too heavily on this account for information about her early life, as it was written for a specific purpose: to make a good impression on Cepeda. For example, she said that she was younger than she really was because Cepeda was two years younger than her, and she wanted to make herself look as young as possible. Because of the over-reliance on this biased source, few details are known for certain about the first 22 years of her life. The autobiography written to Cepeda was the second of the four autobiographies she wrote during her lifetime; the other three were written in 1838, 1846, and 1850, respectively. Though she loved Cepeda very much, he did not want to pursue a marriage with her. One reason he gave was that she was not rich enough. He also gave reason that she was not feminine enough stating that she was more verbal than should be and was often too aggressive for a woman of the 19th century. After her relationship with Cepeda ended, she went to Madrid.

In Madrid she had a number of tumultuous love affairs, some with prominent writers associated with Spanish Romanticism. Her affairs included several engagements to different men. There she met and had an affair with Gabriel Garcia Tassara. He was also a poet from Seville. In 1844, she had a daughter out of wedlock with Tassara. Soon after the baby was born, Tassara left her and the baby, refusing to call her his daughter. The baby died several months later. This left Avellaneda heartbroken at the height of her career.

Avellaneda soon married a youngest man, don Pedro Sabater, who worked for the Cortes and was very wealthy. He was also a writer and wrote many poems for his wife. They married on May 10, 1846. Sabater was extremely sick with what was believed to be cancer. He died shortly after their marriage leaving Avellaneda devastated. As a result, she entered a convent right after his death and wrote a play called Egilona which did not receive good reviews like her last one had.

In January 1853, she tried to enroll into the Royal Academy in after a seat belonging to a dead friend, Juan Nicasio Gallego, of hers became vacant. Even though she was admired by many, being a woman meant that it was not her place to be writing publicly. She was from an upper-class family of wealth and recognition, it did not give her the fame she desired from writing so easily. While all the males in the academy were aware of her works and were fascinated by them, they did not give her the right to enter, solely on the fact that she was a woman.

Return to Cuba
She remarried on April 26, 1855, to a colonel, don Domingo Verdugo y Massieu. In 1859, due to her husband's injuries they moved from Madrid back to Cuba, where both were born. They were close to Francisco Serrano, who was the captain-general of Cuba at the time. When she arrived in Cuba, she was warmly welcomed with concerts, parties, and music. Shortly after their arrival, Verdugo's health worsened and he finally died on October 28, 1863. This left her in severe distress, and she decided return to Madrid after a few visits to New York, London, Paris and Seville.

Final years and death
She lived in Madrid her last years. Her brother Manuel died in 1868. She published the first volume of her collected literary works (Obras literarias), omitting the novels Sab and Dos mujeres.

At 58, she died on February 1, 1873, in Madrid, but she was buried in Seville, with her brother Manuel.

Literary works
 Al partir ¡Perla del mar! ¡Estrella de Occidente! ¡Hermosa Cuba! Tu brillante cielo la noche cubre con su opaco velo como cubre el dolor mi triste frente.

¡Voy a partir!...La chusma diligente para arrancarme del nativo suelo las velas iza, y pronto a su desvelo la brisa acude de tu zona ardiente.

¡Adiós, patria feliz, edén querido! ¡Doquier que el hado en su furor me impela, tu dulce nombre halagará mi oído!

¡Adiós¡... Ya cruje la turgente vela… El ancla se alza... el buque, estremecido, las olas corta y silencioso vuela!

 Al partir On leaving Pearl of the sea! Star of the Occident! Beautiful Cuba! Night’s murky veil Is drawn across the sky’s refulgent trail, And I succumb to sorrow’s ravishment.

Now I depart! …As to their labors bent, The crewmen now their tasks assail, To wrest me from my home, they hoist the sail To catch the ardent winds that you have sent.

Farewell, my Eden, land so dear! Whatever in its furor fate now sends, Your cherished name will grace my ear!

Farewell!... The anchor from the sea ascends, The sails are full…. The ship breaks clear, And with soft quiet motion, wave and water fends. 4

Gomez de Avellaneda was often either praised or shunned for her literary works. She wrote poems, autobiographies, novels and plays. During the 1840s and 1850s was when she was most famous for her writings. She had other female rivals in writing such as Carolina Coronado and Rosalia de Castro but none of them achieved as much praise as Gomez de Avellaneda received from her literary works. She inspired men and women alike with her stories of love, feminism, and a changing world.

Her poetry consists of styles in Hispanic poetry from late neoclassicism through romanticism. Her works are influenced by some of the major French, English, Spanish, and Latin American poets. Her poems reflects her life experiences including her rebellious attitude and independence in a male-dominated society (regarding herself as a woman writer); sense of loneliness and exile from her Cuba (regarding her love for Cuba); and melancholy and depression (regarding her heartbroken affairs). Her poetry surrounds the themes of Cuba, love and eroticism, poetry itself, neoclassical concepts, historical references, religion, philosophical meditations, personal and public occasions, and poetic portraits.

The theme of Cuba is evident in her poem “Al partir” (“On Leaving”), which was in 1836 when la Avellaneda was on the boat leaving Cuba for Spain. It is a sonnet about her love for Cuba and reflects her emotions as she departed.

Novels
The most controversial and the first novel she wrote, Sab, was published in 1841. This novel can be compared to Uncle Tom's Cabin in that both novels are literary protests against the practice of slavery. Sab is about a Cuban slave, named Sab, who is in love with Carlota, his master's daughter. Carlota (the heroine) marries a rich white Englishman, Enrique Otway. The book stresses Sab's moral superiority over the white characters. This is because his soul is pure while the Englishman's business interests are his primary concern. The enterprises of Enrique and his father are juxtaposed against the Carlota's family ingenio (sugarcane plantation) which is in decline because Carlota's father is of a good nature, which means he cannot be a good business man.

Sab was banned in Cuba for its unconventional approach to society and its problems. Avellaneda's works were considered scandalous because of her recurrent themes of interracial love and society's divisions. In fact, Sab could be considered an early example of negrismo, a literary tendency when white creole authors depicted black people, usually with a favorable stance. This kind of writing was often cultivated by women authors who might have been arguing, as Gómez de Avellaneda was, that there was a parallel between the black condition and the female condition. Two other Creole women who cultivated negrista fiction were the Argentine Juana Manuela Gorriti (Peregrinaciones de una alma triste & El ángel caído) and the Peruvian Teresa González de Fanning whose Roque Moreno paints a less than sympathetic stance toward blacks and mulattoes. Of course Harriet Beecher Stowe's Uncle Tom's Cabin could also be understood in this light.

