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Symphony No. 7 (Shostakovich)

Dmitri Shostakovich's Symphony No. 7 in C major, Op. 60, nicknamed the Leningrad, was begun in Leningrad, completed in the city of Samara (then known as Kuybyshev) in December 1941, and premiered in that city on March 5, 1942. At first dedicated to Lenin, it was eventually submitted in honor of the besieged city of Leningrad, where it was first played under dire circumstances on August 9, 1942, nearly a year into the siege by German forces.

The performance was broadcast by loudspeaker throughout the city and to the German forces in a show of resilience and defiance. The Leningrad soon became popular in both the Soviet Union and the West as a symbol of resistance to fascism and totalitarianism, thanks in part to the composer's microfilming of the score in Samara and its clandestine delivery, via Tehran and Cairo, to New York, where Arturo Toscanini conducted a broadcast performance on July 19, 1942, and Time magazine placed Shostakovich on its cover. That popularity faded somewhat after 1945, but the work is still regarded as a major musical testament to the 27 million Soviet people who lost their lives in World War II, and it is often played at Leningrad Cemetery, where half a million victims of the 900-day Siege of Leningrad are buried.

Length and form
Shostakovich's longest symphony typically takes approximately 80 minutes to perform. The work has four movements. Shostakovich at first gave them titles —"War", "Reminiscence", "Home Expanses", and "Victory"—but he soon withdrew these and left the movements with their tempo markings alone.

I. Allegretto
The first movement is in a modified sonata form that the musicologist Hugh Ottaway described as "misplaced and misshapen". It begins with a broad theme played by the strings in unison, which is later echoed by the woodwinds. This is followed by a slower section played by flutes and strings, which segues into a 22-measure ostinato march that Shostakovich anticipated would be compared to Ravel's Boléro. At the end of the twelfth statement of the theme, the brass present an inverted version of the theme, which is developed into a climax. After this is a slower, two-part section follows, with a bassoon solo introduced by a solo clarinet; then a soft recapitulation of the opening theme played by the strings. The movement's brief coda repeats fragments of the "invasion" theme, played by a solo trumpet and percussion.

II. Moderato (poco allegretto)
The second movement is the symphony's shortest. Shostakovich referred to it as a "very lyrical scherzo". It begins in the latter vein with a quiet, playful theme in the strings. Moments later, a solo oboe plays a high variation on the tune. Other instruments continue with tunes of their own for several moments. Then, in the middle of the movement, woodwinds interject with a brash, shrill theme, followed by brass, then strings, then woodwinds. This eventually leads to a quick, majestic passage that is another ostinato, but different from the invasion theme in the first movement. The remaining third of the movement is much like the beginning of the second movement.

III. Adagio
The third movement begins with slow, sustained woodwind notes, accentuated by the horns. This simple theme cadences, and is followed by a declamatory theme played by violins. Winds and brass repeat the string theme, which the strings take over with another brief variation. This transitions directly into a faster passage. The violins return with the opening theme of the movement. This builds into a somewhat frantic passage underlaid by an ostinato in the lower strings. This leads into a loud development section. The passage ends quickly, with the woodwinds bringing back the original theme, again echoed by the strings, just as in the beginning. The final third of the movement continues in this vein.

IV. Allegro non troppo
The finale begins with a quiet melody in the strings. The high strings hold the high notes, and are joined briefly by woodwinds. The low strings suddenly begin a quick march-like tune that is answered by violins and the rest of the orchestra. A transitional passage follows, with three-note figures played by high strings, accented by slap pizzicati in the cellos and basses. A slower and sharply accented section follows, which leads to a development section, with themes from earlier movements. Woodwinds build on one of these until violins take over with another theme that builds to the climax. The symphony ends in the key of C major.

Instrumentation
The work is written for a large orchestra consisting of:

 * Woodwinds:

 * 3 Flutes (2nd doubling alto flute; 3rd doubling piccolo)
 * 2 Oboes
 * Cor anglais
 * 3 clarinets in B♭ and A (3rd doubling E-flat clarinet)
 * Bass clarinet
 * 2 Bassoons
 * Contrabassoon

 * Brass:
 * 8 Horns
 * 6 Trumpets
 * 6 Trombones
 * Tuba

 * Percussion:
 * 5 Timpani
 * Bass Drum
 * Snare Drum (at least one; two to three recommended)
 * Cymbals
 * Tam-Tam
 * Triangle
 * Tambourine
 * Xylophone

 * Keyboard
 * Piano

 * Strings:
 * 2 Harps; and a minimum of:
 * 16 1st Violins
 * 14 2nd Violins
 * 12 Violas
 * 10 Cellos
 * 8 Double basses

"Music about terror"
There are conflicting accounts as to when Shostakovich began the symphony. Officially, he was said to have composed it in response to the German invasion. In his memoirs, the violinist Rostislav Dubinsky said that Shostakovich had already completed the first movement a year earlier. According to statements attributed to the composer in Solomon Volkov's Testimony, he had planned the symphony before the German attack and that he had "other enemies of humanity" in mind when he composed the "invasion theme" of the first movement. In the book, he is also reported to have said that in dedicating the symphony to Leningrad, he had in mind not the city under German siege, but "that Stalin destroyed and Hitler merely finished off."

Shostakovich did not like talking about what he called "creative plans," preferring to announce his works once they were completed. He did like to say, "I think slowly but I write fast." In practice this meant that Shostakovich usually had a work completed in his head before he began writing it down. The Leningrad Symphony would not have made its announcement without the composer's consent, so Shostakovich likely had a clear idea at that time of what his Seventh Symphony would portray.

Soviet music critic Lev Lebedinsky, a friend of the composer's for many years, confirmed after the dawn of glasnost ("openness") under Mikhail Gorbachev that Shostakovich had conceived the Seventh Symphony before Hitler invaded Russia:

The famous theme in the first movement Shostakovich had first as the Stalin theme (which close friends of the composer knew). Right after the war started, the composer called it the anti-Hitler theme. Later Shostakovich referred to that "German" theme as the "theme of evil," which was absolutely true, since the theme was just as much anti-Hitler as it was anti-Stalin, even though the world music community fixed on only the first of the two definitions.

Another important witness was the daughter-in-law of Maxim Litvinov, the man who served as Soviet foreign minister before the war, then was dismissed by Stalin. She heard Shostakovich play the Seventh Symphony on the piano in a private home during the war. The guests later discussed the music:

And then Shostakovich said meditatively: of course, it's about fascism, but music, real music is never literally tied to a theme. Fascism is not simply National Socialism, and this is music about terror, slavery, and oppression of the spirit. Later, when Shostakovich got used to me and came to trust me, he said openly that the Seventh (and the Fifth as well) was not only about fascism but about our country and generally about all tyranny and totalitarianism.

While Shostakovich could speak like this only in a very narrow circle of friends, it did not stop him from hinting to the Soviet Press about a hidden agenda for the Seventh Symphony. He insisted, for instance, that the "central place" of the first movement was not the "invasion section" (the part journalists usually asked about first). Rather, the movement's core was the tragic music which followed the invasion section, which the composer described as "a funeral march or, rather, a requiem." He continued, "After the requiem comes an even more tragic episode. I do not know how to characterize that music. Perhaps it is a mother's tears or even the feeling that the sorrow is so great that there are no more tears left."

"Inquisition for blood"
The Nazi attack and consequent relaxing of Soviet censorship gave Shostakovich the hope of writing the work for a mass audience. Shostakovich's plan was for a single-movement symphony, including a chorus and a requiem-like passage for a vocal soloist, with a text taken from the Psalms of David. With the help of his best friend, critic Ivan Sollertinsky, who was knowledgeable about the Bible, he selected excerpts from the Ninth Psalm. The idea of individual suffering became interwoven in Shostakovich's mind with the Lord God's vengeance for the taking of innocent blood (Verse 12, New King James Version).

A public performance of a work with such a text would have been impossible before the German invasion. Now it was feasible, at least in theory, with the reference to "blood" applied at least officially to Hitler. With Stalin appealing to the Soviets' patriotic and religious sentiments, the authorities were no longer suppressing Orthodox themes or images.

"Invasion" theme
According to musicologist Ludmila Mikheyeva (who is also Ivan Sollertinsky's daughter-in-law) maintains that Shostakovich played the theme and its variations for his students before the war with Germany began.

While the word "invasion" was used by commentators in numerous articles and reviews, Shostakovich never used it to describe the episode or theme. "I did not set myself the goal of a naturalistic depiction of military action (the roar of planes, the crash of tanks, cannon fire). I did not compose so-called battle music. I wanted to convey the context of grim events."

Neither does the "invasion theme" itself sound threatening, at least at first. For its latter half, Shostakovich quotes Graf Danilo's entrance song, "Da geh' ich zu Maxim," from Franz Lehár's operetta The Merry Widow. The Merry Widow was also Hitler's favorite operetta, which played well with Soviet propagandists writing about the symphony. A version of this song may have already existed in Russia. Set to the words, "I'll go and see Maxim," it was reportedly sung jokingly in the Shostakovich household to the composer's son. Arthur Lourié called the theme a "trite, intentionally silly motif," adding, "This tune can be whistled by any Soviet man on the street. ..." Conductor Yevgeny Mravinsky echoed Lourié when he called it a generalized image of spreading stupidity and triteness.

Tensions not resolved
Two weeks before he planned to complete the symphony-requiem, Shostakovich played what he had finished to date for Sollertinsky, who was being evacuated with the Leningrad Philharmonic. While playing the music, Shostakovich realized that what he had written was not a complete work in itself but actually the beginning of something much larger, since the tensions brought up in the symphony-requiem had not been resolved. The question now became whether to stay in the city to continue working or to evacuate and resume the work after a long hiatus. By the time he decided to evacuate, it was too late—the Germans had cut off the rail link to the city. He and his family were trapped.

On 2 September, the day the Germans began bombarding the city, Shostakovich began the second movement. Working at high intensity in between sprints to the nearest bomb shelter, he completed it within two weeks. Within hours he accepted a request to speak on Radio Leningrad to address the city. Adopting a matter-of-fact tone, he attempted to assure his fellow Leningraders that for him it was business as usual:

An hour ago I finished the score of two movements of a large symphonic composition. If I succeed in carrying it off, if I manage to complete the third and fourth movements, then perhaps I'll be able to call it my Seventh Symphony. Why am I telling you this? So that the radio listeners who are listening to me now will know that life in our city is proceeding normally.

That evening he played what he had written so far to a small group of Leningrad musicians. After Shostakovich finished the first movement, there was a long silence. An air-raid warning sounded. No one moved. Everyone wanted to hear the piece again. The composer excused himself to take his family to the nearest air-raid shelter. When he returned, he repeated the first movement, which then was followed by the next movement for his guests. Their reaction encouraged him to start that night on the Adagio. He completed this movement on 29 September in the city. Shostakovich and his family were then evacuated to Moscow on 1 October 1941. They moved to Kuybyshev (now Samara) on 22 October, where the symphony was finally completed.

