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The Dark Is Rising Sequence

The Dark Is Rising Sequence is a series of five contemporary fantasy novels for older children and young adults that were written by the British author Susan Cooper and published from 1965 to 1977. The first book in the series, Over Sea, Under Stone, was originally conceived as a stand-alone novel, and the sequence gets its name from the second novel in the series, The Dark Is Rising. The Dark Is Rising Sequence is used as an overarching title in several omnibus, boxed-set, and coordinated editions; but the title of The Dark Is Rising is also used for the whole series.

The books depict a struggle between forces of good and evil called "The Light" and "The Dark", and draw upon Arthurian legends, Celtic mythology, Norse mythology and English folklore. Both magical and ordinary children are prominent throughout the series. It was inaugurated in 1965 with the U.K. publication by Jonathan Cape of Over Sea, Under Stone. The sequels were published 1973 to 1977, almost simultaneously in the U.K. and the U.S. Volume four, The Grey King (1975), won both the Newbery Medal, recognizing the year's "most distinguished contribution to American literature for children", and the inaugural Tir na n-Og Award for English-language books with Welsh background. The concluding Silver on the Tree (1977) also won the annual Tir na n-Og Award.

The novel The Dark Is Rising features Will Stanton, age 11, who learns on that birthday that he is one of an ancient magical people called "Old Ones", and is destined to wield the powers of The Light in the ancient struggle with The Dark. In the U.S. it was a Newbery Honor Book (runner up for the medal). Its 2007 film adaptation, titled The Seeker in America and The Dark Is Rising in Britain, made significant plot and character divergences from the book.

Characters
Simon, Jane, and Barnabas Drew: The main characters of the first novel, the Drew family, are human children who have known Merriman Lyon as their "Great Uncle Merry" for years. While on a holiday in Cornwall, they get caught up in the battle between the Light and the Dark and join the search for the Things of Power. In the first novel, Over Sea, Under Stone, they search for the legendary Grail of King Arthur. They also appear in the third book, Greenwitch, and the last book in the series, Silver on the Tree. In the poem featured prominently throughout The Dark Is Rising, they are the ones referred to as "three from the track". Their surname is linked with Will Stanton's in British paleohistory; see Stanton Drew stone circles.
 * Simon Drew: Simon is the eldest of the Drews. In Over Sea, Under Stone, Simon and Barney are the two to go into the cave and retrieve the Grail. In Greenwitch, he is jealous of Will because Merriman brought him to Cornwall for "unnecessary" reasons, but eventually warms to him. He loves sailing and anything to do with ships.
 * Jane Drew: Jane is the middle Drew. In Greenwitch, Jane is allowed to attend the Greenwitch ceremony, which is traditionally for female locals only, and through her compassion develops a special bond with the entity which constitutes the magical aspect of the Greenwitch. She subsequently receives from the entity the case containing the coded manuscript for deciphering the runes on the Grail. She also develops a special bond with the Lady of the Light in Silver on the Tree.
 * Barnabas (Barney) Drew: Barney is the youngest of the Drews. He loves Arthurian legends and, although he is quite wary of his talent at first, paints. In Greenwitch, Barney sketches a picture of the bay, which is later stolen by an agent of the Dark, but Merriman recovers it and presents it to Tethys as a gift.

Old Ones: Ancient and immortal, the Old Ones are mystical beings who possess great magical power. They are found in all parts of the world and are of many races and cultures. Capable of performing seemingly impossible feats, including freezing time and controlling the elements, they serve the Light in the war against the Dark. The Great Lords of the Dark have many similar characteristics and abilities but are not Old Ones. The two factions struggle to determine the destiny of mankind; while the Light fights for freedom and free will, the Dark fights for chaos, confusion and the subversion of man's agency.

Will Stanton: The main character of the second novel, and a major character in the remaining novels of the series, he is the seventh son of a seventh son, in a large, close human family. His eleventh birthday marks the beginning of his magical awakening and rise to power as the last of the Old Ones. The Dark Is Rising tells how he came to power, met Merriman Lyon, and accumulated the six "signs" to help fight the Dark. Will is the last of the Old Ones; no others will be born after him. In Greenwitch, he is invited to come to Cornwall by Merriman in order to help recover the Grail and cypher that reveals how to read the runes on the Grail. He later gives Jane a bracelet of gold engraved with the words "power from the Greenwitch", which she throws into the sea as an offering to the Greenwitch in appreciation for its help. In The Grey King, Will goes to Wales to recover from sickness, where he meets Bran and awakens the Sleepers. In Silver on the Tree, Will travels with Bran to the Lost Land to recover the crystal sword Eirias, and helps to vanquish the Dark. Will is the only Old One to remain on Earth afterward, and the only one of the Light's allies who remembers the struggle against the Dark; in this, he is referred to as "the watchman", staying behind to keep watch for any attempt by the Dark to return.

Cooper named Will after William Shakespeare.