Two famous poems were from her love letters to Ignacio de Cepeda. Both were called “A él” (“To Him”). The poems reflect her theme of love for Cepeda. The first poem, much longer and more complex than the second, regards her hope in being with Cepeda. However, because Cepeda did not want a committed relationship with her and married another woman, it made la Avellaneda suffer. As a result, the second poem is about their final break, her resignation to their relationship.

Source: John Charles Chasteen, "Born in Blood and Fire, A Concise History of Latin America"

Legacy
There has been much debate over whether Gertrud's Gómez de Avellaneda is a Cuban or Spanish writer. She is widely viewed as the "epitome of the Romantic poet, the tragic heroine who rises to public acclaim yet, in private, is bitterly unhappy." Whatever the accuracy of this image, it is clear that she actively promoted it during her life and that many influential critics and admirers continued to promote this image of Avellaneda after her death. Also, much of her work is read from a biographical perspective because of the posthumous publication of her love letters to Ignacio Cepeda, to the extent that her life has overshadowed the wider cultural significance of her literary output.

title: Gertrudis Gómez de Avellaneda


text:
User talk:Geohnny

Hi, my name is John Snyder, I live in Cuyahoga Falls, Ohio with my wife, Tara, and my dog, Milton. We have been married (Tara and I) for 4 1/2 years. I am a geologist, and Tara is a nurse.

title: User talk:Geohnny


text:
Phaethon

Phaethon (Φαέθων, ), also spelled Phaëthon, is the son of the Oceanid Clymene and the sun god Helios in Greek mythology.

According to most authors, Phaethon is the son of Helios, and out of a desire to have his parentage confirmed, travels to the sun god's palace in the east. He is recognised by his father and asks for the privilege of driving his chariot for a single day. Despite Helios' fervent warnings and attempts to talk him out of it, counting the numerous dangers he would face in his celestial journey and reminding Phaethon that only he can control the horses, the boy is not dissuaded and does not change his mind. He is then allowed to take the chariot's reins; his ride is disastrous, as he cannot keep a firm grip on the horses. As a result, he drives the chariot too close to the Earth, burning it, and too far from it, freezing it.

In the end, after many complaints, from the stars in the sky to the Earth itself, Zeus strikes Phaethon with one of his lightning bolts, killing him instantly. His dead body falls into the river Eridanus, and his sisters the Heliades are turned to black poplar as they mourn him.

Phaethon's tale was commonly used to explain why uninhabitable lands on both sides of extremity (such as hot deserts and frozen wastelands) exist, and why certain peoples have darker complexions, while his sisters' amber tears accounted for the river's rich deposits of amber.

Etymology
Ancient Greek Φαέθων, Phaethon, means "radiant", from the verb φαέθω, meaning "to shine." Therefore, his name could be understood as, "the shining/radiant (one)" Ultimately the word derives from φάος, phaos, the Greek word for light, from the Proto-Indo-European root *bheh2-, 'to shine.'

Mythology

Details vary according to version, but most have Phaethon travel far east to meet his father, sometimes in order to get him to assure his paternity. There, he asks Helios for permission to drive his father's Sun-chariot for a single day. Despite Helios' protests and advice against, Phaethon doesn't back down from his initial wish, and thus Helios reluctantly allows him to drive his chariot. Placed in charge of the chariot, Phaethon was unable to control the horses. In some versions, the Earth first froze when the horses climbed too high, but when the chariot then scorched the Earth by swinging too near, Zeus decided to prevent disaster by striking it down with a thunderbolt. Phaethon fell to Earth and was killed in the process.

Family
Phaethon was said to be the son of Clymene the Oceanid and Helios, god of the sun. Alternatively, less common genealogies make him a son of Clymenus by a different Oceanid, Merope, of Helios and Rhodos and thus a full brother of the Heliadae, or of Helios and Prote. According to a scholion on the Odyssey, Phaethon's mother Clymene was not an Oceanid, but rather a mortal woman, a daughter of Minyas, who married Helios.

Homer and Hesiod

Although Helios himself is present in their works, for the two earliest ancient Greek authors, Homer and Hesiod, the chariot and the four horses that pull Helios each morning do not seem to exist at all; the oldest work in which they appear being the Homeric Hymns.

Neither seems to know Phaethon as an individual, as "Phaethon", meaning "the radiant" seems to be exclusively an epithet used for Helios by them. The only Phaethon Hesiod seems to recognize is the son of Eos, Helios' sister and the goddess of the dawn, whom she had by her lover Cephalus, an Athenian prince.

The late Roman author Hyginus however attributes a version of the story to Hesiod. According to Hyginus, Hesiod wrote that Phaethon was the son of Merope, an Oceanid, and Clymenus, a son of Helios by an unnamed woman or goddess. Phaethon, upon learning that his grandfather is the Sun, put his chariot to bad use, and scorched the Earth, turning the Indians black in the process. He was struck by a thunderbolt, and fell dead on the river Eridanus. Even the firmest believers of Hyginus find the attribution of the tale to Hesiod hard to accept. A fragment from Hesiod very possibly connects Eridanus to amber. it is uncertain, but possible, that the fragment also connected Eridanus and amber to the tears of the Heliades; what is certain however is that Hesiod was not connecting Eridanus, amber and perhaps the Heliades, to the myth of Phaethon.

The tragic poets
A now-lost tragedy by Aeschylus, titled Heliades ("daughters of the Sun") was written covering the subject of this myth. Very little of this play survives now, and the form of the myth as assumed by Aeschylus is impossible to know. It would seem that in Aeschylus' play, the sisters played a significant role; two of the surviving fragments (F 71 and F 72) focus on grief, mourning, and lamentation. He seems to have transferred the location of Phaethon's fall in Iberia, west of Italy.

By contrast, Euripides' version of the story, the now lost tragedy Phaethon, while similarly fragmentary, is much better preserved, with twelve fragments surviving covering some 400 lines of text. According to the summary of the play, Phaethon is the son of Helios by an Oceanid named Clymene, who nonetheless hid the boy's true parentage and claimed he had been fathered by her nominal husband Merops, the king of Aethiopia (Merops and Clymene are an interesting swap of the names in Hyginus' Hesiodic version, Merope and Clymenus). The main conflict of the play is the upcoming marriage of an unwilling Phaethon.