Premières
The world première was held in Kuybyshev on 5 March 1942. The Bolshoi Theatre Orchestra, conducted by Samuil Samosud, gave a rousing performance that was broadcast across the Soviet Union and later in the West as well. The Moscow première took place on 29 March 1942 in the Columned Hall of the House of Unions, by a joined orchestra of the Bolshoi Orchestra and the All-Union Radio Orchestra.

The microfilmed score was flown to Tehran and travelled to the West in April 1942. The symphony received its broadcast première in Europe by Sir Henry J. Wood and the London Philharmonic Orchestra on 22 June 1942 in London, and concert première at a Proms concert at the Royal Albert Hall. The première in North America took place in New York City on 19 July 1942, by the NBC Symphony Orchestra under Arturo Toscanini in a concert broadcast nationwide on the NBC radio network. This performance was originally released on LP by RCA Victor in 1967.

Much had to be done before the Leningrad première could take place. The Leningrad Radio Orchestra under Karl Eliasberg was the only remaining symphonic ensemble. The orchestra had survived—barely—but it had not been playing and musical broadcasts had ceased. Music was not considered a priority by Party officials. Political appeals took a significant part of the broadcast time. Even then, there were hours of silence because of the lack of agitators. As for the city itself, Leningrad surrounded by the Nazis had become a living hell, with eyewitness reports of people who had died of cold and starvation lying in doorways in stairwells. "They lay there because people dropped them there, the way newborn infants used to be left. Janitors swept them away in the morning like rubbish. Funerals, graves, coffins were long forgotten. It was a flood of death that could not be managed. Entire families vanished, entire apartments with their collective families. Houses, streets and neighborhoods vanished."

The official hiatus on musical broadcasts had to end before the symphony could be performed. This happened quickly, with a complete about-face by Party authorities. Next was reforming the orchestra. Only 15 members were still available; the others had either starved to death or left to fight the enemy. Posters went up, requesting all Leningrad musicians to report to the Radio Committee. Efforts were also made to seek out those musicians who could not come. "My God, how thin many of them were," one of the organizers of the performance remembered. "How those people livened up when we started to ferret them out of their dark apartments. We were moved to tears when they brought out their concert clothes, their violins and cellos and flutes, and rehearsals began under the icy canopy of the studio." Orchestral players were given additional rations.

Before they tackled Shostakovich's work, Eliasberg had the players go through pieces from the standard repertoire—Beethoven, Tchaikovsky, Rimsky-Korsakov—which they also performed for broadcast. Because the city was still blockaded at the time, the score was flown by night in early July for rehearsal. A team of copyists worked for days to prepare the parts despite shortages of materials. At rehearsal, some musicians protested, not wanting to waste their little strength on an intricate and not very accessible work. Eliasberg threatened to hold back the additional rations, quelling any dissent.

The concert was given on 9 August 1942. Whether this date was chosen intentionally, it was the day Hitler had chosen previously to celebrate the fall of Leningrad with a lavish banquet at the Astoria Hotel. Loudspeakers broadcast the performance throughout the city as well as to the German forces in a move of psychological warfare. The Soviet commander of the Leningrad front, General Govorov, ordered a bombardment of German artillery positions in advance to ensure their silence during the performance of the symphony; a special operation, code-named "Squall," was executed for precisely this purpose. Three thousand high-caliber shells were lobbed onto the enemy.

The symphony was not premiered in Germany until after the war. It took place in Berlin on 22 December 1946, with Sergiu Celibidache conducting the Berlin Philharmonic.

In the Soviet Union
At the first hearings of the Seventh, most listeners wept. This was true even when Shostakovich played the piece on the piano for friends. The requiem pages of the first movement made a special impression, much as the Largo of his Fifth Symphony had done. Some scholars believe that, as he had done in the Fifth, Shostakovich gave his audience a chance to express thoughts and suffering that, in the context of the Great Purges, had remained hidden and accumulated over many years. Because these previously hidden emotions were expressed with such power and passion, the Seventh became a major public event. Alexei Tolstoy, who played a pivotal role in the life of the Fifth Symphony, was the first to note the significance of the spontaneous reaction to the Seventh. After hearing an orchestral rehearsal of it, Tolstoy wrote a highly positive review of the work for Pravda.

Tolstoy's actions became instrumental in the life of the Seventh. Tolstoy's interpretation of the Seventh, in fact, lined up with Stalin's stated support of nationalism and patriotism. At least as important was that without the help of the United States and the United Kingdom, the Soviet Union would not overcome Nazi Germany. The Soviets had been seen not long ago in the Western press as godless villains and barbarians. Now the Americans and British had to believe that the Soviet Union was helping protect the values those countries cherished from fascism for the Soviets to continue receiving those countries' support.

The Seventh was performed and broadcast all over the Soviet Union. Magazines and newspapers continued printing stories about it. The piece continued having enormous success. People still wept at concerts. They often rose from their seats during the finale and applauded thunderously afterwards.

In the West
Shostakovich had been known in the West before the war. When news of the Seventh quickly spread in the British and American press, the composer's popularity soared. During the war, the work was very popular both in the West and in the Soviet Union as the embodiment of the fighting Russian spirit. The American premiere, in July 1942, was by the NBC Symphony Orchestra conducted by Arturo Toscanini, broadcast on radio by NBC and preserved on transcription discs; RCA issued the recording on LP in 1967 and later reissued it on CD. The symphony was played 62 times in the United States in the 1942–43 season.

Shostakovich's contemporaries were dismayed, even angered by its lack of subtlety, crudity, and overblown dramatics. Virgil Thomson wrote that, "It seems to have been written for the slow-witted, the not very musical and the distracted," adding that if Shostakovich continued writing in this manner, it might "eventually disqualify him for consideration as a serious composer. Sergei Rachmaninoff's only comment after hearing the American premiere on the radio was a grim "Well, and now let's have some tea."

Disdainful remarks about the symphony being nothing more than a bombastic accompaniment for a bad war movie were voiced immediately after the London and New York premieres. However, in the cultural and political ear of the period, they had no effect. The American public-relations machine had joined the Soviet propaganda arm in portraying the Seventh as a symbol of cooperation and spiritual unity of both peoples in their fight against the Nazis.

Decline in appreciation
Once the novelty of the Seventh Symphony had worn away, audience interest in the West quickly dissipated. One reason may have been the work's length. At about 70-80 minutes, it was longer than any previous Shostakovich symphony. While it could be argued that he could have made the symphony 30 minutes shorter by condensing his message, the long passages of sparsely accompanied solos for wind instruments present listeners with the opportunity to study them, appreciate the inner character of the music as each instrument soliloquises on a given mood. To utilize this to the extent that Shostakovich did, combined with a wordless narrative style of mood-painting, necessitated an expansive time frame. This extended time span was criticized by some, including B.H. Haggin, who described the symphony as "pretentious in style as in length". Hearing it only in the context of wartime propaganda, Western critics dismissed the symphony as a series of bombastic platitudes, and as such not worth serious consideration. The critic Ernest Newman famously remarked that, to find its place on the musical map, one should look along the seventieth degree of longitude and the last degree of platitude.

The Seventh Symphony was actually a convenient target from the start for Western critics. It was considered a strange, ungainly hybrid of Mahler and Stravinsky—too long, too broad-gestured in narrative and overly emotional in tone. Shostakovich placed the work's emphasis on the effect of musical images rather than on symphonic coherence. Those images—stylized fanfares, march rhythms, ostinati, folkloric themes and pastoral episodes—could easily be considered models of socialist realism. Because of his emphasis on these images, Shostakovich can be said to have allowed the work's message to outweigh its craftsmanship. For all these reasons, the music was considered both naïve and calculated in the West.

Soviet audiences did not come to the music with the same expectations as Western listeners. What mattered to Soviet listeners was the message and its serious moral content. The Seventh maintained its position with that audience because its content was so momentous. Nevertheless, as early as 1943 Soviet critics claimed the "exultation" of the Seventh's finale was unconvincing, pointing out that the part of the symphony they found most effective—the march in the opening movement—represented not the defending Red Army but the Nazi invaders. They believed that Shostakovich's pessimism had short-circuited what might have otherwise been a masterpiece in the vein of the 1812 Overture. The tragic mood of Shostakovich's next symphony, the Eighth, intensified the critical discord. Later, negative views from the West prejudiced the thinking of the Soviet elite toward the Seventh.

Re-evaluation
When Testimony was published in the West in 1979, Shostakovich's overall anti-Stalinist tone and specific comments about the anti-totalitarian content hidden in the Fifth, Seventh and Eleventh Symphonies were held suspect initially. They were in some ways a complete about-face from the comments the West had received over the years, many times in the composer's words. Questions also arose over Solomon Volkov's role—to what degree he was a compiler of previously written material, a transcriber of the composer's actual words from interviews, or an author essentially putting words into the composer's mouth.

Two things happened. First was the composer's son Maxim's view on the accuracy of Testimony. He initially stated to the Sunday Times, after his defection to the West in 1981, that it was a book "about my father, not by him". Later, though, he reversed his position. In a BBC television interview with composer Michael Berkeley on 27 September 1986, Maxim admitted, "It's true. It's accurate. ... The basis of the book is correct." Second, with the dawning of glasnost, those who were still alive and had known Shostakovich when he had written the Leningrad Symphony could now share their own stories with impunity. By doing so, they helped corroborate what had appeared in Testimony, allowing the West to reevaluate the symphony in light of their statements.

In recent years, the Seventh Symphony has again become more popular, along with the rest of Shostakovich's work.

Legacy
It has been alleged that Béla Bartók quoted the march theme of the first movement in the "Intermezzo interrotto" of his Concerto for Orchestra in response to the Hungarian composer's frustration about the positive reception of the piece. The quotation is clearly the "invasion" theme, and Bartók interjects his very romantic and lyrical melody in the movement with a much slower interpretation of Shostakovich's invasion ostinato. The resemblance has been variously interpreted by later commentators as an accusation of tastelessness, as a commentary on the symphony's over-popularity in Bartók's eyes, and as an acknowledgement of the position of the artist in a totalitarian society. However, it is much more likely that Bartók (as his pianist friend György Sándor has said) was, like Shostakovich, parodying the very popular Lehár theme directly. This view has been confirmed by Bartók's son Peter, in his book "My father": Bartók had respect and admiration for Shostakovich's works, and was mocking Lehár's music and behind it the Nazis.

Janet Sobel's painting "Music" was inspired by the symphony. She told Sidney Janis that the painting was her impression of the music that Shostakovich created in wartime: "Shostakovich has captured the power of the Russian people and by his music has given them strength. His music has so stimulated me, and I have tried to present these feelings in my picture."