Merriman Lyon: The first Old One, Lyon shares a special bond with Will Stanton, last of the line. A friend of the Drew family for over a generation, he helps and protects Barney, Jane, and Simon as they quest for the Grail. They occasionally refer to him as "Great Uncle Merry" or "Gumerry". Throughout the series, Merriman is portrayed in numerous historical periods, but particularly as King Arthur's chief adviser, the mythical Merlin; in Silver on the Tree, Arthur calls him "Mer Lion", old English for "my lion".

The Lady: The Lady is the most powerful of the Light, an Old One of seemingly greater strength than Merriman. Gentle, wise and enigmatic, she is a pivotal figure throughout the series, appearing usually at important moments to turn the tide in the Light's favour. She is an especial friend and mentor to Will and Jane. At one point in The Dark Is Rising, Will Stanton makes a critical mistake during a battle with the Dark and is saved by the Lady. Merriman tells Will that the Lady on her own is the only one of the Light able to overcome the full power of the Dark, although at a great cost. The sacrifice by the Lady is a critical point in the Story because she is a key element of the battle. At a later high ceremony of Old Ones, the Lady is missing and Merriman tells Will that her depleted power prevents her arrival, and she is beyond their magic to rescue but will return. She represents the Lady of the Lake, or the Lady of Avalon, King Arthur's sister, as they both embark on Arthur's boat Pridwen in Silver on the Tree. The Lady, like King Arthur, is affiliated with The Light and the High Magic. In Silver on the Tree, she initially can only communicate with Jane Drew, the one girl among the Six, telling Jane they share a special bond in being female, and calls her "Jane, Jana, Juno", referring to Jana (in Roman mythology, a variant form of Diana) or Juno, the queen of the gods.

The Black Rider: One of the great Lords of the Dark, comparable to Merriman in power and influence. The Rider is the major nemesis of Will during his many trials. He patronises John Wayland Smith's establishment, where he meets Will for the first time and attempts to bring him over to the Dark. He is given one name by the humans in the story: Mitothin (a name connected with the jötunn Loki, who helps bring about Ragnarok).

The White Rider: Another servant and Lord of the Dark, introduced in Silver on the Tree. The White Rider is almost equal in power to the Black Rider, and despite being feminine in her true form, often affects a masculine guise while attacking agents of the Light. She is revealed as disguising herself as Blodwen Rowlands, an "aunt" figure to Bran Davies. She acts kind and caring, to keep an eye on Bran while developing emotional bonds, while controlling events around Cader Idris, which means "chair of Arthur", and the Sleepers. Will Stanton hypothesized that the monochromatic 'colour' of the White Rider's robes, like those of the Black Rider, reflected the extremism of their evil—either darkened by their ignorance, or blinded by the brightness of their ideas.

The Walker: A human who betrayed the Light and was cursed to carry the Sign of Bronze, one of six Things of Power that repel the Dark, through the centuries until the last Old One claimed it from him. The Walker was once Hawkin, a liege man and foster son of Merriman during the 13th century. His betrayal of the Light stemmed largely from Merriman's acceptance of Hawkin's willingness to sacrifice his life to protect the Book of Gramarye, the secrets of which the human Hawkin can neither possess nor partake of. In The Dark Is Rising, his appearance in Will Stanton's town precipitates Will's "awakening" and rise to power. He presents Will with his second sign.

The Sleepers: Ancient knights who served during the time of King Arthur. In The Grey King, they are awakened from a mystic slumber by the Harp of the Light, to ride against the Dark during the final battle in Silver on the Tree.

Pendragon: This is a reference to two characters. First, it is the figurative title referring to status as a leader, of several traditional Kings of the Britons, notably Arthur. It is also his son in this series, Bran Davies, who is predestined to wield the Crystal Sword of Light that is vital to the final conflict with the Dark. Bran Davies is brought forward in time by Merriman at the request of his mother, Guinevere, who feared that Arthur would reject Bran as a true son because of Guinevere's affair with Lancelot. Bran is an albino, meaning he has very pale skin and white hair, eyebrows, and eyelashes, but his eyes are an unusual tawny colour. Will meets him in Wales during The Grey King, where they wake the Sleepers using the Harp. In Silver on the Tree, Bran and Will travel to the Lost Land and recover the sword Eirias.

The rooks: The majority of these birds are servants of the Dark and attract their forces wherever they are seen.

Farmer Dawson: An Old One who lives near Will Stanton and presents him with his first Sign.

John Wayland Smith: Another Old One who lives near Will Stanton; he is also a skilled smith. Though he is affiliated with the Light, he aids all who pass in his smithy. It is suggested that he might be Wayland the Smith of Germanic mythology.

Artifacts
Things of Power: The Old Ones have four Things of Power that will be used in the final battle which will allow them to defeat the Dark: the circle of Signs, the Grail, the Harp, and the Sword. They are obtained in The Dark Is Rising, Over Sea, Under Stone, The Grey King, and Silver on the Tree, respectively. Greenwitch is the story of the recovery of the stolen Grail.