The identity of the bride seems to be this fragmentary play's greatest mystery. Euripides seems to have made Aphrodite the bride of the unfortunate youth; if that is the case, then it would seem that Euripides combined the stories of two Phaethons, that of the son of Helios who drove his father's car and died, and that of Phaethon the son of Helios' sister Eos whom Aphrodite abducted to be a watchman of her shrines, and whom late antiquity writers described as a lover of the goddess, as suggested by Wilamowitz. Another explanation on how Phaethon could possibly be marrying the goddess of beauty is that Aphrodite had planned Phaethon's destruction from the very beginning, as revenge against his father for revealing to Hephaestus, her husband, the goddess' affair with Ares, the god of war. Henri Weil suggested that Phaethon is to marry one of the Heliades, and James Diggle, while deeming this suggestion unprovable, is convinced of it being the case.

Clymene reveals her son his true parentage, perhaps to help him overcome his reluctance to get married. Although doubtful at first, his mother's words convince him and agrees to travel east to find his divine father and have his parentage confirmed. What happens next is that someone, perhaps a paedagogus, arrives in the scene to inform the audience of Phaethon's disastrous ride. According to his account, Helios actually escorted his son on his doomed journey, riding on a horse named Sirius next to him and shouting instructions and advice on how to drive the car, an element not found in subsequent treatments of the myth.

"'This said, his son undaunted snatched the reins, Then smote the winged coursers’ sides: they bound Forth on the void and cavernous vault of air. His father mounts another steed, and rides With warning voice guiding his son. ‘Drive there! Turn, turn thy car this way.'"

Surviving fragments do not clearly paint Zeus as the culprit of Phaethon's death; but next Clymene orders slave girls to hide Phaethon's smoking body from Merops (who is still unaware both of Phaethon's true parentage as well as his fiery death), pointing to Zeus having indeed played a role in the boy's death. Merops discovers his son's charred corpse, and the truth, a bit later.

The only other tragedy about the myth is Theodorides' now lost Phaethon, performed in 363 BC at the Lenaea festival, nothing of which survives to us.

References to the myth of Phaethon
With Aeschylus being the earliest (as far as it can be determined) that Phaethon's story would have been known, the next mention possibly came from a lost work of Philoxenus of Cythera (435~434 – 380~379 BC), a dithyrambic poet. Pliny the Elder mentions him second (after Aeschylus) among the authors who spoke of the myth of the Sun god's son. Pliny also names Nicander and Satyrus as other authors who knew of Phaethon.

Plato's Timaeus
In Plato's Timaeus, Critias tells the story of Atlantis as recounted to Solon by an Egyptian priest, who prefaced the story by saying:"There have been, and will be again, many destructions of mankind arising out of many causes; the greatest have been brought about by the agencies of fire and water, and other lesser ones by innumerable other causes. There is a story that even you [Greeks] have preserved, that once upon a time, Phaethon, the son of Helios, having yoked the steeds in his father's chariot, because he was not able to drive them in the path of his father, burnt up all that was upon the earth, and was himself destroyed by a thunderbolt. Now, this has the form of a myth, but really signifies a declination of the bodies moving in the heavens around the Earth, and a great conflagration of things upon the Earth, which recurs after long intervals."

Palaphaetus' On Unbelievable Tales
Like other authors of around this period, Palaephatus's version is not too rich in details. Naming no mother, Palaphaetus speaks of Phaethon as a son of Helios who had the irrational desire to drive his father's chariot, but had no knowledge of how to handle the reins. Unable to keep balance he was swept off course by the wild horses and drowned into the Eridanus river. Unlike several other retellings, a party behind Phaethon's death is not named, as Zeus takes no action to stop Phaethon and save the Earth.

Apollonius Rhodius' Argonautica

While sailing up the Eridanus river on their way back, the Argonauts reach the outfall of the deep lake where Phaethon fell after he was struck with a lightning bolt. During the day, the crew of the Argo was tormented by the nauseating stench from Phaethon's corpse, still smoldering after all this time, and at night they had to listen to the lament of his sisters, now turned into poplar trees and shedding tears of amber.

Diodorus Siculus' Historic Library
Phaethon, the son of Helios, while still a youth persuaded his father to retire for a single day and give to him his chariot. His father eventually yielded to his son's wishes, and gave him his quadriga. The boy was unable to control the reins, and the horses left their accustomed course, setting ablaze the Heavens (creating the Milky Way) and the Earth (creating uninhabitable land) alike. Zeus, seeing the catastrophe, smote Phaethon with a thunderbolt and brought the Sun to its course. Phaethon fell into the Eridanus river, dead. His sisters mourned him, and turned into black poplar trees.

Ovid
The influence of Euripides' lost play can be easily recognized in Ovid's own version of the myth. Another possible inspiration of Ovid's version might have been Nicander, who is known to have written about Phaethon in some work, perhaps attested in the lost Heteroeumena (loosely translating into "transformations"). In the version of the myth told by Ovid, Phaethon is the son of Clymene and the sun-god Sol, who would often boast about being the son of the sun-god. Phaethon, challenged by Epaphus and his playmates, sought assurance from his mother that his father was Sol indeed. She gave him the requested assurance and told him to turn to his father for confirmation. He asked his father for some proof that would demonstrate his relationship with the Sun. When the god swore by the river Styx to grant him whatever he wanted, he insisted on being allowed to drive the Sun chariot for a day. Sol tried to talk him out of it by telling him that not even Jupiter (the king of the gods) would dare to drive it, as the chariot was fiery hot and the horses breathed out flames. He said:

"The first part of the track is steep, and one that my fresh horses at dawn can hardly climb. In mid-heaven it is highest, where to look down on earth and sea often alarms even me and makes my heart tremble with awesome fear. The last part of the track is downwards and needs sure control. Then even Tethys herself, who receives me in her submissive waves, is accustomed to fear that I might dive headlong. Moreover, the rushing sky is constantly turning, and drags along the remote stars, and whirls them in rapid orbits. I move the opposite way, and its momentum does not overcome me as it does all other things, and I ride contrary to its swift rotation. Suppose you are given the chariot. What will you do? Will you be able to counter the turning poles so that the swiftness of the skies does not carry you away? Perhaps you conceive in imagination that there are groves there and cities of the gods and temples with rich gifts. The way runs through the ambush, and apparitions of wild beasts! Even if you keep your course, and do not steer awry, you must still avoid the horns of Taurus the Bull, Sagittarius the Haemonian Archer, raging Leo and Lion's jaw, Scorpio's cruel pincers sweeping out to encircle you from one side, and Cancer's crab-claws reaching out from the other. You will not easily rule those proud horses, breathing out through mouth and nostrils the fires burning in their chests. They scarcely tolerate my control when their fierce spirits are hot, and their necks resist the reins. Beware, my boy, that I am not the source of a gift fatal to you, while something can still be done to set right your request!"