In the Ken Russell film Billion Dollar Brain (1967), music from the Leningrad Symphony accompanies the failed military invasion of the then Latvian Soviet Republic by Texas millionaire Midwinter (a pivotal scene reflecting the Battle of the Neva from Aleksandr Nevsky). Incidentally, earlier on, Michael Caine as Harry Palmer attends the end of a concert of what is claimed to be the Leningrad Symphony, whereas in fact the finale from Shostakovich's Eleventh Symphony is heard.

American rock band Fall Out Boy also used elements of Symphony No. 7 in their song "The Phoenix" from their 2013 album Save Rock and Roll. The same sample had been used by the German hip hop artist Peter Fox in his song "Alles neu" in 2008, and by Plan B in "Ill Manors" in 2012.

Film version
On 31 January 2005, a film version of the Symphony premiered in St. Petersburg, with the St. Petersburg Academic Symphony Orchestra, conducted by Shostakovich's son Maxim Shostakovich, accompanying a film directed by Georgy Paradzhanov, constructed from documentary materials, including film of the siege of Leningrad. Many survivors of the siege were guests at the performance. The composer's widow Irina acted as script consultant to the project and its musical advisors included Rudolf Barshai and Boris Tishchenko. The film and performance were repeated, with the same artists, in London on 9 May 2005 at the Royal Albert Hall.

title: Symphony No. 7 (Shostakovich)


text:
Undine (novella)

Undine is a fairytale novella () by Friedrich de la Motte Fouqué in which Undine, a water spirit, marries a knight named Huldbrand in order to gain a soul. Published in 1811, it is an early German romance, which has been translated into English and other languages.

Plot summary
A knight named Huldbrand comes across a fisherman's hut in the forest, and is welcomed in by the fisherman and his wife. He also meets their capricious eighteen-year-old foster daughter, Undine. The fisherman explains that years ago, their young daughter was lost in the lake and apparently drowned, but that same day, Undine appeared on their doorstep. Since then, they have raised her as their own.

Undine asks Huldbrand what he’s doing in the forest. He explains that he was participating in a tournament when he met Bertalda, a duke's foster daughter. As they flirted, she promised to give him her glove if he would explore the haunted forest. He did so, encountering strange and threatening spirits until he reached the fisherman’s home.

A storm arrives and a flood surrounds the house, stranding the group. During their time together, Huldbrand and Undine fall in love, although she continues to behave erratically and can seemingly control the weather. An elderly priest, Father Heilmann, arrives after being washed overboard from a ferry. Huldbrand suggests that the priest marry him and Undine, and they hold the ceremony immediately.

The morning after the wedding, Undine suddenly acts like a completely different person, kind and gentle. She explains to Huldbrand that elemental beings exist and she is a water spirit. Her species does not have immortal souls or any sense of morals, but can gain them by marrying humans. She was sent to live among humans by her parents, who hoped she would earn a soul in this way, and with her marriage to Huldbrand she’s accomplished this. She fears that Huldbrand will leave now that he knows what she is, but he swears never to abandon her.

With the flood receding, Huldbrand and Undine depart for his home. On the way they encounter Kuhleborn, a shapeshifting water spirit and Undine's uncle. She is now frightened of him and begs him to leave, and Huldbrand tries to attack him, only for him to vanish into a waterfall.

In the city, everyone welcomes Huldbrand back. Bertalda is deeply disappointed when she learns that he is now married, but becomes friends with Undine. One day, Kuhleborn visits Undine briefly, warning her of Bertalda. She rejects his warning but reveals at dinner that he told her who Bertalda's true parents areUndine's own foster parents, the fisherman and his wife, whom she has brought to meet her. Bertalda is the child who they believed had drowned. Instead of the joyful reunion Undine expects, Bertalda feels humiliated to realize that she was born a peasant. She publicly reviles them and calls Undine a witch, but her identity is proven by her birthmarks.

Bertalda’s behavior causes both her foster parents and biological parents to disown her. Destitute, she begs Undine for forgiveness. Undine immediately takes her into her home, but Bertalda remains fearful of her, and Huldbrand's attraction to Bertalda resurfaces, leading to tension.

Undine orders the servants to seal up a fountain in their castle’s courtyard. Bertalda, who uses the water for her complexion, argues with her and complains to Huldbrand. He harshly demands an explanation. Undine explains that she is protecting their home from the malicious Kuhleborn, who would be able to enter through the fountain. She then asks Huldbrand never to speak angrily to her while they are near water, or her relatives will take her away. He contritely agrees.

Bertalda flees the castle in shame, and Huldbrand goes to rescue her. Kuhleborn, in different forms, torments and tricks the pair. He is about to drown them with a flood when Undine arrives, calms the waters, and carries them to safety.

The three live in peace for a while, until they decide to take a trip along the Danube to Vienna. While on the river, Kuhleborn continually torments them with storms, waves and frightening apparitions. The sailors and servants become suspicious of Undine as she magically stops these attacks, and Huldbrand begins to resent her. When a water spirit steals Bertalda's golden necklace, Undine immediately offers her a coral necklace to replace it. Seeing this as a sign that Undine is colluding with the spirits, Huldbrand throws the coral necklace overboard and accuses her of being a sorceress. As she predicted, Undine disappears into the river, but not before sadly warning him to remain true to her.

Huldbrand grieves her loss, but as time goes on, decides to marry Bertalda. He even asks Father Heilmann to perform the wedding, but he refuses. The priest has received messages from Undine and cautions Huldbrand against breaking his wedding vows by taking another wife while Undine still lives. Huldbrand himself dreams of Undine and Kuhleborn talking beneath the sea, saying that if Huldbrand marries another, Undine will be compelled to kill him. Undine says that she has protected the castle by sealing the fountain, so no water spirits including herself can go there, but Kuhleborn points out that Huldbrand will be doomed if he ever unseals the fountain or leaves the castle.

Despite these warnings, Huldbrand continues with the wedding. Immediately after the ceremony, Bertalda wishes for water from the sealed fountain. The servants uncover the fountain, only for the veiled and weeping Undine to rise from it. She enters the castle and kisses Huldbrand, drowning him with her tears. She appears once more during his funeral and transforms into a stream encircling his grave, so that she is eternally embracing him.

Inspirations
The story was inspired by the works of the occultist Paracelsus, who coined the term "undine" (from Lithuanian language word Vandene (water=vanduo)). Paracelsus's Book on Nymphs states that undines can gain an immortal soul by marrying a human. It mentions the French legend of Melusine, in which a water-spirit marries a knight on condition that he shall never see her on Saturdays, when she resumes her mermaid shape, and the German story of Peter von Staufenberg, in which a fairy kills her human lover when he marries another woman.

Fouqué may have been more directly influenced by the Comte de Gabalis, a Rosicrucian novel which adapted Paracelsus's ideas. Another model was probably the 1798 opera Das Donauweibchen, whichlike Undineis set around the Danube and features a love triangle between a man, a woman, and a water nymph.

Success and influence
During the nineteenth century the book was very popular and was, according to The Times in 1843, "a book which, of all others, if you ask for it at a foreign library, you are sure to find engaged".

An unabridged English translation of the story by William Leonard Courtney and illustrated by Arthur Rackham was published in 1909. George MacDonald thought Undine "the most beautiful" of all fairy stories, while Lafcadio Hearn referred to Undine as a "fine German story" in his essay "The Value of the Supernatural in Fiction". The references to Undine in such works as Charlotte Mary Yonge's The Daisy Chain and Louisa Alcott's Little Women show that it was one of the best loved of all books for many 19th-century children.

The first adaptation of Undine was E. T. A. Hoffmann's opera in 1816. It was a collaboration between Hoffmann, who composed the score, and Friedrich de la Motte Fouqué who adapted his own work into a libretto. The opera proved highly successful, and Carl Maria von Weber praised it in his review as the kind of composition which the German desires: "an art work complete in itself, in which partial contributions of the related and collaborating arts blend together, disappear, and, in disappearing, somehow form a new world".

In the 1830s, the novella was translated into Russian dactylic hexameter verse by the Romantic poet Vasily Zhukovsky. This verse translation became a classic in its own right and later provided the basis for the libretto to Tchaikovsky's operatic adaptation. The novella has since inspired numerous similar adaptions in various genres and traditions.

Hans Christian Andersen was influenced by the portrayal of souls in Undine while writing The Little Mermaid. In one of his letters he stated, "I have not, like de la Motte Fouqué in Undine, allowed the mermaid's acquiring of an immortal soul to depend upon an alien creature, upon the love of a human being. I'm sure that's wrong! It would depend rather much on chance, wouldn't it? I won't accept that sort of thing in this world. I have permitted my mermaid to follow a more natural, more divine path."

The breathing disorder known as central hypoventilation syndrome, when first identified in 1962, was nicknamed "Ondine's curse." This was based on a scene in Jean Giraudoux's 1938 play adaptation, Ondine, in which the dying love interest describes his difficulty breathing. Medical literature frequently misunderstood the play and thus confused the symptoms of the disorder, leading to criticism of the name.

Opera

 * Undine, E. T. A. Hoffmann, 1816
 * Undine, Christian Friedrich Johann Girschner, 1830
 * Undine, Albert Lortzing, 1845
 * Undina, Alexei Lvov, 1846
 * Undina, Pyotr Tchaikovsky, 1869
 * Rusalka, Antonín Dvořák, 1901 (incorporating elements from Hans Christian Andersen's Little Mermaid)
 * Undine (Prokofiev), unfinished opera by Sergei Prokofiev, 1904–1907

Music

 * Sonata Undine, a Romantic sonata for flute and piano (in E-minor) by Carl Reinecke, 1882
 * "Ondine", a movement in Gaspard de la nuit by Maurice Ravel, 1908, channeling the poetic interpretation by Aloysius Bertrand (see "Literature")
 * "Ondine", a piano prelude by Claude Debussy, 1911–1913
 * "Undine", track 9 from the album Once I was an Eagle by Laura Marling, 2013
 * "Watuaga Lake Song", track 3 from the album "Tennessee Love Songs" by Jonathan I Bogan, 2023, channelling a translation of Jean Giraudoux's Ondine
 * "Undine", track 8 from the album The Waeve by The Waeve, 2023

Ballet

 * Ondine, composed by Cesare Pugni and choreographed by Jules Perrot, 1843
 * Coralia, or the Inconstant Knight, choreographed by Paul Taglioni, 1847
 * Undine, composed by Hans Werner Henze and choreographed by Frederick Ashton, 1958

Film

 * Undine, a 1916 silent film
 * The Loves of Ondine, a film by Andy Warhol
 * Ondine, a 2009 film by Neil Jordan
 * Undine, a 2020 film by Christian Petzold

Literature

 * Ondine, ou la Nymphe des Eaux, a play by René-Charles Guilbert de Pixerécourt, 1830
 * Undina, a verse translation by Vasily Zhukovsky, 1837
 * Ondine, a prose poem by Aloysius Bertrand, 1842
 * Undine, an autobiographical book by Olive Schreiner, 1928
 * Ondine, a play by Jean Giraudoux, 1939
 * Undine geht, by Ingeborg Bachmann
 * Haunted Waters, an adaptation for teen readers, by Mary Pope Osborne, 1994 (reissued 2006)

Art
John William Waterhouse - Undine.JPG, 1872]]
 * Undine and Huldbrand, a painting by Henry Fuseli, 1819–1822
 * Undine, a painting by Moritz Retzsch, 1830
 * Undine, a painting by John William Waterhouse, 1872
 * Ondine, a painting by Paul Gauguin, 1889
 * Undine, a painting by Henri Fantin-Latour
 * Undine, a painting by Daniel Maclise
 * Undine, a painting by J. M. W. Turner
 * Undine, illustrations by Arthur Rackham
 * Ondine de Spa, sculpture in Pouhon Pierre-le-Grand, Spa, Belgium
 * Undine with harp, a sculpture by Ludwig Michael von Schwanthaler, 1855

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

title: Undine (novella)


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London Knights

The London Knights are a junior ice hockey team from London, Ontario, Canada, playing in the Ontario Hockey League, one of the leagues of the Canadian Hockey League. The Knights started out in 1965 as the London Nationals but changed to their current name in 1968. The Knights have won two Memorial Cup championships.