The Book of Gramarye: The ancient Book of the Old Ones, it is an Old One's rite of passage, while also teaching everything about their powers, and through it, they experience the magical spells. Gramarye, or grimoire, from the Old French word grammaire and the Old English word grammar, initially referred to all books, most written in Latin, which almost no one could read, and perceived by the masses as "magical". The Book of Gramarye is protected by an enchanted device of a pendulum in a longcase clock, that if touched, will detonate and destroy any human that attempts to gain access to the book. This powerful book is further protected in that it is written in the Old Speech, which only an Old One can read and understand. It is blasted out of existence by Merriman after Will has read it.
 * The Signs: A set of six circles quartered (divided evenly in four sections) by crosses. The six signs are each made of a different material and represent a different element: wood, bronze, iron, water, fire, and stone. The six Signs represent the Six champions of the Light, referred to in the recurring Poem of the Dark Is Rising series, as "three from the Circle, three from the Track". The signs have the power to repel the Dark.
 * The Grail: Made in imitation of the Holy Grail from the King Arthur legends, it is an artifact of power used by the Light. There are markings on it in a writing similar to Ogham, which is long lost. It is eventually translated by the Old Ones, thanks to a coded manuscript inside a metal case held by the Greenwitch.
 * The Harp (the harp of gold): A golden harp that is obtained by Will Stanton and Bran Davies from a triumvirate of the High Magic by answering three riddles. The Light uses it in The Grey King in order to wake the Sleepers in preparation for the final battle. Whoever plays the harp creates powerful music that negates any magic, through the protection of the High Magic.
 * The Crystal Sword: A magical sword, commissioned by the Light, crafted in the magical Lost Lands by the Lost King. It is named Eirias; therefore, "blazing", also called sword of the sunrise. In the presence of the Dark, it burns with blue fire. It can cut portals through magical barriers, as seen in Silver on the Tree, and is encased in a magical scabbard of invisibility. It is used by Bran Davies, the Pendragon, heir of King Arthur, to cut the one fully blossomed silver flower on the Midsummer's Tree, which is caught by Merriman.

The Doors: A set of carved oak doors that lead through Time. Old Ones can summon these doors to appear at will to transport themselves through time and space. The doors disappear when the Old Ones pass through them, accompanied by the haunting bell chime music of the Light. Their origin is not explained in the books.

Midsummer's Tree: In the Chiltern Hills, England, The Tree produces a silver flower, which blooms once every 700 years, and is the final challenge for the Six of the Light. The person who obtains the silver flower gains control of the High Magic, to put out of Time the Dark or the Light forever. Bran Davies, the Pendragon and heir of King Arthur, wields the Crystal Sword to cut the fully blossomed silver flower on the Midsummer's Tree, which is caught by Merriman, making the Light victorious.

The Magics
Old Magic: A powerful elemental magic, of which the Light and the Dark are the two opposite extremes.

Wild Magic: The magic of nature, first used in The Dark Is Rising to provide strength to the forces of the Light in the book's final battle. In Greenwitch, we learn that the Wild Magic is equal in strength to both the Dark and the Light, but that it stands apart and is unaffected by either.

High Magic: The most powerful magic, being of the Cosmos. A spell of this type is used by the Old Ones in Greenwitch to be able to communicate with Tethys, the Queen of the Sea, and plead for her help in obtaining the scroll that will help translate the writing on the Grail. In The Grey King, Will Stanton and Bran Davies obtain the Harp of Gold from a place guarded by the High Magic after being tested by a Lord of the Dark, a Lord of the Light, and a Lord of the High Magic.

Old Speech
Old Speech is the spoken form of the ancient language of the Old Ones. When an Old One comes to power, this language is used instinctively by the Old One when speaking to members of the Light or the Dark. Will Stanton begins to do this without even realizing it. When an Old One speaks the Old Speech in front of a normal human, it will sound like gibberish. Some agents of the Dark, such as the Rider, can also speak Old Speech, but with a distinctive accent which gives them away to the Old Ones.

Rhymes
Small rhyming prophecies serve to guide the protagonists throughout the series. Science fiction author and filker Julia Ecklar has set these rhyming prophecies to music, and the resulting song, also called "The Dark Is Rising", won the 1997 Pegasus Award for Best Sorcery Song.

Over Sea, Under Stone
The characters in this book, which was published several years before the others, are younger than those in the rest of the series, and the issues are presented as less cosmic. Overall the book is aimed at younger readers more than the other four books in the series.

In this tale, Susan Cooper introduces the audience to Merriman, a pivotal character for the forces of the Light and also ties him with Simon, Jane and Barney Drew, three young mortal children, in a quest by the sea which will lead them over sea and under stone to find a grail of legend to help the Light in its struggle against the Dark.

The Dark Is Rising
The second book is set not on the Cornish coast but in rural Buckinghamshire, near the River Thames, and features a new group of characters. Will Stanton, the protagonist, begins to have strange experiences on his 11th birthday, just before Christmas. He learns he is one of the Old Ones, a guardian and warrior for the Light, and that he must help find the four Things of Power in order that the Light may battle the forces of the Dark. The first of these is the Circle of Six Signs, and the novel follows Will's adventures as he finds each one of these mandalas, which are then joined into a completed circle and used to ward off the forces of the Dark. The book features elements of English folklore that are especially associated with the Thames Valley, with Herne the Hunter and Wayland the Smith making an appearance. Merriman/Merlin also makes an appearance, linking this book to the previous one.