Phaethon, however, was adamant, and thus Sol was forced to relent. When the day came, the fierce horses that drew the chariot felt that it was empty because of the lack of the sun-god's weight and went out of control. Terrified, Phaethon dropped the reins. The horses veered from their course, scorching the Earth, burning the vegetation, bringing the blood of the Ethiopians to the surface of their skin and so turning it black, changing much of Africa into a desert, drying up rivers and lakes and shrinking the sea. Earth cried out to Jupiter who was forced to intervene by striking Phaethon with a lightning bolt. Like a falling star, Phaethon plunged blazing into the river Eridanus.

The epitaph on his tomb was: "Here Phaethon lies who in the sun-god's chariot fared. And though greatly he failed, more greatly he dared."

Sol, stricken with grief at his son's death, at first refused to resume his work of driving his chariot, but at the appeal of the other gods, including Jupiter who used threats, returned to his task.

The detail of Phaethon questioning the parentage he otherwise took pride in being the result of Epaphus' words is also present in the works of Servius, who wrote that Epaphus, now presented as the succeeded king of Egypt, mocked Phaethon for being born out of adultery; the outcome is largely the same, as Phaethon travels east to meet his father, gets Helios to promise him any favor, and then drives the chariot with disastrous results.

Other late authors
Philostratus, who follows the typical premise of Phaethon's tale (son of Helios who asks his father to drive his chariot and ends up burning the Earth) describes in great detail the extent of the catastrophe, putting more detail in the picture and the visual representation rather than the action; the Night drives away the Day from the noonday sky, the Sun's orb plunges into the Earth pulling the stars along with him, the Seasons abandon their posts in fear, and the Earth raises her hands in supplication as she burns. In the end Phaethon falls from the chariot, himself on fire too, and dies. The Eridanus mourns him along with the Heliades.

According to Clement of Alexandria "... in the time of Crotopus occurred the burning of Phaethon, and the deluges of Deucalion". In The Twelve Caesars, Suetonius attributes to the emperor Tiberius the following repeated remark about the future emperor Gaius Caligula: "That to allow Gaius to live would prove the ruin of himself and of all men, and that he was raising a viper for the Roman people and a Phaethon for the world".

A scholiast on Homer's Odyssey provides a different parentage for Phaethon, making him the son of Helios and Rhodos instead (thus full brother to the Heliadae), here the daughter of Asopus, the river god. The scholiast follows the version of Phaethon being raised by his mother; when he learns the truth, he seeks out Helios and asks him to drive his chariot. Helios allows him not due to some promise or vow he made to his son, but rather because of his son's persistence, despite knowing what would follow. In accordance with other authors, Zeus strikes him with a thunderbolt. The element of Helios knowing what's in store for his child, but being unable to thwart it, is present in several tellings; Statius writes that "with tears did he warn the rejoicing youth of treacherous stars and zones that would fain not be o'errun and the temperate heat that lies midway between the poles; obedient was he and cautious, but he cruel Parcae would not suffer him to learn."

Valerius Flaccus gives attention to the wrecked chariot itself, and how Tethys, who is Phaethon's grandmother as well as the goddess who receives Helios in the western ocean as he sets, picks up the fragments of yoke and axle, and one of the horses too (Pyrois) who is fearful of a father's wrath.

Cicero, another Roman author, describes Sol as being "tricked" into letting his son drive his chariot, expressing surprise and disbelief that a god could be deceived like that.

Seneca speaks of Phaethon, the "youth who dared drive the everlasting chariot, heedless of his father's goal."

Phaethon as a legitimate offspring

Hyginus wrote that Phaethon, son of Helios / Sol and Clymene, secretly mounted his father's car without said father's knowledge and leave, but with the aid of his sisters the Heliades who yoked the horses. Being inexperienced, Phaethon drove the chariot too high, and it was fear that made him plunge into the Eridanus; when Zeus struck him with a thunderbolt, the Earth began to burn. Zeus then, pretending to want to put out the fire, let loose all the rivers everywhere, causing the flood that drowned everyone except for Deucalion and Pyrrha. Phaethon secretly stealing the chariot, and his sisters helping him out perhaps implies the existence of an early version, where Phaethon and his (full) sisters are legitimate offspring of the Sun god and his wife, brought up in their father's house, rather than product(s) of an extramarital liaison. After his death, Phaethon was conveyed to the stars by his father as a constellation. The constellation associated with Phaethon was the Auriga, or the Charioteer.

The satirical author Lucian of Samosata treated the myth in a comedic matter in his Dialogues of the Gods. In the short dialogue, Zeus angrily berates Helios for letting his inexperienced son drive his chariot, which almost resulted in the world being destroyed. Helios acknowledges his error, but claims he was pressured by Phaethon and Phaethon's mother Clymene both (another implication of the union between Helios and the mother of Phaethon being marital in nature, not an affair, and thus making their child legitimate), and could have not foreseen the extent of the disaster. Zeus is displeased to hear it, unconvinced that he would not know that an inexperienced driver like Phaethon would not be able to control the steeds. Helios then asks Zeus to be merciful, as his son has already been punished (being dead) and he himself is in great mourning. Zeus disagrees that this punishment is enough, returns Helios his damaged chariot which is in need of repair, and threatens to strike him with one of his thunderbolts should he ever do such thing again. In True History, another work of Lucian's, Phaethon is the king of the Sun and is at war with the Moon, ruled by King Endymion.

Nonnus' late version of the story is one of the two extensive narratives to survive, the other being Ovid's. Unlike other versions, Nonnus' is one of the few where Phaethon is a legitimate offspring of a married couple, with his motivation shifting from need to prove his parentage to him wanting to imitate his idolized father. In Nonnus' account, found in his epic Dionysiaca, Hermes tells Dionysus the tragic story of Phaethon. Helios and the beautiful nymph Clymene fall in love and get married with her father Oceanus' blessing, and together they have Phaethon. Phaethon is raised by his parents, in the company of Oceanus and the Oceanid nymphs. As a boy, he would mimic his father and his daily journey by driving a wagon of his own design, with burning torches standing in for the fire. When he grows up, he begs his father to let him drive his chariot, but Helios refuses, arguing that sons are not necessarily fit to follow on their fathers' footsteps (bringing up how Ares, Hephaestus, Apollo and Hermes do not hold lightning bolts like their father Zeus does). Phaethon nevertheless is not a bit discouraged by his worried father's words, and then pressures him more, as does Clymene; with great reluctance, Helios consents, and gives his son a very extensive and detailed speech about all the dangers and the hazards of the ride. He then dresses Phaethon up in his own robes, helmet and solar crown and gives him the reins. With a final warning from his father, Phaethon yokes the horses and ascends in the sky, as his mother Clymene cheerfully waves him goodbye, still unaware of the danger that awaits her son. Like in all other versions, his ride is a disaster, as he burns the Earth. Zeus then kills him with a lightning bolt, and places him among the stars as the constellation Auriga, the charioteer of the heavens. Nonnus's version of the events is similar to that of Lucian, as both make (or imply) Clymene a wife to Helios, their son Phaethon born in marriage, and Clymene is actively present in persuading Helios to let their son drive the chariot.