Early days
The London Nationals were granted a franchise in the OHA for the 1965–66 season under the ownership of the London Gardens arena, with the Toronto Maple Leafs controlling the team's players.

After three seasons, direct NHL sponsorship of junior teams ended. The team and Gardens was sold to businessman Howard Darwin for $500,000, who renamed the team to the Knights and changed the colours to green and gold.

1968–1986: the Darwin era
In 1968, businessman Howard Darwin bought the London Nationals (he also owned the Ottawa 67's) as the era of NHL sponsorship of junior hockey ended. Darwin wanted to give a fresh look to the team, and so held a contest to rename the team.

1986–1994: new owners, new dawn
In 1986 Howard Darwin sold the Knights and the arena to Paris, Ontario businessmen Jack Robillard, Al Martin and Bob Willson.

1994–2000: "Knightmare" and redemption
In 1994 the Knights were sold to St. Thomas, Ontario, real estate developer Doug Tarry Sr. He died before the team had played a game under his ownership, and the team was inherited by his son, Doug Tarry Jr. Upon taking command, Tarry carried out further renovations on the Gardens including a name change to the "London Ice House." He also alienated a fair portion of the team's fan base by changing the team's colours from green, gold and black to eggplant and teal, and changing the logo to a cartoon logo instantly and derisively nicknamed "Spiderknight".

2000–present: the Hunter era
In 2000, former NHL players Dale Hunter, Mark Hunter, and Basil McRae bought the Knights from Doug Tarry Jr.

The 2003–04 OHL season would mark the beginning of a remarkable dynasty. The Knights had the best regular season record in the CHL and set an OHL record with 110 points, but lost the OHL Western Conference final to the Guelph Storm. In the 2004–05 season, the Knights set a new CHL record by going 31 games in a row without a loss (29–0–2). The Knights finished the season with 120 points (59 wins, 7 losses, 2 ties), breaking their own OHL record set the previous season. In the playoffs, the Knights started by sweeping two best-of-seven series against the Guelph Storm and Windsor Spitfires. In the Western Conference final, the Knights defeated the Kitchener Rangers 4–1 to win the Wayne Gretzky Trophy. In the OHL finals against the Ottawa 67's, the Knights won the series 4–1 to win their first J. Ross Robertson Cup, ending the longest championship drought in the CHL. The London Knights qualified for the 2005 Memorial Cup both as OHL Champion and the tournament host. In the tournament round robin, they defeated the Rimouski Océanic 4–3, the Kelowna Rockets 4–2, and the Ottawa 67's 5–2. This earned the Knights a bye into the championship game in which they defeated Rimouski 4–0 to win their first Memorial Cup. In 2018, the 2004–05 London Knights were named the CHL's "Team of the Century".

Dale Hunter announced on May 14, 2012, he would not return to coach the Capitals in the 2012–13 season, choosing instead to return to the London Knights.

The Knights capped their OHL season with a game seven win over the Barrie Colts as Bo Horvat scored the game-winning goal in the last second of the third period to capture the Knights' second consecutive J. Ross Robertson Cup.

London finished the 2013–14 season third in the OHL with 103 regular season points. However, the only two teams above them were their division opponents, the Guelph Storm and Erie Otters, thus denying the Knights a third straight division title. After sweeping the Windsor Spitfires in the first round the Knights were eliminated by the Storm in five games. Nevertheless, the Knights earned a berth in the 2014 Memorial Cup, their third straight, by virtue of being selected to host the tournament the day after winning the OHL championship the year before.

On October 21, 2014, Mark Hunter resigned as Knights general manager after being appointed director of player personnel for the Toronto Maple Leafs.

The Knights entered the 2016 Memorial Cup as favourites due to their impressive winning streak and did not disappoint, dominating the round robin and outscoring their opponents by a combined score of 20–5. In the championship game, the Knights faced off against the CHL number-one ranked Rouyn-Noranda Huskies. The Huskies pushed the Knights to the limit, carrying a 2–1 lead late into the third period before Christian Dvorak scored with 4:11 remaining to force overtime, where a goal by Matthew Tkachuk earned the Knights their 17th-straight win and second Memorial Cup championship.

On July 6, 2016, McRae stepped down as general manager of the London Knights to become the director of player personnel for the Columbus Blue Jackets. He was replaced by former assistant general manager and former assistant coach of the London Knights, Rob Simpson.

The Knights subsequently finished the 2016–17 OHL season third in the Midwest. In the playoffs, they defeated the Windsor Spitfires in seven games before falling to the Erie Otters in seven games in the second round.

Having resigned from his role with the Toronto Maple Leafs, Mark Hunter returned as general manager of the London Knights on August 10, 2018, with Rob Simpson returning to his former role as assistant general manager.

Championships
The London Knights have won the Memorial Cup tournament two times, won the J. Ross Robertson Cup five times, won the Western Conference eight times, and have won sixteen division titles.

Memorial Cup (CHL champions)
 * 2004–05 Champions vs. Rimouski Océanic
 * 2011–12 Finalists vs. Shawinigan Cataractes
 * 2012–13 Finished 3rd place
 * 2013–14 Finished 4th place
 * 2015–16 Champions vs. Rouyn-Noranda Huskies
 * 2023–24 Finalists vs. Saginaw Spirit

J. Ross Robertson Cup (OHL champions)
 * 1976–77 Lost to Ottawa 67's
 * 1998–99 Lost to Belleville Bulls
 * 2004–05 Champions vs. Ottawa 67's
 * 2005–06 Lost to Peterborough Petes
 * 2011–12 Champions vs. Niagara IceDogs
 * 2012–13 Champions vs. Barrie Colts
 * 2015–16 Champions vs. Niagara IceDogs
 * 2022–23 Lost to Peterborough Petes
 * 2023–24 Champions vs. Oshawa Generals

Hamilton Spectator Trophy (Most points in regular reason)
 * 2003–04 – 110 points – 53–11–2–2
 * 2004–05 – 120 points – 59–7–2–0
 * 2005–06 – 102 points – 49–15–1–3
 * 2006–07 – 104 points – 50–14–1–3
 * 2011–12 – 99 points – 49–18–0–1
 * 2012–13 – 105 points – 50–13–2–3
 * 2023-24 - 104 points — 50-14-1-3

Wayne Gretzky Trophy (Western Conference champions)
 * 1998–99
 * 2004–05
 * 2005–06
 * 2011–12
 * 2012–13
 * 2015–16
 * 2022-23
 * 2023-24

Division trophies
 * 1977–78 – Emms Division
 * 1989–90 – Emms Division
 * 1997–98 – West Division
 * 2003–04 – Midwest Division
 * 2004–05 – Midwest Division
 * 2005–06 – Midwest Division
 * 2006–07 – Midwest Division
 * 2008–09 – Midwest Division
 * 2009–10 – Midwest Division
 * 2011–12 – Midwest Division
 * 2012–13 – Midwest Division
 * 2018–19 – Midwest Division
 * 2019–20 – Midwest Division
 * 2021–22 – Midwest Division
 * 2022–23 – Midwest Division
 * 2023–24 – Midwest Division

Canadian Hockey League
CHL Player of the Year
 * 1981–82 – Dave Simpson
 * 1993–94 – Jason Allison
 * 2015–16 – Mitch Marner

Ed Chynoweth Trophy Top Scorer at the Memorial Cup
 * 2016 - Mitch Marner

George Parsons Trophy Most Sportsmanlike Player at the Memorial Cup
 * 2013 – Bo Horvat

Hap Emms Memorial Trophy Outstanding Goaltender at the Memorial Cup
 * 2005 – Adam Dennis
 * 2016 - Tyler Parsons

Stafford Smythe Memorial Trophy Most Valuable Player at the Memorial Cup
 * 2005 – Corey Perry
 * 2016 – Mitch Marner

Brian Kilrea Coach of the Year Award
 * 2003–04 – Dale Hunter

CHL Executive of the Year
 * 1997–98 – Paul McIntosh

CHL Defenceman of the Year
 * 2004–05 – Danny Syvret

CHL Goaltender of the Year
 * 2011–12 – Michael Houser

CHL Humanitarian of the Year
 * 1997–98 – Jason Metcalfe

CHL Rookie of the Year
 * 2006–07 – Patrick Kane

CHL Top Draft Prospect Award
 * 2006–07 – Patrick Kane
 * 2008–09 – John Tavares

CHL Top Scorer Award
 * 1993–94 – Jason Allison
 * 2006–07 – Patrick Kane

Ontario Hockey League
Bobby Smith Trophy Scholastic Player of the Year
 * 1981–82 – Dave Simpson

Dan Snyder Memorial Trophy Humanitarian of the Year
 * 1998 – Jason Metcalfe

Dave Pinkney Trophy Lowest Team G.A.A.
 * 2003–04 – Ryan MacDonald & Gerald Coleman
 * 2004–05 – Adam Dennis & Gerald Coleman
 * 2015–16 – Brendan Burke & Tyler Parsons

Eddie Powers Memorial Trophy Top Scorer
 * 1981–82 – Dave Simpson
 * 1993–94 – Jason Allison
 * 2004–05 – Corey Perry
 * 2005–06 – Rob Schremp
 * 2006–07 – Patrick Kane
 * 2008–09 – John Tavares

Emms Family Award Rookie of the Year
 * 1972–73 – Dennis Maruk
 * 1987–88 – Rick Corriveau
 * 2000–01 – Rick Nash
 * 2006–07 – Patrick Kane

F.W. "Dinty" Moore Trophy Lowest G.A.A. among Rookie Goaltenders
 * 1976–77 – Barry Heard
 * 1989–90 – Sean Basilio
 * 2003–04 – Ryan MacDonald
 * 2017–18 – Jordan Kooy
 * 2019–20 – Brett Brochu
 * 2022–23 – Zach Bowen