The Dark Is Rising was an American Library Association Newbery Honor Book in 1974. Based on a 2007 online poll, the U.S. National Education Association listed it as one of "Teachers' Top 100 Books for Children". In 2012 it was ranked number 22 among all-time children's novels in a survey published by School Library Journal, a monthly with primarily U.S. audience.

Greenwitch
This story returns to the Cornish village, and unites the characters from the first two books. The chalice has been stolen from the museum, and the children must recover it.

Jane Drew witnesses the creation of a ritualistic offering known as the 'Greenwitch', and senses both great power and great sadness in it. She wishes that the Greenwitch could be happy, and that wish has important consequences later when it turns out that the Greenwitch possesses something that will unlock the secrets of the Grail.

The Grey King
In this book, Will is sent to the farm of some distant relatives to recuperate after an illness. Here in the Welsh hills he meets Bran, the Pendragon, son of King Arthur, and befriends him. He must also awaken the Sleepers to fight the Dark.

The Grey King was awarded the 1976 Newbery Medal.

Silver on the Tree
All of the main characters from the other books in the sequence come together in this book, some meeting for the first time, and the struggle between the Light and the Dark is resolved. After the Light wins the battle, Bran is offered a chance to rejoin his father, but chooses to give up his immortality to stay with his friends and his mortal adoptive father. All immortal characters except Will Stanton leave the Earth forever. All the mortal characters lose all memory of any dealings with magic and the Old Ones, though the Drews and Bran have snatches of something come back to them in dreams. Will is the Watchman, who will watch out for any attempts of the Dark to return.

Locations
Nearly all the locations mentioned in the books are based on real places. Over Sea, Under Stone and Greenwitch are set in Trewissick, which is based on a village in southern Cornwall called Mevagissey which Susan Cooper used to visit as a child. The Dark Is Rising is set in the part of Buckinghamshire where Cooper grew up: Huntercombe is based on the small village of Dorney, and the Manor is Dorney Court. The Welsh setting in The Grey King and Silver on the Tree is the area around Aberdyfi, the village where Cooper's grandmother was born and where her parents lived.

Critical reception
John Clute wrote in The Encyclopedia of Fantasy "The overall tale evolves – not without occasional narrative confusion when time paradoxes and puzzles must be confronted – towards a guardedly affirmative climax in which it seems that the various young protagonists plus Bran Davies (King Arthur's son) may succeed in staving off entropy and totalitarianism."

Karen Patricia Smith wrote "Susan Cooper has come to be recognized as a major author of books for children and young adults. Her first work for children, Over Sea, Under Stone came as a response to a contest designed to honor the memory of E. Nesbit. Cooper's major contribution to date has been The Dark Is Rising series, which greatly expands the mythical theme suggested in Over Sea, Under Stone and reveals Cooper's extraordinary prowess as an author of fantasy... The shadowy aspect of the conflict and the inability to 'read' clearly the motivations of some of the characters are areas in which Cooper has been criticized. However, I feel that the ambiguity of protagonists and antagonists is a deliberate literary device. Rather than succumbing to artistic flaw, Cooper goes beyond the conventional expectations of her readers by inviting them to glimpse the complex, the unexplainable, and often the threatening aspects of mankind's nature. By offering the thesis that the human psyche may manifest itself in explicit actions or present itself in a mysterious and often frustrating manner, Cooper exceeds the traditional presentations of good versus evil often found in fantasy literature."

Mary Corran has written "Cooper's scholarly knowledge of legend, and skill in drawing together all the complexities of the five books into a triumphant finale, produce an epic of great power. There are differences in quality in the novels--Greenwitch...is perhaps the weakest, and The Dark Is Rising and The Grey King the strongest; Silver on the Tree, while suitably life-affirming in its conclusion, is slightly preachy, but that is a natural hazard of the subject matter. Cooper deals with the innate antagonism between mortals and immortals impressively, and in The Grey King reaches great heights as she mingles the worlds and peoples of legend and the present day. The sequence is a remarkable achievement, and Cooper's gifts for description and characterization provide additional pleasure to novels already replete with intellectual enjoyment."

Joel Chaston writes "Among Cooper's books for children, the Dark Is Rising series is her masterwork. The five novels in it are rich with symbolism and poetic passages. The Dark Is Rising, perhaps the best single book of the series, certainly rivals and sometimes surpasses the work of the major fantasy writers--with whose work it is frequently compared."

Amelia A. Rutledge says that the series "integrates the traditional lore of the British Isles with modern concerns. Her work, although commercially designated for a younger audience, exemplifies sophisticated mythopoeic writing not limited to that age group and is one of the major contributions to Arthurian fantasy of the 1970s."