The mournful sisters
A very common element of the story is that Phaethon's sisters, the Heliades, mourn his death by the river and transform into black poplars, shedding tears of amber for their lost brother. According to Pliny the Elder, it was Aeschylus who introduced the transformation of the sisters into poplar trees. Their number and names vary; a scholiast on Homer gives an alternative parentage where Phaethon and his three sisters (Phaethusa, Lampetia and Aegle) are the children of Helios and Rhodos, here the daughter of Asopus. Hyginus names seven; Merope, Helie, Aegle, Lampetia, Phoebe, Aetherie and Dioxippe. Ovid has at least three, but only two (Phaethusa and Lampetia) are named. Servius only mentions Phaethusa and Lampetia. Although the Heliades' role and fate in the myth is not mentioned in any of the surviving fragments of Phaethon, Euripides briefly brings up the Heliades and their shedding of amber tears for their brother by the Eridanus in another play, Hippolytus.

Ovid vividly describes the sisters cry and mourn for their brother by the banks of the Eridanus for four months unmoving. Then, as they try to move, find themselves rooted to the ground, unable to leave. Their mother Clymene finds them, and although she tries to free her daughters by breaking off the forming branches and snapping the barks, she is unable to help them and the metamorphosis is completed.

The Odyssey scholiast writes that Zeus, feeling pity for them, changed them into the amber-crying poplar trees, and allowing them to retain the memories of their old lives and sorrows.

According to Quintus Smyrnaeus, it was Helios who turned them into trees, for their honor to Phaethon, and Hyginus wrote that they were transformed into trees for yoking the chariot without their father's consent.

The part concerning the Heliades might have been a mythical device to account for the origin of amber; it is probably of no coincidence that the Greek word for amber, elektron ($ἤλεκτρον$), resembles elektor ($ἠλέκτωρ$), an epithet of Helios. The poplar tree was considered sacred to Helios, due to the sun-like brilliance its shining leaves have.

The mournful lover
Later authors, particularly the Romans, mention the story of Cycnus, a man who was Phaethon's lover and deeply mourned his death and was turned into a swan, birds who are known for mourning the loss of their mates for days. In Ovid's account, the gods turned the inconsolable Cycnus into a swan soon after Phaethon's own death; even as a swan he retained memories of Phaethon's fiery demise, and the bird would thereafter avoid the sun's heat. Virgil instead writes that Cycnus mourned for Phaethon well into his old age, thereupon he was turned into a swan, his white hair becoming the bird's white feathers upon transformation. Pausanias and Servius explicitly name Apollo as the god who turned Cycnus into a swan, after having blessed him with talent in singing at some time before; Apollo then placed him among the stars, as the constellation Cygnus, "the swan". Cycnus' profession as a musician seems to be a direct reference to the swan song swans are famous for.

Artistic evidence
On one of the earliest extant artistic attestations of the myth, a cast taken from an Arretine mould now housed in the Museum of Fine Arts, Boston, Phaethon is shown fallen from the car, a wheel lying next to him while another is being collected by the water goddess Tethys, his grandmother, as Valerius Flaccus wrote. The god behind Phaethon's death, Zeus, is seen hurling his thunderbolt, while Helios appears on horse-back, with a spare horse by his side (matching Euripides' telling where Helios accompanies his son in the sky), having caught two of the horses and now directing his attention to the other two (like Lucretius describes him doing ). Artemis is there too, perhaps alluding to some obscure version where she played a role in the story, as is Iris, the rainbow and messenger goddess. Another figure, perhaps Isis, is also present. An Apulian crater of c. 360-350 has a scene with named characters Merops, Clymene and Melanippus (TrGF adesp . 5f).

The myth of father and son was immortalized in Corinth (where Helios had a significant cult), where Pausanias describes two gilded chariots, one carrying Phaethon the other Helios, adorning a gateaway near Corinth's market:

"On leaving the market-place along the road to Lechaeum you come to a gateway, on which are two gilded chariots, one carrying Phaethon the son of Helius (Sun), the other Helius himself."

Connections
The lesser-known myth of Sirius the dog star god and the harvest goddess Opora share some elements with the myth of Phaethon. In that myth, Sirius visits the earth on some mission but then meets and falls in love with Opora. His unfulfilled love makes him burn hotter, which results in the humans suffering under the great heat he causes. They pray to the gods, and eventually Boreas the god of the north wind orders his sons to deliver Opora to Sirius while he uses cold wind blasts to cool the earth. To commemorate the event, Sirius would continue to burn hot each year during the harvest season, explaining the intense heat of the dog-days of summer, attributed to Sirius by the ancients. In addition, some ancient authors used 'Sirius' (meaning "scorching") as an epithet for Helios himself.

Phaethon's story shares some similarities to the myth of Asclepius, as mortal sons of divine fathers (Helios and Apollo) who disrupted natural order (Phaethon by driving the chariot off-course, Asclepius by resurrecting the dead) and were then killed by Zeus in order to establish that order again after complains from other divinities (Gaia and Hades), bringing sorrow to said fathers. Phaethon's myth was the preeminent myth involving amber in classical antiquity, and according to Celtic tradition, Apollo shed tears of amber for Asclepius' death; while Apollo's association with amber is not extraordinary, the context of it (mourning for his son) is significant. Diodorus Siculus in his own account of Phaethon ended by saying that amber was commonly used in connection to mourning the death of young people, and the link between resin and tears was not an uncommon one, as seen in the myths of Myrrha and Meleager (according to a lost play by Sophocles); the ancient Greek word for tear dakruon could also mean sap or gum. The first of the Vatican Mythographers tried to merge the two myths, writing that Phaethon brought Hippolytus back to life (Asclepius in myth), and that after he was killed by Zeus, Apollo slew the Sicilian smiths who forged Zeus' thunderbolts (Apollo slaying the Cyclopes who forged Zeus' lightning bolts after he slew Asclepius). The second narrative on Phaethon however, from the so-dubbed "Second Vatican Mythographer", recounts the more traditional version of the myth with no traces of amalgamation with other myths or any connection to Asclepius.