Jack Ferguson Award Top Draft Pick
 * 1996 – Rico Fata

Jim Mahon Memorial Trophy Highest Scoring Right Winger
 * 1972–73 – Dennis Ververgaert
 * 1977–78 – Dino Ciccarelli
 * 1997–98 – Maxim Spiridonov
 * 2003–04 – Corey Perry
 * 2004–05 – Corey Perry
 * 2005–06 – Dave Bolland
 * 2006–07 – Patrick Kane
 * 2012–13 – Seth Griffith
 * 2014–15 – Mitch Marner

Matt Leyden Trophy Coach of the Year
 * 1976–77 – Bill Long
 * 1992–93 – Gary Agnew
 * 1997–98 – Gary Agnew
 * 2003–04 – Dale Hunter
 * 2004–05 – Dale Hunter
 * 2009–10 – Dale Hunter

Max Kaminsky Trophy Most Outstanding Defenseman
 * 1975–76 – Rick Green
 * 1977–78 – Brad Marsh and Rob Ramage
 * 1984–85 – Bob Halkidis
 * 1999–00 – John Erskine
 * 2004–05 – Danny Syvret
 * 2018–19 – Evan Bouchard

Mickey Renaud Captain's Trophy Team Captain that Best Exemplifies Leadership
 * 2014-15 – Max Domi

OHL Executive of the Year
 * 1997–98 – Paul McIntosh
 * 2003–04 – Mark Hunter

OHL Goaltender of the Year
 * 2005–06 – Adam Dennis
 * 2006–07 – Steve Mason
 * 2011–12 – Michael Houser

Red Tilson Trophy Most Outstanding Player
 * 1974–75 – Dennis Maruk
 * 1981–82 – Dave Simpson
 * 1993–94 – Jason Allison
 * 2004–05 – Corey Perry
 * 2011–12 – Michael Houser
 * 2015–16 – Mitch Marner
 * 2023-24 - Easton Cowan

Roger Neilson Memorial Award Top Academic College/University Player
 * 2007–08 – Scott Aarssen

Wayne Gretzky 99 Award Playoffs MVP
 * 2005 – Corey Perry
 * 2012 – Austin Watson
 * 2013 – Bo Horvat
 * 2016 – Mitch Marner

William Hanley Trophy Most Sportsmanlike Player
 * 1981–82 – Dave Simpson
 * 1993–94 – Jason Allison

Coaches
The London Nationals were coached by Jack McIntyre for the 1965–66 season. For their second and third seasons from 1966 to 1968, the Nationals were coached by Hockey Hall of Fame goaltender Turk Broda.

London Knights coaches have won the Matt Leyden Trophy, emblematic of the OHL's Coach of the Year, five times. Bill Long won it once, in 1976–77, Gary Agnew twice, in 1992–93 and in 1997–98, and Dale Hunter twice, in 2003–04 and 2004–05. Dale Hunter also won the Brian Kilrea Coach of the Year Award, emblematic of CHL Coach of the Year honours, in 2003–04.

As London Nationals: As London Knights: • 1968–1969 — Gene Taylor
 * 1965–1966 — Jack McIntyre
 * 1966–1968 — Turk Broda

• 1969–1971 — Bep Guidolin

• 1971–1972 — Bronco Horvath

• 1972–1980 — Bill Long

• 1980–1983 — Paul McIntosh

• 1983–1986 — Don Boyd

• 1986–1990 — Wayne Maxner

• 1990–1994 — Gary Agnew

• 1994–1995 — Mike Fedorko

• 1995–1996 — Murray Nystrom (interim)

• 1995–1996 — Tom Barrett

• 1996–1997 — Brad Selwood

• 1996–1997 — Paul McIntosh (interim)

• 1997–2000 — Gary Agnew

• 2000–2001 — Lindsay Hofford

• 2001–2011 — Dale Hunter

• 2011–2012 — Mark Hunter

• 2012–present – Dale Hunter Notes: Mike Fedorko was entering his second season as Knights' coach and GM in the autumn of 1995. He was fired in October 1995 when the Knights began the season with a 13-game losing streak. Assistant Murray Nystrom took over coaching duties temporarily. Tom Barrett, who had led the Kitchener Rangers to the 1984 Memorial Cup, was named head coach in December. Barrett died of cancer in April 1996, shortly after the conclusion of the season. Moe Mantha was originally named the head coach to take over from Barrett, but left to coach the Baltimore Bandits of the American Hockey League before coaching a game. Brad Selwood was ultimately named Barrett's replacement for 1996–97 but was fired mid-season and GM Paul McIntosh took over on an interim basis for the rest of the season. Gary Agnew was rehired at the start of 1997–98.

NHL or WHA alumni
The following is a complete list of London Knights who later played in the National Hockey League or World Hockey Association.

 * London Nationals

• Jim Blain

• Barry Boughner

• Bob Cook

• Jim Dorey

• Darryl Edestrand

• Rocky Farr

• John Gould

• Brent Imlach

• Rick Kessell

• Rick MacLeish

• Brian Marchinko

• Walt McKechnie

• Brian Murphy

• Randy Murray

• Ted Ouimet

• Glen Shirton

• Darryl Sittler

• Jim Stanfield

• Garry Unger

• Bert Wilson

 * London Knights

• Akim Aliu

• Jason Allison

• Josh Anderson

• Andreas Athanasiou

• Krys Barch

• Roger Belanger

• Stefan Bergkvist

• Danny Bois

• Mike Boland

• Dave Bolland

• Adam Boqvist

• Dan Bouchard

• Evan Bouchard

• Pat Boutette

• Brian Bradley

• Fred Brathwaite

• Gord Brooks

• Scott Campbell

• Frank Caprice

• John Carlson

• Billy Carroll

• Jeff Christian

• Dino Ciccarelli

• Gerald Coleman

• Paul Cotter

• Doug Crossman

• Louie DeBrusk

• Guy Delparte

• Michael Del Zotto

• Brian Dobbin

• Max Domi

• Christian Dvorak

• Darryl Edestrand

• Remi Elie

• John Erskine

• Kevin Evans

• Luke Evangelista

• Rico Fata

• Alex Formenton

• Liam Foudy

• Dan Fritsche

• Sam Gagner

• Gary Geldart

• Sam Gellard

• Gilles Gilbert

• Dan Girardi

• Ben Gleason

• Larry Goodenough

• John Gould

• Rick Green

• Seth Griffith

• Jonathan Gruden

• David Haas

• Bob Halkidis

• Jim Hamilton

• Scott Harrington

• Alex Henry

• Todd Hlushko

• Terry Holbrook

• Dean Hopkins

• Bill Horton

• Bo Horvat

• Michael Houser

• Michael Hutchinson

• Dave Hutchison

• Peter Ing

• Dan Jancevski

• Max Jones

• Nazem Kadri

• Patrick Kane

• Ed Kastelic

• Joey Keane

• Rick Kehoe

• Chris Kelly

• Evgeny Korolev

• Sergei Kostitsyn

• Tom Kostopoulos

• Janne Kuokkanen

• Steve Langdon

• Drew Larman

• Roger Lemelin

• Dave Lowry

• Olli Maatta

• Dan Maloney

• Mitch Marner

• Patrick Maroon

• Brad Marsh

• Terry Martin

• Dennis Maruk

• Steve Mason

• Michael McCarron

• Dennis McCord

• Scott McKay

• Greg McKegg

• Sean McMorrow

• Basil McRae

• Philip McRae

• Dakota Mermis

• Victor Mete

• Marc Methot

• Mike Murray

• Vladislav Namestnikov

• Rick Nash

• Neil Nicholson

• Paul Nicholson

• Frank Nigro

• Lou Nistico

• Randy Osburn

• Tyler Parsons

• Joe Paterson

• Matt Pelech

• Corey Perry

• Tom Price

• Barry Potomski

• Brandon Prust

• Chris Pusey

• Kyle Quincey

• Rob Ramage

• Jeff Reese

• Alec Regula

• Danny Richmond

• Pat Riggin

• Zac Rinaldo

• Bryan Rodney

• Tom Rowe

• Drake Rymsha

• Jim Sandlak

• Brad Schlegel

• Jim Schoenfeld

• Dwight Schofield

• Rob Schremp

• Brendan Shanahan

• Kole Sherwood

• Jason Simon

• Darryl Sittler

• Gary Sittler

• Gemel Smith

• Steve Smith

• Brad Smyth

• Greg Smyth

• Andy Spruce

• Nick Stajduhar

• Vern Stenlund

• Charlie Stephens

• Shayne Stevenson

• Trevor Stienburg

• Anthony Stolarz

• Danny Syvret

• John Tanner

• John Tavares

• Chris Taylor

• Tim Taylor

• Christian Thomas

• Reg Thomas

• Robert Thomas

• Billy Tibbetts

• Chris Tierney

• Jarred Tinordi

• Matthew Tkachuk

• Larry Trader

• Phil Varone

• Dennis Ververgaert

• Mark Visheau

• Austin Watson

• Don Wheldon

• Dennis Wideman

• Jordan Willis

• Bert Wilson

• Ryan Winterton

• Nikita Zadorov

• Ron Zanussi

First round picks in NHL or WHA drafts
The London Knights have had at least one player drafted in each NHL Entry Draft from 1969 onward.

The following players were selected in the first round of the NHL entry draft: • Darryl Sittler – 1970, 8th overall by the Toronto Maple Leafs

• Dan Maloney – 1970, 14th overall by the Chicago Blackhawks

• Dennis Ververgaert – 1973, 3rd overall by the Vancouver Canucks

• Rick Green – 1976, 1st overall by the Washington Capitals

• Scott Campbell – 1977, 9th overall by the St. Louis Blues

• Brad Marsh – 1978, 11th overall by the Atlanta Flames

• Rob Ramage – 1979, 1st overall by the Colorado Rockies

• Jim Sandlak – 1985, 4th overall by the Vancouver Canucks

• Brendan Shanahan – 1987, 2nd overall by the New Jersey Devils

• Nick Stajduhar – 1993, 16th overall by the Edmonton Oilers

• Jason Allison – 1993, 17th overall by the Washington Capitals

• Rico Fata – 1998, 6th overall by the Calgary Flames

• Rick Nash – 2002, 1st overall by the Columbus Blue Jackets

• Corey Perry – 2003, 28th overall by the Mighty Ducks of Anaheim

• Rob Schremp – 2004, 25th overall by the Edmonton Oilers

• Patrick Kane – 2007, 1st overall by the Chicago Blackhawks

• Sam Gagner – 2007, 6th overall by the Edmonton Oilers

• John Tavares – 2009, 1st overall by the New York Islanders

• Nazem Kadri – 2009, 7th overall by the Toronto Maple Leafs

• Vladislav Namestnikov – 2011, 27th overall by the Tampa Bay Lightning

• Olli Maatta – 2012, 22nd overall by the Pittsburgh Penguins

• Bo Horvat – 2013, 9th overall by the Vancouver Canucks

• Max Domi – 2013, 12th overall by the Phoenix Coyotes

• Nikita Zadorov – 2013, 16th overall by the Buffalo Sabres

• Mitch Marner – 2015, 4th overall by the Toronto Maple Leafs

• Olli Juolevi – 2016, 5th overall by the Vancouver Canucks

• Matthew Tkachuk – 2016, 6th overall by the Calgary Flames

• Max Jones – 2016, 24th overall by the Anaheim Ducks

• Robert Thomas – 2017, 20th overall by the St. Louis Blues

• Evan Bouchard – 2018, 10th overall by the Edmonton Oilers

• Liam Foudy – 2018, 18th overall by the Columbus Blue Jackets

• Connor McMichael – 2019, 25th overall by the Washington Capitals

• Oliver Bonk - 2023, 22nd overall by the Philadelphia Flyers

• Easton Cowan - 2023, 28th overall by the Toronto Maple Leafs

The following players were selected in the first round of the WHA amateur draft:
 * Reg Thomas – 1973, 8th overall by the Los Angeles Sharks
 * Rick Green – 1976, 10th overall by the Quebec Nordiques
 * Scott Campbell – 1977, 1st overall by the Houston Aeros