Professor Michael D. C. Drout argues that Cooper makes greater "use of Anglo-Saxon source materials" than other critics have identified: "Cooper's uses of Anglo-Saxon sources are allusions that fit into a schema of history rather than (in the words of one reviewer) being merely tossed "pell-mell" into the mythical pot... It is Cooper's Anglo-Saxonism, I argue, which generates the notions of British national identity explicated in the novels, notions that contradict the author's overt political stance. In addition, Cooper's particular version of Anglo-Saxonism, with its strong focus on teaching and learning, is isomorphic to the ideology of adult/child power relations represented in the novels, an ideology that puts great weight on the value of obedience to authority. Adult/child power relations are both replicated and reinforced by two other sets of opposed terms: British/non-British and supernatural/mundane, and all of these terms are finally subsumed in Cooper's Manichaean binary, Light/Dark, leading to a closed symbolic economy which exalts personal obedience to authority and views Anglo-Saxons and their ideologies—as they were for the Venerable Bede in A.D. 771—as clearly on the side of the angels."

The New York Times Book Review wrote of the novel The Dark Is Rising "This is a muscular fantasy... The writing is robust, but noticeably better out of human time than at the Stanton hearth: as if the author's style, too, had experienced a salutary, magical translation... The fantastic style is virile and, for all its paraphernalia, spare. Susan Cooper's vocabulary is athletic; the complications are dense. Her book seems to have been prepared for a special small age group: those who can read with fluency and attention, but who haven't yet been afflicted by adolescent cynicism."

Film adaptation
Following the successful film adaptations of other fantasy classics, it was announced in 2005 that the novel The Dark Is Rising was being developed as a major motion picture. Called The Seeker in the US, the film was a joint venture between 20th Century Fox and Walden Media. John Hodge wrote the screenplay and the film was directed by David L. Cunningham and produced by Marc E. Platt. Ian McShane played the role of Merriman Lyon while Alexander Ludwig played the young Will Stanton as an American. Frances Conroy and Christopher Eccleston (as The Rider) also star. Filming began in February 2007 in Bucharest, Romania. The film was released on 5 October 2007, in the United States and the UK. It was not successful.

Screenwriter Hodge made substantial changes to the novel's plot, tone, and characters. For example, to differentiate him from Harry Potter, the film version of Will Stanton is a 13- to 14-year-old American living in Britain. Hodge also felt that the "lyrical, poetic, kaleidoscopic fashion" of the book could not be filmed and felt compelled to add action for Will where "he doesn't actually do very much."

Cooper was disappointed by changes in the screenplay from the book and requested that some be undone. For example, she considered it crucial that Will is only 11 because that is before puberty. The film portrayed, and one of its trailers featured, Will as an adolescent teased for and preoccupied with his shyness and inexperience with girls.

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Auguste Villiers de l'Isle-Adam

Jean-Marie-Mathias-Philippe-Auguste, comte de Villiers de l'Isle-Adam (7 November 1838 – 19 August 1889) was a French symbolist writer. His family called him Mathias while his friends called him Villiers; he would also use the name Auguste when publishing some of his books.

Life
Villiers de l'Isle-Adam was born in Saint-Brieuc, Brittany, to a distinguished aristocratic family. His parents, Marquis Joseph-Toussaint and Marie-Francoise (née Le Nepvou de Carfort) were not financially secure and were supported by Marie's aunt, Mademoiselle de Kerinou. In attempt to gain wealth, Villiers de l'Isle-Adam's father began an obsessive search for the lost treasure of the Knights of Malta, formerly known as the Knights Hospitaller, of which order Philippe Villiers de L'Isle-Adam, a family ancestor, was the 16th-century Grand Master. The treasure had reputedly been buried near Quintin during the French Revolution. Consequently, Marquis Joseph-Toussaint spent large sums of money buying and excavating land before selling unsuccessful sites at a loss.

The young Villiers' education was troubled—he attended over half a dozen different schools—yet from an early age his family were convinced he was an artistic genius, and as a child, he composed poetry and music. A significant event in his childhood years was the death of a young girl with whom Villiers had been in love, an event which would deeply influence his literary imagination.

Villiers made several trips to Paris in the late 1850s, where he became enamoured of artistic and theatrical life. In 1860, his aunt offered him enough money to allow him to live in the capital permanently. He had already acquired a reputation in literary circles for his inspired, alcohol-fuelled monologues. He frequented the Brasserie des Martyrs, where he met his idol Baudelaire, who encouraged him to read the works of Edgar Allan Poe. Poe and Baudelaire would become the biggest influences on Villiers' mature style; his first publication, however (at his own expense), was a book of verse, Premières Poésies (1859). It made little impression outside Villiers' own small band of admirers. Around this time, Villiers began living with Louise Dyonnet. The relationship and Dyonnet's reputation scandalised his family; they forced him to undergo a retreat at Solesmes Abbey. Villiers would remain a devout, if highly unorthodox, Catholic for the rest of his life.

Villiers broke off his relationship with Dyonnet in 1864. He made several further attempts at securing a suitable bride, but all ended in failure. In 1867, he asked Théophile Gautier for the hand of his daughter, Estelle, but Gautier — who had turned his back on the bohemian world of his youth and would not let his child marry a writer with few prospects — turned him down. Villiers' own family also strongly disapproved of the match. His plans for marriage to an English heiress, Anna Eyre Powell, were equally unsuccessful. Villiers finally took to living with Marie Dantine, the illiterate widow of a Belgian coachman. In 1881, she gave birth to Villiers' son, Victor (nicknamed "Totor").