Post-classical works

 * Dante refers to the episode in the Inferno, in "Purgatorio" canto IV and Paradiso canto XVII of his Divine Comedy.
 * William Shakespeare uses the story of Phaethon in four places, most famously as an allegory in his play Richard II, comparing the King to the divinity of the sun: "Down, down I come; like glistering Phaethon, wanting the manage of unruly jades" (3.3). He also makes Juliet wish "Phaëthon would whip [Phoebus's horses] to the west" as she waits for Romeo in Romeo and Juliet 3.2.3. It also appears briefly in The Two Gentlemen of Verona 3.1.154, and twice in Henry VI, Part 3 (1.4.33 and 2.6.12)
 * John Marston includes reference to Phaeton in The Malcontent whereby Mendoza's monologue describes the '... sparkling glances (of women), ardent as those flames that singed the world by heedless Phaeton!' – act 1, sc 5
 * Jean-Baptiste Lully wrote a musical tragedy, Phaëton, in which he referred indirectly to the fate of Nicolas Fouquet, whose ambitions to imitate Louis XIV – The Sun King – brought about his downfall. This opera is also used in the second version of Paul Hindemith’s opera Cardillac (1952).
 * Camille Saint-Saëns wrote a symphonic poem entitled Phaéton in 1873.
 * Niccolò Jommelli wrote an opera Fetonte to an Italian-language libretto by Mattia Verazi using various sources, principally Ovid, for the myth of Phaeton. It was first performed at the Ducal Theatre, Ludwigsburg in February, 1768, where Duke Karl-Eugen of Württemberg maintained an opera troupe.
 * Wilhelm Waiblinger’s epistolary novel Phaëthon amalgamates the Phaethon myth with Goethe’s Werther as well as Hölderlin’s Hyperion.
 * Johann Wolfgang Goethe published a poetic reconstruction of Euripides’ fragmented tragedy in Kunst und Altertum (1823), which served as a basis for various full-scale dramatic adaptations such as Marie Wernicke’s Phaethons Sturz (1893), Karl Wilhelm Geißler’s Phaëthon (1889) and Arnold Beer’s Phaeton (1875).
 * Gerhart Hauptmann’s long poem Helios und Phaethon (1936) omits the cosmic disaster in order to focus on the relationship between godly father and mortal son.
 * In Otakar Theer's symbolist tragedy Faëthón (1916), the hero epitomizes man's revolt against the world order ("the gods") and against human destiny. The tragedy was adapted in 1962 into a celebrated eponymous radio play by Miloslav Jareš (director) and Jaromír Ptáček (dramaturge).
 * Paul Goodman’s early Phaëthon, Myth (1934) juxtaposes the Phaethon myth with a grotesque version of a Christological narrative.
 * Benjamin Britten’s Six Metamorphoses after Ovid for oboe, first performed at the Aldeburgh Festival on 14 June 1951, include the short piece Phaeton, which as a solo piece seems to focus on the individual lost in space, rather than the furious effects emphasised by earlier instrumental renditions of the myth.
 * In Ayn Rand's 1957 novel Atlas Shrugged, an in-universe opera is composed by the character of Richard Halley, where Phaeton succeeds in his attempt to control the chariot of the Sun, as an allegory for the power of mankind and individualism.
 * Donald Cotton wrote a comedy radio play The Tragedy of Phaethon broadcast on BBC Network 3, 10 February 1965.
 * Angus Wilson’s novel Setting the World on Fire (1980) opens with the description of a Phaethon painting which proves pivotal to the protagonist's emerging self-conception, leading up to his production of Lully’s Phaëton.
 * John C. Wright's The Golden Oecumene trilogy (2002) features a protagonist named Phaethon, whose father's name is Helion. Mythical references abound.
 * In 2002, Volkswagen introduced the VW Phaeton.
 * In 2012, former Disco Inferno frontman Ian Crause adapted the story of Phaethon as The Song of Phaethon for his first musical release in over a decade. Crause used the story as an analogy for Britain's entry into the Second Gulf War.
 * In 2016, Taffety Punk Theatre premiered Michael Milligan's play "Phaeton" in Washington, DC.
 * In 2019, Carl Rütti set to music an early modern interpretation of Sebastian Brant's Phaethon story, which equates the fall of Phaethon with a solar eclipse, but has Phaethon survive and return triumphant. Two versions exist for male choir and mixed choir, the latter as part of Rütti's four-part solar eclipse cantata "Eklipsis".

Shared name
The name "Phaethon", which means "Shining One", was given also to Phaethon of Syria, to one of the horses of Eos (the Dawn), the Sun, the constellation Auriga, and the planet Jupiter, while as an adjective it was used to describe the sun and the moon. In some accounts the planet referred to by this name is not Jupiter but Saturn.

When 1 Ceres and 2 Pallas – the first asteroids – were discovered, astronomer Heinrich Olbers suggested that they were fragments of a much larger hypothetical planet, which was later named Phaethon. However, the 'Phaeton hypothesis' has been superseded by the accretion model, in which the asteroid belt represented the remainder of the protoplanetary disk that never formed a planet, due to the interference of the gravity of Jupiter. However, fringe theorists still consider the Phaeton hypothesis likely.

In modern times, an asteroid whose orbit brings it close to the Sun has been named "3200 Phaethon" after the mythological Phaethon.

The French form of the name "Phaethon" is "Phaéton". This form of the word is applied to a kind of carriage and automobile.

An order, family, and genus of birds bear the name Phaethon in their taxonomic nomenclature, the tropicbirds.

Greek

 * Apollonius Rhodius, (1912). Argonautica translated by Robert Cooper Seaton (1853–1915), R.C. Loeb Classical Library Volume 1. London, UK: William Heinemann. Online version at the Topos Text Project.
 * Diodorus Siculus, (1888–1890). Bibliotheca Historica. Vols 1–2. Immanel Bekker. Ludwig Dindorf. Friedrich Vogel. in aedibus B.G. Teubneri, Leipzig. Greek text available at the Perseus Digital Library.
 * Tzetzes, John, (1826). Book of Histories, Books II–IV translated by Gary Berkowitz from the original Greek of T. Kiessling's edition. Online version at Theoi.com
 * Philostratus the Elder, (1913). Imagines, translated by A. Fairbanks, Loeb Classical Library, No. 256. Harvard University Press, Cambridge, Massachusetts. 1931. ISBN 978-0674992825. Internet Archive
 * Quintus Smyrnaeus, Quintus Smyrnaeus: The Fall of Troy, translated by A.S. Way, Cambridge, Massachusetts: Harvard University Press. Internet Archive.
 * Nonnus, (1940). Dionysiaca; translated by Rouse, W.H.D., III Books XXXVI–XLVIII. Loeb Classical Library No. 346, Cambridge, Massachusetts, Harvard University Press; London, UK: William Heinemann. Internet Archive.
 * Lucian, (1905). Dialogues of the Gods; translated by Fowler, H.W. and F.G. Oxford, UK: The Clarendon Press.
 * Palaephatus, (1996). On Unbelievable Tales, translation, introduction and commentary by Jacob Stem, Bolchazy-Carducci Publishers, ISBN 0-86516-310-3. Google books
 * Decharme, Paul, (1884). Mythologie de la Grèce antique, Garnier Frères. Google books (in French).
 * Pausanias, (1918). Pausanias Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA: Harvard University Press; London, UK: William Heinemann. Online version at the Perseus Digital Library.
 * Hesiod, (1914). Theogony, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA: Harvard University Press; London, UK: William Heinemann. Online version at the Perseus Digital Library.
 * Hesiod, (1914). Theogony, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA: Harvard University Press; London, UK: William Heinemann. Online version at the Perseus Digital Library.