Retired numbers
List of numbers retired by the London Knights.
 * 5 – Rob Ramage
 * 8 – Dino Ciccarelli
 * 9 – Darryl Sittler
 * 19 – Brendan Shanahan
 * 22 – Brad Marsh
 * 61 – Rick Nash
 * 88 – Patrick Kane
 * 91 – Dave Bolland
 * 94 – Corey Perry

Hall of Famers
List of London Knights players in the Hockey Hall of Fame.
 * Dino Ciccarelli
 * Brendan Shanahan
 * Darryl Sittler

Season-by-season results
Legend: GP = Games played, W = Wins, L = Losses, T = Ties, OTL = Overtime losses, SL = Shoot-out losses, Pts = Points, GF = Goals for, GA = Goals against

 * Notes

Arenas
The London Gardens was built in 1963 and served as the home of the Knights from the team's inception in 1965 to its closing in 2002. The building was renamed London Ice House in 1994. The Knights final game played at the arena was in the 2002 playoffs, where the Knights lost in overtime in the sixth game of the second round to the eventual OHL Champion Erie Otters. The Knights used the Ice House for their training camp and exhibition schedule for the 2002–03 season and moved out permanently in October 2002.

The Budweiser Gardens opened on October 11, 2002 as the Knights played host to the Plymouth Whalers. The arena, located in downtown London, is the largest in Western Ontario.

title: London Knights


text:
List of Ireland-related topics

''This page aims to list articles related to the island of Ireland. This list is not necessarily complete or up to date; if you see an article that should be here but is not (or one that should not be here but is), please update the page accordingly.'' Recent changes: Irish topics

Places
• Aran Islands

• Areas of Outstanding Natural Beauty in Northern Ireland

• List of castles in Ireland

• Cities in Ireland

• * Armagh

• * Belfast

• * Cork

• * Derry

• * Dublin

• * Galway

• * Kilkenny

• * Limerick

• * Lisburn

• * Newry

• * Waterford

• Clochán

• Counties of Ireland

• Crannog

• Dál Fiatach

• Dál nAraidi

• Dál Riata

• Dublin Zoo

• Scotia

• Ulaid

• Gardens

• * Northern Ireland

• * Republic of Ireland

• Greater Dublin Area

• Ha'penny Bridge

• Islands of the North Atlantic

• Hill of Tara

• Lighthouses in Ireland

• Lightvessels in Ireland

• List of archaeological sites in County Cork

• List of Dublin postal districts

• List of Irish place names in other countries

• List of mountains and hills of County Dublin

• List of rivers of County Dublin

• Museums

• * Northern Ireland

• * Republic of Ireland

• Nature reserves in Northern Ireland

• List of national parks of the Republic of Ireland

• Passage grave

• Provinces of Ireland

• * Connacht

• * Leinster

• * Munster

• * Ulster

• Regions of the Republic of Ireland

• * Eastern and Midland Region

• ** Dublin

• ** Mid-East

• ** Midland

• * Southern Region

• ** Mid-West

• ** South-East

• ** South-West

• * Northern and Western Region

• ** Border

• ** West

• Rock of Cashel

• Tourist attractions in Ireland

• Towns and villages

• * Northern Ireland

• * Republic of Ireland

• World Heritage Site

• * Giant's Causeway

• * Newgrange

• * Skellig Michael

title: List of Ireland-related topics


text:
Nominal group

Nominal group may refer to:
 * Nominal group, alias for nominal category in statistics
 * Nominal group (functional grammar)
 * Nominal group technique, group decision-making technique

title: Nominal group


text:
Saturn Award for Best Supporting Actor

The following is a list of Saturn Award winners and nominees for Best Supporting Actor (in a film). Burgess Meredith, Ian McKellen and Andy Serkis are the only actors that have won the award twice, while only Javier Bardem, Heath Ledger, and Ke Huy Quan have won both the Saturn Award and the Academy Award for Best Supporting Actor for the same performance.

Multiple nominations

 * 4 nominations
 * Ian McKellen
 * Alan Rickman
 * Andy Serkis

 * 3 nominations
 * Harrison Ford
 * John Lithgow
 * Burgess Meredith
 * Bill Nighy
 * Bill Paxton
 * Christopher Walken

 * 2 nominations
 * Javier Bardem
 * Josh Brolin
 * Jeffrey Combs
 * Scatman Crothers
 * Robert De Niro
 * Adam Driver
 * Robert Englund
 * Ralph Fiennes
 * John Goodman
 * Tom Hardy
 * Woody Harrelson
 * Tom Hiddleston
 * Michael Keaton
 * Val Kilmer
 * Walter Koenig
 * Stephen Lang
 * Frank Langella
 * Jude Law
 * Christopher Lloyd
 * John Malkovich
 * Ian McDiarmid
 * Roddy McDowall
 * Alfred Molina
 * Leonard Nimoy
 * Gary Oldman
 * Giovanni Ribisi
 * Tim Roth
 * Will Smith
 * Brent Spiner
 * Patrick Stewart
 * Max von Sydow
 * Stanley Tucci
 * Christoph Waltz
 * J.T. Walsh
 * Billy Dee Williams
 * Robin Williams

Multiple wins

 * 2 wins
 * Ian McKellen
 * Burgess Meredith
 * Andy Serkis

title: Saturn Award for Best Supporting Actor


text:
IJ (digraph)

IJ (lowercase ij; ; also encountered as Unicode compatibility characters Ĳ and ĳ) is a digraph of the letters i and j. Occurring in the Dutch language, it is sometimes considered a ligature, or a letter in itself. In most fonts that have a separate character for ij, the two composing parts are not connected but are separate glyphs, which are sometimes slightly kerned.

An ij in written Dutch usually represents the diphthong, similar to the pronunciation of $⟨ay⟩$ in "pay". In standard Dutch and most Dutch dialects, there are two possible spellings for the diphthong : ij and ei. That causes confusion for school children, who need to learn which words to write with ei and which with ij. To distinguish between the two, the ij is referred to as the lange ij ("long ij"), the ei as korte ei ("short ei") or simply E – I. In certain Dutch dialects (notably West Flemish and Zeelandic) and the Dutch Low Saxon dialects of Low German, a difference in the pronunciation of ei and ij is maintained. Whether it is pronounced identically to ei or not, the pronunciation of ij is often perceived as being difficult by people who do not have either sound in their native language.

The ij originally represented a 'long i'. It used to be written as ii, as in Finnish and Estonian, but for orthographic purposes, the second i was eventually elongated, which is a reason why it is called lange ij. This can still be seen in the pronunciation of some words like bijzonder, and the etymology of some words in the Dutch form of several foreign placenames: Berlin and Paris are spelled Berlijn and Parijs. Nowadays, the pronunciation mostly follows the spelling, and they are pronounced with. The ij is distinct from the letter y. Particularly when writing capitals, Y used to be common instead of IJ in the past. That practice has long been deprecated, but the standard Dutch pronunciation of the letter Y is still ij when the alphabet is read. In scientific disciplines such as mathematics and physics, the symbol y is usually pronounced ij.

To distinguish the Y from IJ in common speech, however, Y is often called Griekse ij (meaning "Greek Y"), a literal translation of i-grec (from French, with the stress on grec: ) or alternatively called Ypsilon. In modern Dutch, the letter Y occurs only in loanwords, proper nouns, or when deliberately spelled as Early Modern Dutch. The spelling of Afrikaans (a daughter language of early modern Dutch) has evolved in the exact opposite direction and IJ has been completely replaced by Y.

However, the ancient use of Y in Dutch has survived in some personal names, particularly that of Dutch immigrants in the United States, Canada, Australia and New Zealand where as a result of anglicization, the IJ became a Y. For example, the surname Spijker was often changed into Spyker and Snijder into Snyder.

History
IJ probably developed out of ii, representing a long sound (which it still does in some cases, such as in the word bijzonder and in several Dutch dialects). In the Middle Ages, the i was written without a dot in handwriting, and the combination ıı was often confused with u. Therefore, the second i was elongated: ıȷ. Later, the dots were added, albeit not in Afrikaans, a language that has its roots in Dutch. In this language y is used instead.

Alternatively, the letter J may have developed as a swash form of i. In other European languages it was first used for the final i in Roman numerals when there was more than one i in a row, such as iij for "three", to prevent the fraudulent addition of an extra i to change the number. In Dutch, which had a native ii, the "final i in a row elongated" rule was applied as well, leading to ij.

Another theory is that IJ might have arisen from the lowercase y being split into two strokes in handwriting. At some time in the 15th or 16th century, this combination began to be spelled as a ligature ij. An argument against this theory is that even in handwriting which does not join letters, ij is often written as a single sign.

Some time after the birth of this new letter, the sound which was now represented by ij, in most cases, began to be pronounced much like ei instead, but words containing it were still spelled the same. Nowadays, ij in most cases represents the diphthong, except in the suffix -lijk, where it is usually pronounced as a schwa. In one special case, the Dutch word bijzonder, the (old) sound is correct standard pronunciation, although  is more common and  is also allowed.

In proper names, ij often appears instead of i at the end of other diphthongs, where it does not affect the pronunciation: aaij, eij, oeij, ooij and uij are pronounced identically to aai, ei , oei , ooi and ui. This derives from an old orthographic practice (also seen in older French and German) of writing y instead of i after another vowel; later, when y and ij came to be seen as interchangeable, the spellings with ij came to be used. Spelling reforms and standardization have removed the redundant js in common words, but proper names continue to use these archaic spellings.

Status
As the rules of usage for the IJ differ from those that apply to the many other digraphs in the Dutch language—in some situations behaving more as a single ligature or letter than a digraph—the IJ is not only confusing to foreigners, but also a source of discussion among native speakers of Dutch. Its actual usage in the Netherlands and in Flanders (Belgium) sometimes differs from the official recommendations.