An important event in Villiers' life was his meeting with Richard Wagner at Triebschen in 1869. Villiers read from the manuscript of his play La Révolte and the composer declared that the Frenchman was a "true poet". Another trip to see Wagner the next year was cut short by the outbreak of the Franco-Prussian War, during which Villiers became a commander in the Garde Nationale. At first, he was impressed by the patriotic spirit of the Commune and wrote articles in support of it in the Tribun du peuple under the pseudonym "Marius", but he soon became disillusioned with its revolutionary violence.

Villiers' aunt died in 1871, ending his financial support. Though Villiers had many admirers in literary circles (the most important being his close friend Stéphane Mallarmé), mainstream newspapers found his fiction too eccentric to be saleable, and few theatres would run his plays. Villiers was forced to take odd jobs to support his family: he gave boxing lessons and worked in a funeral parlour and was employed as an assistant to a mountebank. Another money-making scheme Villiers considered was reciting his poetry to a paying public in a cage full of tigers, but he never acted on the idea. According to his friend Léon Bloy, Villiers was so poor he had to write most of his novel L'Ève future lying on his belly on bare floorboards, because the bailiffs had taken all his furniture. His poverty only increased his sense of aristocratic pride.

In 1875, he attempted to sue a playwright he believed had insulted one of his ancestors, Maréchal Jean de Villiers de l'Isle-Adam. In 1881, Villiers stood unsuccessfully for parliament as a candidate for the Legitimist party. By the 1880s Villiers' fame began to grow, but not his finances. The publishers Calmann-Lévy accepted his Contes cruels, but the sum they offered Villiers was negligible. The volume did, however, come to the attention of Joris-Karl Huysmans, who praised Villiers's work in his highly influential novel À rebours. By this time, Villiers was very ill with stomach cancer. On his deathbed, he finally married Marie Dantine, thus legitimising his beloved son "Totor". He is buried in Père Lachaise Cemetery, though a planned tomb monument designed by Frédéric Brou was abandoned at the maquette stage.

Writings
Villiers' works, in the Romantic style, are often fantastic in plot and filled with mystery and horror. Important among them are the drama Axël (1890), the novel The Future Eve (1886), and the short-story collection Contes cruels (1883, tr. Sardonic Tales, 1927). Contes cruels is regarded as an important collection of horror stories, and the origin of the short story genre conte cruel. The Future Eve greatly helped to popularize the term "android" (Androïde in French, the character is named "Andréide").

Villiers believed the imagination has within it much more beauty than reality itself, existing at a level in which nothing real could compare.

Axël
Villiers considered Axël to be his masterpiece, although critics preferred his fiction. He began work on the play around 1869, and had still not completed it when he died. It was first published posthumously in 1890. The work is heavily influenced by the Romantic theatre of Victor Hugo, as well as Goethe's Faust and the music dramas of Richard Wagner.

The play's most famous line is Axël's "Vivre? les serviteurs feront cela pour nous" ("Living? Our servants will do that for us"). Edmund Wilson used the title Axel's Castle for his study of early Modernist literature.

Works

 * Premières Poésies (early verse, 1859)
 * Isis (novel, uncompleted, 1862)
 * Elën (drama in three acts in prose, 1865)
 * Morgane (drama in five acts in prose, 1866)
 * La Révolte (drama in one act, 1870)
 * Le Nouveau Monde (drama, 1880)
 * Contes Cruels (stories, 1883; translated into English as Sardonic Tales by Hamish Miles in 1927, and as Cruel Tales by Robert Baldick in 1963)
 * L'Ève future (novel, 1886; translated into English as Tomorrow's Eve by Robert Martin Adams)
 * L'Amour supreme (stories, 1886; partially translated into English by Brian Stableford as The Scaffold and The Vampire Soul)
 * Tribulat Bonhomet (fiction including "Claire Lenoir", 1887; translated into English by Brian Stableford as The Vampire Soul ISBN 1-932983-02-3)
 * L'Evasion (drama in one act, 1887)
 * Histoires insolites (stories, 1888; partially translated into English by Brian Stableford as The Scaffold and The Vampire Soul)
 * Nouveaux Contes cruels (stories, 1888; partially translated into English by Brian Stableford as The Scaffold and The Vampire Soul)
 * Chez les passants (stories, miscellaneous journalism, 1890)
 * Axël (published posthumously 1890; translated into English by June Guicharnaud)

title: Auguste Villiers de l'Isle-Adam


text:
Category:Tractors

 * Tractors — heavy equipment vehicles used, for example, in agriculture and construction.

title: Category:Tractors


text: Category:South Korean athletes

title: Category:South Korean athletes


text:
The Dark Is Rising

The Dark Is Rising is a 1973 children's fantasy novel by Susan Cooper. The second in The Dark Is Rising Sequence, the book won a Newbery Honor. It has been described as a "folkloric tale of an English boy caught in a battle between light and dark".