Roman

 * Ovid, (1977). Metamorphoses, Volume I: Books 1–8. Translated by Frank Justus Miller. Revised by G.P. Goold. Loeb Classical Library No. 42. Cambridge, Massachusetts: Harvard University Press, first published 1916. ISBN 978-0-674-99046-3. Online version at Harvard University Press.
 * Gaius Julius Hyginus, Astronomica from The Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project.
 * Maurus Servius Honoratus, (1881). In Vergilii carmina comentarii. Servii Grammatici qui feruntur in Vergilii carmina commentarii; recensuerunt Georgius Thilo et Hermannus Hagen. Georgius Thilo. Leipzig, DE: B.G. Teubner. Online version at the Perseus Digital Library.
 * Vergil, (1910). Aeneid. trans. Theodore C. Williams. Boston, MA: Houghton Mifflin. Online version at the Perseus Digital Library.
 * Gaius Julius Hyginus, Fabulae from the Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project.
 * Marcus Tullius Cicero, (1878). 'Nature of the Gods' from the Treatises of M.T. Cicero translated by Charles Duke Yonge (1812–1891), Bohn edition. Online version at the Topos Text Project.
 * Marcus Tullius Cicero, (1917). De Natura Deorum. O. Plasberg. Leipzig, DE: Teubner. Latin text available at the Perseus Digital Library.
 * Pliny the Elder, (1938–1962). Pliny – Natural History, 10 volumes. Translated by Rackham, H.; Jones, W.H.S.; Eichholz, D.E. Loeb Classical Library.
 * Seneca, (1917). Tragedies, translated by Miller, Frank Justus. Loeb Classical Library Volumes. Cambridge, Massachusetts: Harvard University Press; London, UK: William Heinemann.
 * Hyginus, Gaius Julius, (1960). The Myths of Hyginus, Book 1. Edited and translated by Mary A. Grant, Lawrence: University of Kansas Press.
 * Valerius Flaccus, (1928). Argonautica translated by Mozley, J.H. Loeb Classical Library Volume 286. Cambridge, MA: Harvard University Press; London, UK: William Heinemann. Online version at Theoi.com.

Secondary

 * in two volumes: (Vol. 1) ISBN 978-0-8018-5360-9; (Vol. 2) ISBN 978-0-8018-5362-3.
 * The Vatican Mythographers, Ronald E. Pepin (2008), Fordham University Press, ISBN 978-0-8232-2892-8.
 * in two volumes: (Vol. 1) ISBN 978-0-8018-5360-9; (Vol. 2) ISBN 978-0-8018-5362-3.
 * The Vatican Mythographers, Ronald E. Pepin (2008), Fordham University Press, ISBN 978-0-8232-2892-8.
 * in two volumes: (Vol. 1) ISBN 978-0-8018-5360-9; (Vol. 2) ISBN 978-0-8018-5362-3.
 * The Vatican Mythographers, Ronald E. Pepin (2008), Fordham University Press, ISBN 978-0-8232-2892-8.
 * The Vatican Mythographers, Ronald E. Pepin (2008), Fordham University Press, ISBN 978-0-8232-2892-8.
 * The Vatican Mythographers, Ronald E. Pepin (2008), Fordham University Press, ISBN 978-0-8232-2892-8.
 * The Vatican Mythographers, Ronald E. Pepin (2008), Fordham University Press, ISBN 978-0-8232-2892-8.
 * The Vatican Mythographers, Ronald E. Pepin (2008), Fordham University Press, ISBN 978-0-8232-2892-8.

title: Phaethon


text:
Lemmer

Lemmer is a town in the municipality of De Fryske Marren, in the Dutch province of Friesland. Lemmer lies adjacent to the IJsselmeer and the Frisian Lakes and is one of Friesland's best-known surface water sports locations. Lemmer is a bustling lakeside resort in the summer months and attracts not only day-trippers from surrounding communities such as Emmeloord, Urk, and Joure, but also national and international tourists.

In 2017 the town had 10,225 inhabitants. Residents of Lemmer are called Lemsters. Due to its favorable location in relation to the Randstad, Lemmer attracts many new inhabitants from outside Friesland. As a result, the village has suffered little from the effects of rural flight. The hamlet of Brekkenpolder also belongs to the town, along with most of the hamlet of Tacozijl and a small part of the hamlet of Westend.

History
The original Lemsters settled where the rivers Rien and Zijlroede meet, though it remains unknown when they first did so. Lemmer appears in writing at the beginning of the fourteenth century, though it is mentioned as Lenna in the writings of the bishop of the diocese of Utrecht in 1228. A further link can probably be made with the name Lammerbroeke, which appears in 1165 as an earlier form of Lemsterhoek, a hamlet just west of present-day Lemmer, which was destroyed by the Hollanders around 1400. No rebuilding ensued, but the place and name are still known, especially among sailors and fishermen. Even older names have also survived, such as Lyamer.

Gradually, a settlement grew at the mouth of these inland waterways of the Zuiderzee, a prime place for merchants and artisans.

Lemmer was in a vulnerable position on the Zuiderzee and often fell under the influence of Holland. That happened in 1197, among other times, when Count William I had a castle built in Oosterzee to aid in his subjugation of the lord of Kuinre. In 1422, a castle was built in Lemmer by Duke John III of Bavaria-Straubing, who had been summoned by the Schieringers as patron of Friesland. Known as John "the Pitiless", he certainly would not have been a popular figure in Lemmer.

Duke Charles II of Guelders also interfered with Friesland. He had a blockhouse built in Lemmer in 1521, which housed a garrison. Two years later he handed it over to the Burgundians. What the castles and blockhouse looked like is unknown.