Official status
Both the Dutch Language Union and the Genootschap Onze Taal consider the ij to be a digraph of the letters i and j. The descriptive dictionary Van Dale Groot woordenboek van de Nederlandse taal states that ij is a "letter combination consisting of the signs i and j, used, in some words, to represent the diphthong ɛi." The Winkler Prins encyclopedia states that ij is the 25th letter of the Dutch alphabet, placed between X and Y. However, this definition is not generally accepted.

In words where i and j are in different syllables, they do not form the digraph ij. In compound words, a hyphen is added, as in gummi-jas.

Netherlands
In the Netherlands, IJ is often used as a ligature:

 * In Dutch primary schools, ij used to be taught as being the 25th letter of the alphabet, and some primary school writing materials still list it as such. However, ij is according to Onze Taal not part of the Dutch alphabet and is usually sorted under the i as it is considered to consist of two letters.
 * When a word starting with IJ is capitalised, the entire digraph is capitalised: IJsselmeer, IJmuiden.
 * On mechanical Dutch typewriters, there is a key that produces 'ij' (in a single letterspace, located directly to the right of the L). However, this is not the case on modern computer keyboards.
 * In many word puzzles, such as Lingo, ij fills one square, but in others, such as Scrabble, ij fills two squares.

Flanders
In Flanders (Belgium), IJ is generally described in schools as a combination of two separate characters.

 * As in the Netherlands, words that begin with IJ (and that are the first word in a sentence) usually capitalise the entire pair: IJzer, IJzertoren.

Capitalisation

When a Dutch word starting with IJ is capitalised, the entire digraph is capitalised, as in IJsselmeer or IJmuiden.

Support for this property in software is limited. Poorly localised text editors with autocorrect functionality may incorrectly convert the second of two initial capital letters in a word to lowercase; such improper spelling can thus be found in informal writing. Support on the internet is similarly inconsistent: Web pages styled with the CSS property  are specified to be handled with Unicode language-specific case mapping rules (content language being indicated with HTML language attributes, such as   for Dutch), but support for language-specific cases is limited to Mozilla Firefox (version 14 and above).

Collation
Dutch dictionaries since about 1850 invariably sort ij as an i followed by a j, i.e. between ih and ik. This is the preferred sorting by the Taalunie. On the other hand, some encyclopedias, like the Winkler Prins, 7th edition, sort ij as a single letter positioned between x and y.

Telephone directories as well as the Yellow Pages in the Netherlands (but not those in Belgium) sort ij and y together, as if they were the same, between x and z. Thanks to this, surnames like Bruijn and Bruyn which sound the same (and even look similar), can be found in the same area. However, Bruin, though it sounds the same as well, is placed with "Brui-" and not with "Bruy-".

Abbreviations
When words or (first) names are shortened to their initials, in the Netherlands a word or proper name starting with IJ is abbreviated to IJ. For example, IJsbrand Eises Ypma is shortened to ''IJ. E. Ypma''. The digraph "ei" in "Eises", like other digraphs in Dutch, is shortened to one letter.

Stress
In Dutch orthography, ad hoc indication of stress can be marked by placing an acute accent on the vowel of the stressed syllable. In case of a diphthong or double vowel, both vowels should be marked with an acute accent; this also applies to the IJ (even though J by itself is not a vowel, the digraph IJ represents one distinct vowel sound). However, due to technical limitations the accent on the j is often omitted in electronic documents: "bíjna". Nevertheless, in Unicode it is possible to combine characters into a j with an acute accent — "bíj́na" — though this might not be supported or rendered correctly by some fonts or systems. This j́ is the combination of the regular (soft-dotted) j (U+006A) and the combining acute accent ́ (U+0301).

Spelling
Vrijdag can be spelled out in two ways, depending on whether the speller considers ij to be one letter or not:

 * V – R – IJ – D – A – G
 * V – R – I – J – D – A – G

Wide inter-letter spacing

When words are written with large inter-letter spacing, IJ is often, but not always, kept together. F r a n k r ij k or F r a n k r i j k.

When words are written from top to bottom, with non-rotated letters, IJ is usually, but not always, kept together. Keeping it together is the preferred way.

Spelling of proper names
In Dutch names, interchangeability of i, ij and y is frequent. Some names are changed unofficially for commercial reasons or by indifference:

 * Johan Cruijff/Cruyff, former football player and manager
 * Ruud van Nistelrooij/Nistelrooy, football player
 * Piet Heijn/Heyn/Hein, a Dutch West India Company admiral
 * Dirk Kuijt/Kuyt, football player
 * Arie Luijendijk/Luyendyk, race-driver
 * Spijker/Spyker, car manufacturer
 * Anner Bijlsma/Bylsma, cellist

The Dutch football team of Feyenoord changed its name from the original "Feijenoord" to "Feyenoord" after achieving international successes. This was done as a reaction to foreign people often mispronouncing the name. The Feijenoord district in Rotterdam, the namesake of the football club maintains its original spelling.

Phonetic radio alphabet
In the Dutch phonetic radio alphabet, the codeword IJmuiden represents the IJ. This is clearly different from the codeword Ypsilon, which is used to represent the Y. Dutch and Belgian armed forces use the official NATO phonetic alphabet, where "Y" is "Yankee" and "IJ" is spelled out "India Juliett".

Word games
In crossword puzzles (except for Scrabble – see next paragraph), and in the game Lingo, IJ is considered one letter, filling one square, but the IJ and the Y are considered distinct. In other word games, the rules may vary.

The Dutch version of Scrabble has a Y with a face value of eight. Some players used it to represent IJ or Y. The recent Dutch version comes with an example game, which clearly indicates that Y is only Y, and IJ should be composed of I and J. In previous editions of Scrabble there was a single IJ sign.

In word games that make a distinction between vowels and consonants, IJ is considered to be a vowel, if it is considered one letter. Whether Y is a vowel or a consonant, is another matter of discussion, since Y can represent both a vowel or a (half-) consonant.

Print and handwriting
In print, the letter ÿ (lowercase y with diaeresis) and ij look very different, but handwriting usually makes ÿ, ij and Y, IJ look identical. However, since y occurs only in loanwords, the letter ÿ is extremely rare (if not altogether nonexistent) in Dutch.

The long ij extends below the baseline and so is written with a long stroke. It is often written as a single sign, even in handwriting that does not join letters.

On some road signs in the Netherlands, IJ appears as a single glyph formed like a U with a break in the left-hand stroke.

Braille
Dutch Braille, which is used in the Netherlands, has $⟨ij⟩$ represented by, which represents $⟨y⟩$ in other varieties of Braille. $⟨y⟩$ is written as.

In Belgium, French Braille is used, in which $⟨ij⟩$ is written simply as $⟨i⟩$ + $⟨j⟩$:.

Encoding
The Dutch ij is not present in the ASCII code, nor in any of the ISO 8859 character encodings. Therefore, the digraph is most often encoded as an i followed by a j. The ligature is present as a national-use character within the Dutch version of ISO 646, one implementation of which is of DEC's National Replacement Character Set (NRCS) aka code page 1102, and it also existed in the Atari ST character set    (but not in the GEM character set for PCs) as well as in the Lotus Multi-Byte Character Set (LMBCS). It is also present in Unicode in the Latin Extended-A range as and. These characters are considered compatibility-decomposable. They are included for compatibility and round-trip convertibility with legacy encodings, but their use is discouraged. Therefore, even with Unicode available, it is recommended to encode ij as two separate letters. Nonetheless, some fonts use this code point for the ligated form of IJ if it exists.

Keyboards
While Dutch typewriters usually have a separate key for lowercase ij, Belgian typewriters do not. In the Netherlands, a QWERTY computer keyboard layout is common. The standard US layout (often in "International Mode") is widely used, although a specific but rarely used Dutch variant (KBD143) does exist. In Belgium, a specific Belgian variant of AZERTY keyboard layout (KBD120) is widely used. None of these keyboards feature a key for ij or IJ.

Not as a digraph
If the i and the j belong to different syllables, such as in the mathematical term bijectie (syllablised "bi‧jec‧tie"), words with old spelling minijurk (syllablised "mi‧ni‧jurk"), skijas (syllablised "ski‧jas"), foreign placenames like Beijing, Dijon, Fiji or person names like Khadija, Elijah, Marija, they do not form a ligature or a single letter. Earlier statements about sorting ij on par with y, keeping ij together in the kerning of printed texts, the single square in crossword puzzles, etc., do not apply.

title: IJ (digraph)


text:
Chatterton's compound

Chatterton’s compound is an adhesive waterproof insulating compound that was used in early submarine telegraph cables. It was patented in 1859 by John Chatterton and Willoughby Smith.

Its constitution is as follows:
 * 3 parts gutta-percha
 * 1 part rosin
 * 1 part Stockholm tar

Chatterton's Compound was also used to stick insulating paper to armatures, for example those on Synchronome clocks, which were the most accurate clocks made in the early part of the 20th century. If the paper appeared to be in bad condition it could be removed by warming up the armature near a flame and replacing it.

Chatterton's Compound was used in the manufacture of pneumatic pipe organs to seal lead tubing into wooden blocks for the pneumatic action, or, particularly in the UK, to affix reed weights to the reed tongues. It is still used in historical restoration jobs for this purpose but has been replaced with modern materials on more recent builds.

Chatterton's Compound was much used by submarine cable technicians for various purposes around oversea telegraph offices prior to the 1960s; it could be used as an adhesive or in jointing gutta-percha-insulated submarine telegraph cables. It was available in round black sticks of about 3/4 inch diameter which responded to heat from a spirit lamp. It was known to telegraph technicians as 'chats'.

In France, the normal black PVC electrical insulating tape is often referred to as chatterton.

title: Chatterton's compound


text:
Bombur

Bombur may refer to:
 * Bombur (crustacean), a genus of fossil prawns in the family Penaeidae
 * Bombur (Middle-earth), a character in JRR Tolkien's novel The Hobbit
 * Bombur, a dwarf in Norse mythology, named in Voluspo in the Elder Edda

title: Bombur


text:
Guacamole

Guacamole (informally shortened to guac in the United States since the 1980s) is an avocado-based dip, spread, or salad first developed in Mexico. In addition to its use in modern Mexican cuisine, it has become part of international cuisine as a dip, condiment, and salad ingredient.

Etymology and pronunciation
The name comes from Classical Nahuatl āhuacamōlli, which literally translates to 'avocado sauce', from āhuacatl 'avocado' + mōlli  'sauce'. In Mexican Spanish, it is pronounced. In American English, it tends to be pronounced, and this pronunciation is also common in British English, but is more common.

History
Avocado seeds were first found in the Tehuacan Valley of Mexico around 9,000–10,000 years ago (7000–8000 BCE) and had been domesticated by various Mesoamerican groups by 5000 BCE. They were likely cultivated in the Supe Valley in Peru as early as 3100 BCE. In the early 1900s, avocados frequently went by the name alligator pear. In the 1697 book, A New Voyage Round the World, the first known description of a guacamole recipe (though not known by that name) was by English privateer and naturalist William Dampier, who in his visit to Central America during one of his circumnavigations, noted a native preparation made of grinding together avocados, sugar, and lime juice.