Plot
Will Stanton begins to have strange and magical experiences on his 11th birthday, which is at the winter solstice – a few days before Christmas. He discovers he is one of a group of an ancient magical people called the Old Ones, who are guardians and warriors for "the Light" (i.e. good), who are waging a centuries-long battle against the forces of "the Dark" (i.e. evil), whose evil power is rising. To fight back the Dark, the Old Ones need to find and reclaim four magical talismans (called "Things of Power") for the Light. The first of these is the "Circle of Signs" (a set of magical objects in the form of circles divided into four sections by a cross). Will is quested to collect all the Signs, so that the completed Circle can be used to ward off the forces of the Dark.

This book introduces Will Stanton, a protagonist in The Dark Is Rising Sequence, and features elements of British folklore that are especially associated with the Thames Valley, with Herne the Hunter making an appearance.

Reception, awards, and impact
The Dark Is Rising Sequence was an American Library Association Newbery Honor Book in 1974. Based on a 2007 online poll, the U.S. National Education Association named it one of "Teachers' Top 100 Books for Children". In 2012 it was ranked number 22 among all-time children's novels in a survey published by School Library Journal, a monthly with primarily U.S. audience.

A film version, The Seeker, was released in 2007. Critical reception to the film was very poor.

The BBC ran a radio adaptation commencing in 2022, an adaptation with some use of more modern idiom.

title: The Dark Is Rising


text:
EPMD

EPMD is an American hip hop duo from Brentwood, New York. The duo's name is an acronym for "Erick and Parrish Making Dollars", referring to its members: emcees Erick Sermon ("E" a.k.a. E Double) and Parrish Smith ("PMD" a.k.a. Parrish Mic Doc). During an interview on college radio station WHOV in 1987, Parrish Smith stated that the name evolved from the original: "We were originally known as "EEPMD" (Easy Erick and Parrish the Microphone Doctor), but chose to go with EPMD because it was easier to say." He also stated that they dropped the two "E's" because N.W.A.'s Eric Wright was already using "Eazy-E" as his stage name. The group has been active for 37 years (minus two breakups in 1993 and 1999).

Early years and mainstream success: 1987–1992
Hailing from Brentwood, Long Island, New York, EPMD's first album, Strictly Business, appeared in 1988 and featured the underground hit "Strictly Business," which sampled Eric Clapton's version of Bob Marley's "I Shot the Sheriff." Many critics cite this first album as the group's most influential. The group's brand of funk-fueled sample-heavy hip-hop proved to be a major force in the genre. Unlike old school hip hop, which was originally based on disco hits but eventually became more electronic, EPMD based its music mainly on lifting funk and rock breaks for samples and helped to popularize their usage, along with Marley Marl and Public Enemy. "You're a Customer" combined snippets of Steve Miller's "Fly Like an Eagle," Kool & the Gang's "Jungle Boogie, the bass line from ZZ Top's "Cheap Sunglasses" and drum beat (Roger Linn LM-2 machine). "Jane," about a romantic rendezvous gone bad, would be revisited on no less than five sequels; a first for hip-hop. "You Gots to Chill" used 1980s funk band Zapp's "More Bounce to the Ounce," which has become one of the most enduring sample sources for hip-hop. EPMD later appeared on the single "Everybody (Get Up)" by Zapp frontman Roger Troutman on his last solo album, Bridging The Gap, in 1991. "I'm Housin'" was covered some 12 years later by Rage Against the Machine. Managed early on by Russell Simmons' RUSH Management, the group toured with such hip-hop luminaries as Run-DMC, Public Enemy, and DJ Jazzy Jeff & the Fresh Prince.

EPMD signed with Fresh/Sleeping Bag Records, which eventually released its debut album, Strictly Business, by electro funk pioneer Kurtis Mantronik, who also worked as an A&R representative for the label. Propelled by several strong singles ("You Gots to Chill" and the album's title track), the album was eventually certified gold, selling over 500,000 copies, as did 1989's follow-up, Unfinished Business. Financial frustrations followed when Sleeping Bag went under in 1992. The two EPMD albums and Nice & Smooth's debut album were acquired by Priority/EMI Records before the label was sold to Warlock Records. The duo's Sleeping Bag contract was acquired by Def Jam. EPMD returned in 1990 with Business As Usual and Business Never Personal two years later. By 1992, the group presided over an extended family dubbed the Hit Squad, which included Redman, K-Solo, Das EFX, Hurricane G, and Knucklehedz.

In 1992, EPMD had a hit with its song "Crossover," which lamented rappers making blatant concessions to pop sensibilities in order to get mainstream attention from music audiences. The song became a hit, peaking at No. 42 on the Billboard Hot 100 and in doing so becoming their biggest hit to date.

First breakup and feud: 1993–1996
EPMD called it quits in 1993, under controversial circumstances. According to interviews in The Source and Rap Pages, in late 1991, Smith's house was burglarized by armed intruders. According to Smith, in the ensuing police investigation, one of the apprehended culprits supposedly gave up Sermon's name as having allegedly paid them to do it. Sermon was arrested and briefly detained for questioning, but no charges were filed. Still, it led to lingering tensions, and by the time of the break-up, Sermon alleged financial impropriety on Smith's part. The duo found itself as solo artists by default: Sermon debuted in 1993 with No Pressure, followed by Double or Nothing (1995), Def Squad Presents Erick Onasis (2000), Music (2001), and React (2002). Smith released 1994's Shade Business, followed by Business is Business in 1996.