The Spaniards did not leave the village alone either. In 1581, during the Eighty Years' War, they conquered Lemmer, along with the city of Sloten. In the rampjaar of 1672, however, Prince-Bishop von Galen of Münster proved unable to occupy Lemmer as part of the Franco-Dutch War.

In 1799, British troops landed in Lemmer. The War of the Second Coalition had broken out between Great Britain and France, and the Dutch had become involved as "sister republic". British warships sailed the Zuiderzee and the cities of Enkhuizen, Medemblik and Stavoren were occupied. Soon afterwards, the large warships could be seen in Lemmer. The Lemster beurtman, with whom the enterprising Poppe Jans had made many a trip to Amsterdam, was overpowered near Urk and its passengers taken to Stavoren. Two British warships appeared in front of the port of Lemmer on 24 September. Captain James Boorder landed in a sloop - under cover of a white flag - to meet local authorities. A sudden storm forced him to spend the night at De Wildeman Inn. Three days later, he returned and claimed Lemmer for the British, including all ships and cargo. If refused, all of Lemmer would be shot to pieces.

Lemmer rejected their demand fearlessly. It had since been reinforced by 500 armed farmers from Het Bildt, who brought field guns with them. But the town could not withstand the fire of British fourteen, sixteen and eighteen-pound shots. An hour and a half after the attack was started, the flag was raised on the church tower as a sign of surrender. In various places in Friesland, patriots called for civilians and soldiers to liberate Lemmer. On 7 October, there were still 260 soldiers and marines in the town. To prevent an attack by water, they had used chains to block waterways.

Lemmer eventually became one of the most important fishing towns in the Netherlands, thanks in part to its fleet of 146 vessels. With the completion of the Zuiderzee Works between 1924 and 1968, fishery declined incrementally. Lemmer offers a central position in southern Friesland and northern Flevoland. Every year there is the Lemsterweek, a week of cultural events attracting around 85,000 people annually. The Lemsteraak, a traditional sailing ship, originates in Lemmer. De Groene Draeck, the royal yacht of Princess Beatrix, is a notable example of a Lemsteraak.

Notable people

 * Tjaard van Andringa de Kempenaer (1806–1870), politician
 * Hendrik van Rijgersma (1835–1877), physician and botanist
 * Aaltje Visser (1851–1871), in 1868 became first female pharmacist in the Netherlands
 * Sietze Douwes van Veen (1856–1924), theologian
 * Rienk van Veen (1865–1929), politician
 * Roelof Klein (1877–1960), rower
 * Jan Pen (1921–2010), economist and author
 * Pieter Verhoeff (1938–2019), film director
 * Rinze Visser (born 1938), politician
 * Sybe Schaap (born 1946), politician
 * Rintje Ritsma (born 1970), speed skater
 * Wieteke Cramer (born 1981), speed skater
 * Patrick Lip (born 1984), football player
 * Epke Zonderland (born 1986), gymnast

title: Lemmer


text:
Dušan Džamonja

Dušan Džamonja (Душан Џамоња, ; 31 January 1928 – 14 January 2009) was a Yugoslav sculptor of Serbian ancestry.

Education and career
Džamonja was born in 1928 in Strumica, Macedonia, former Vardar Banovina, Kingdom of Yugoslavia. In 1945, Džamonja began his studies at the Academy of Fine Arts in Zagreb under the professors Vanja Radauš, Frano Kršinić and Antun Augustinčić, all notable artists. In 1951, he graduated in the master class of professor Antun Augustinčić. He worked in the Krsinic workshop from 1951 until 1953 when he started his workshop in Zagreb.

In 1954 he held his first solo exhibition in the Salon ULUH in Zagreb. In 1970, he began the construction of his house and workshop in Vrsar, Istria according to his own design.

Artistic style
Džamonja drew primarily in chalk and used the technique of washed ink; however, he leaned towards sculpture early on. He used many materials, from bronze and iron to wood, glass, concrete and polyester in his sculptures.

Works
His works are in numerous public and private collections, museums, and galleries in the country and abroad. However, his most notable works are: He designed many monumental memorial complexes. These include: He designed several monuments to the Partisans and victims of concentration camps, most notably the Memorial Ossuary at Barletta, near Ban (completed 1970) and the Monument to the Battle of Kozara (completed 1972).
 * Dušan Džamonja's Park of Sculptures, near Vrsar, is a famous and cultural tourist attraction.
 * Monument to the Revolution (1967), World War II memorial in Podgarić, Croatia.
 * The Revolution Memorial in Podgarić, Croatia.
 * Monument to the Revolution on Mrakovica Mountain, Kozara National Park, Republika Srpska, Bosnia & Herzegovina.
 * The Memorial Ossuary to the Fallen Yugoslav Soldiers of the First and Second World Wars in southern Italy, Barletta.

Awards and accomplishments
He was a recipient of numerous awards and was an academician with both Croatian Academy of Sciences and Arts and Serbian Academy of Sciences and Arts. Below is a list of his awards:

 * 1958 Third and Fourth Award for conceptual design for Memorial in Jaijinci, Yugoslavia
 * 1959 One of six identical awards on international competition for Monument to the Victims of Dachau, Germany First Award for sculpture, Salon 59, Rijeka, Croatia
 * 1960 City of Zagreb Award, Croatia
 * 1961 Premio Morgan's Paint, Rimini, Italy First Award for sculpture, First Triennale of Modern Sculpture, Beograd, Yugoslavia
 * 1962 Fourth Award, National competition for Monument to Revolution in Slavonija, Kamensko, Croatia
 * 1963 Second Award, IV Biennale, San Marino, Italy
 * 1965 Gold Medal for artistic activity, Veruchio, Italy
 * 1968 Second Award on the competition for Monument to Victims of Fascism in Podhum, Rijeka, Croatia First Award for Memorial Ossuary in Barletta, Italy
 * 1970 First Award for Monument to Revolution, Kozara, Bosnia
 * 1974 Second Award for design of Memorial Ossuary, Roma, Italy First Award for conceptual design for Memorial to Victory and Fallen Fighters, Sremski Front 1944–45, Yugoslavia
 * 1977 Rembrandt Prize, Goethe Stiftung zu Basel, Switzerland
 * 1980 Second Award for conceptual design for Monument to Edvard Kardelj, Ljubljana, Slovenia
 * 1982 Second Award for National Competition for the Monument in Jajinci, Beograd, Yugoslavia
 * 1983 Third Award, Terceiro Biennale der Europäischen Grafik, Baden-Baden, Germany 1986 Award of the Jury, Biennale of Original Drawing, Rijeka, Croatia
 * 1990 Second Prize for the design of the Monument on Rhein - Main - Donau Kanal, Germany

title: Dušan Džamonja