Guacamole has increased avocado sales in the U.S., especially on Super Bowl Sunday and Cinco de Mayo. The rising consumption of guacamole is most likely due to the U.S. government lifting a ban on avocado imports in the 1990s and the growth of the U.S. Latino population.

Ingredients
Guacamole is traditionally made by mashing peeled, ripe avocados and salt with a molcajete y tejolote (mortar and pestle). Recipes often call for lime juice, cilantro, onions, and jalapeños. Some non-traditional recipes may call for sour cream, tomatoes, basil, or peas.

Due to the presence of polyphenol oxidase in the cells of avocado, exposure to oxygen in the air causes an enzymatic reaction and develops melanoidin pigment, turning the sauce brown. This result is generally considered unappetizing, and there are several methods (some anecdotal) that are used to counter this effect, such as storing the guacamole in an air-tight container or wrapping tightly in plastic to limit the surface area exposed to the air.

Composition and nutrients
As the major ingredient of guacamole is raw avocado, the nutritional value of the dish derives from avocado vitamins, minerals and fats, providing dietary fibre, several B vitamins, vitamin K, vitamin E and potassium in significant content (see Daily Value percentages in nutrient table for avocado). Avocados are a source of saturated fat, monounsaturated fat and phytosterols, such as beta-sitosterol. They also contain carotenoids, such as beta-carotene, zeaxanthin and lutein.

Mantequilla de pobre
is a mixture of avocado, tomato, oil, and citrus juice. Despite its name, it predates the arrival of dairy cattle in the Americas, and thus was not originally made as a butter substitute.

Guasacaca

Thinner and more acidic, or thick and chunky, guasacaca is a Venezuelan avocado-based sauce; it is made with vinegar, and is served over parrillas (grilled food), arepas, empanadas, and various other dishes. It is common to make the guasacaca with a little hot sauce instead of jalapeño, but like a guacamole, it is not usually served as a hot sauce itself. It is pronounced "wasakaka" in Latin America.

Guacamole falso
Substitute ingredients are sometimes used in place of avocados to produce a thick green sauce called guacamole falso (fake guacamole). Common substitutes include summer squash, green tomatoes and oil-fried jalapeños.

Commercial products
Prepared guacamoles are available in stores, often available refrigerated, frozen or in high pressure packaging which pasteurizes and extends shelf life if products are maintained at 34 to 40 F.

Holiday
National Guacamole Day is celebrated on the same day as Mexican Independence Day, September 16.

In popular culture
On November 20, 2022, Municipo de Peribán, Mexico achieved the Guinness World Records for the largest serving of guacamole. The serving weighed 4,972 kg (10,961 lb) and had 500 people help prepare it.

title: Guacamole


text:
Talk:Anton Piller order

Note that it does not seem settled whether Pillar or Piller is the correct spelling -- a cursory Google search shows a 3 - 1 preference for the 'er' spelling. Arwel 18:44, 23 Feb 2004 (UTC) I agree. While Pillar is often used in recent "internet news coverage", it has also appeared in documents at sites such as the UK Patents Office. Could be due to spell-check software? Zigger 19:06, 23 Feb 2004 (UTC) Well I saw it in newspapers years ago with "ar" spelling, which is why I originally wrote the article like that! Arwel 19:29, 23 Feb 2004 (UTC)
 * Although the above comments are a bit old, to clarify - the case name is reported with the 'Piller' spelling, so that is what should be used, irrespective of whether the party name was spelt the other way. SM247 My Talk  03:25, 8 July 2006 (UTC)
 * There's no doubt about the name of the party, you can see the company listed on a who's who in European Business website. The report is quite clear as to the name of the party too. Francis Davey 20:09, 17 July 2006 (UTC)

Three step test
Wasn't the three step test set out by Lord Denning MR, not Omrod? —The preceding unsigned comment was added by Will.S (talk • contribs).

Denning MR said: "It seems to me that such an Order can be made by a Judge ex parte, but it should only be made where it is essential that the plaintiff should have inspection so that justice can be done between the parties: and when, if the defendant were forewarned, there is a grave danger that vital evidence will be destroyed, the papers will be burnt or lost or hidden, or taken beyond the jurisdiction, and so the ends of justice be defeated: and when the inspection would do no real harm to the defendant or his case."

and Ormrod LJ said: "There are three essential pre-conditions for the making of such an Order, in my judgment. First, there must be an extremely strong prima facie case. Secondly, the damage, potential or actual, must be very serious for the applicant. Thirdly, there must be clear evidence that the defendants have in their possession incriminating documents or things, and that there is a real possibility that they may destroy such material before any application inter partes can be made."

So they did cover similar ground but I think Ormrod LJ is correctly identified as the author of the '3 steps' as such.Tedmarynicz (talk) 23:20, 1 July 2013 (UTC)

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title: Talk:Anton Piller order


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Dorkbot

Dorkbot is a group of affiliated organizations worldwide that sponsor grassroots meetings of artists, engineers, designers, scientists, inventors, and anyone else working under the very broad umbrella of electronic art. The dorkbot motto is "people doing strange things with electricity".

Started by Douglas Repetto at the Columbia University Computer Music Center in 2000, dorkbot spread around the world, with over 100 chapters either planning or actively holding meetings as of 2010. In 2012, a series of viruses with the same name appeared and it caused many of the chapters to disband.

The purpose of dorkbot meetings is to nurture a local electronic arts community and to encourage emerging, and established, artists to present new works for informal peer review. While many of the dorkbot groups hold their meetings at universities and students are encouraged to attend, dorkbot meetings are not restricted in any way to the academic community. Dorkbot groups encourage the free exchange of ideas on the electronic arts, and regular attendees of one dorkbot will often visit another when they are travelling, serving as informal ambassadors between groups.

title: Dorkbot


text:
The War Room

The War Room is a 1993 American documentary film about Bill Clinton's campaign for President of the United States during the 1992 United States presidential election. Directed by Chris Hegedus and D. A. Pennebaker, the film was released on December 5, 1993. It was eventually nominated for the Best Documentary Feature Academy Award.

Synopsis
The film follows James Carville and George Stephanopoulos, at first during the New Hampshire primary, and then mostly in Little Rock, Arkansas, at the Clinton campaign headquarters. Several key events of the 1992 election cycle and their repercussions within the Clinton campaign are chronicled in the documentary. These include: the Gennifer Flowers scandal, the New Hampshire Democratic primary, Ross Perot's campaign as an Independent, the Democratic National Convention, the Clinton campaign's attack on George H. W. Bush's "Read my lips: no new taxes" statement from 1988, the presidential debates, and the night of the general election.

Much of the film focuses on the interaction between politics and the media and the attempts by the Clinton and Bush campaigns to spin public perception of events and news stories.

People
The primary characters portrayed in the film are:
 * Bill Clinton, 1992 Democratic Party presidential candidate and 42nd Governor of Arkansas
 * James Carville, Clinton's lead strategist
 * George Stephanopoulos, Clinton's communications director

Though Carville and Stephanopoulos are the film's main figures, many other prominent figures in the campaign make appearances, including Paul Begala, Dee Dee Myers, Mandy Grunwald, Bob Boorstin, Stan Greenberg, Mickey Kantor, Harold Ickes, and Bush's deputy campaign manager Mary Matalin, who was in a relationship with Carville during the campaign (they married in 1993). Clinton campaign manager David Wilhelm was extended an invitation to participate, but declined. Additionally, Rahm Emanuel, the future White House Chief of Staff to President Barack Obama and Mayor of Chicago, can be seen in some scenes as a finance director for the Clinton campaign. Also featured are Clinton's general election rivals George H. W. Bush and Ross Perot, and his Democratic primary rivals Paul Tsongas and Jerry Brown.

Production
Shortly before the 1992 Democratic National Convention, novice producers R.J. Cutler and Wendy Ettinger approached filmmakers D. A. Pennebaker and Chris Hegedus about making a documentary about the then-ongoing 1992 U.S. presidential election. Pennebaker and Hegedus expressed interest, provided the producers could get them permission to film what they would need to film, so Cutler and Ettinger contacted the Bush, Perot, and Clinton campaigns. Only the Clinton campaign was open to giving the filmmakers any access, and this was limited primarily to Carville and Stephanopoulos and events that transpired within the so-called "war room" at the campaign's national headquarters in Little Rock, Arkansas, so the scope of the film narrowed from encompassing the entire election to mostly centering around one room. Events in the election cycle that occurred before the Democratic National Convention were covered in the completed documentary through montages of newspaper headlines, the use of clips from TV news programs, and, according to Hegedus, unused footage from Kevin Rafferty's Feed, a documentary about the 1992 New Hampshire primary.

Over a span of four months spent filming, Pennebaker and Hegedus shot about 35 hours of film.

2008 Democratic primary controversy
In late April 2008, a clip from the film was posted on YouTube that purported to show former Clinton administration official (and supporter of then-presidential candidate Hillary Clinton) Mickey Kantor saying to Carville and Stephanopoulos, "Look at Indiana, wait, wait – look at Indiana. 42-40. It doesn’t matter if we win. Those people are shit. Excuse me." Another erroneous interpretation of the clip alleged that Kantor said, "How would you like to be a worthless white nigger?".

On May 2, 2008, Kantor claimed that the footage had been doctored, and shortly thereafter D.A. Pennebaker claimed that Kantor had actually said "Those people must be shitting in the White House." The doctored footage and false allegations against Kantor were discussed in the Return of the War Room, a 2008 sequel made by Pennebaker and Hegedus.

Box office
As it was only screened at few locations, the film grossed $901,668 at the box office.

Critical reception
The film received near universal acclaim from critics. On Rotten Tomatoes, it has a 96% "fresh" rating based on 24 reviews, with an average rating of 8.11/10. The website's consensus reads, "Eye-opening in its access to an array of colorful campaign operatives, The War Room is a valuable time capsule and a riveting study in the art of politicking."

Accolades

 * 66th Academy Awards
 * Nominated for Best Documentary Feature (1994)

 * National Board of Review of Motion Pictures
 * Won Special Recognition in Filmmaking (1996)
 * Won Award for Best Documentary (1993)

Home media
The film was released as a special edition DVD and Blu-ray by the Criterion Collection on March 20, 2012. It had previously been released on DVD in 1999 by Trimark Home Video as a bare bones package and in 2004 by Focus Features and Universal Studios as a special edition DVD.

Influence
According to an article in the Brisbane Times, George Clooney, Ryan Gosling, and the cast of The Ides of March watched The War Room to "get their bearings" on their characters and life on the campaign trail.

The documentary was spoofed by IFC series Documentary Now!, in the second-season episode "The Bunker."

title: The War Room