First reunion and second breakup: 1997–2005
The duo reunited in 1997, recording a comeback LP, Back in Business. In 1998, a remix of the song "Strictly Business" appeared by the A&R man who signed the duo while at Fresh/Sleeping Bag, Kurtis Mantronik. Sermon released an album with Redman and Keith Murray as the Def Squad in 1998: El Niño was certified gold that same year. EPMD's last LP, Out of Business, was released in 1999 as both a single CD and a limited edition double CD. The limited edition double CD contained both new material and rerecorded versions of its greatest hits. Smith released The Awakening (2003) on his own Hit Squad label, and Sermon released Chilltown, N.Y. (2004) on Motown/Universal. A Hit Squad compilation LP (overseen by Smith, featuring a new EPMD track) was released on Nervous Recordings in 2004.

Second reunion: 2006–present
A reunited EPMD with DJ Scratch performed live at the Rock the Bells Tour in New York on October 14, 2006, at B.B. King Blues Club & Grill, their first NYC show in eight years. The tour also featured former Hit Squad members Keith Murray, Das EFX, and Redman.

Two months later, EPMD and Keith Murray released a new song, titled "The Main Event," produced by DJ Knowhow. In the March 2007 issue of Swedish hip-hop magazine Quote, Erick Sermon and Parish Smith talked about whether the duo planned to record together again. On its recent tour, the group announced that it was working on a new album, tentatively titled We Mean Business.

On June 27, 2007, the group appeared on BET's Rap City to freestyle. EPMD's new single, "Blow", was released on vinyl from Unique Distribution during August 2007 as a prelude to a new album that was to be released in 2008. The song instantly became a regular feature on the Funkmaster Flex show. The same month, the duo made a number of surprise live appearances, including the Rock the Bells tour with Rage Against the Machine, Wu-Tang Clan, Cypress Hill, Mos Def and others.

In June 2008, during an interview with HipHopGame, Erick and Parish confirmed that We Mean Business would be released on September 9. The album eventually emerged in December 2008, and featured guest appearances from the likes of KRS-One and Redman amongst others. In the end of the interview, they mentioned the possibility of a Hit Squad/Def Squad double disc album, but that they had problems with K-Solo.

On August 3, 2008, EPMD joined Method Man & Redman on stage at the Rock the Bells concert at Jones Beach, New York.

The following month, EPMD took the stage as part of AllHipHop.com's Breeding Ground event at S.O.B.'s in New York City. The duo performed many of their early hits and featured Keith Murray as a guest.

In March 2011, EPMD performed at the Lawyer4Musicians Hiphop showcase at Venue 222 in Austin, Texas. It was the duo's first time performing in Austin, where they performed many of their early hits as well as cover songs and freestyle rhymes.

EPMD appeared on the Nas album King's Disease II alongside Eminem on the track "EPMD 2".

Studio albums

 * Strictly Business (1988)
 * Unfinished Business (1989)
 * Business as Usual (1990)
 * Business Never Personal (1992)
 * Back in Business (1997)
 * Out of Business (1999)
 * We Mean Business (2008)

title: EPMD


text:
Talk:Hebrew tribe

I have been confused with spelling as it seems someone before me has also.

Napthali? or Naphtali? Personally I am prefering to go with the latter, mostly because the article is much better, many more Wikipedia articles, ( with professional looking translations of the name ) use it. Jacob has it Naphtali, as does Tribe of Naphtali, and Naphtali.

This article replicated information in the article Tribes of Israel and so I converted it to a redirect.Journeyman 01:32, 22 Mar 2005 (UTC)

title: Talk:Hebrew tribe


text:
Rubus phoenicolasius

Rubus phoenicolasius (Japanese wineberry, wine raspberry, wineberry or dewberry) is an Asian species of raspberry (Rubus subgenus Idaeobatus) in the rose family, native to China, Japan, and Korea.

The species was introduced to Europe and North America as an ornamental plant and for its potential in breeding hybrid raspberries. It has subsequently escaped from cultivation and become naturalized in parts of Europe and North America.

Characteristics
The species is a perennial plant which bears biennial stems ("canes") from the perennial root system. In its first year, a new stem ("primocane") grows vigorously to its full height of 1–3 m, unbranched, and bearing large pinnate leaves with three or five leaflets; normally it does not produce any flowers the first year. In its second year, the stem ("floricane") does not grow taller, but produces several side shoots, which bear smaller leaves always with three leaflets; the leaves are white underneath.

The flowers are produced in late spring on short, very bristly racemes on the tips of these side shoots, each flower 6–10 mm diameter with five purplish red to pink petals and a bristly calyx. The fruit is orange or red, about 1 cm diameter, edible, produced in summer or early autumn; in botanical terminology and like all members of Rubus, it is not a berry at all but an aggregate fruit of numerous drupelets around a central core. Ripening occurs from early summer. The canes have red glandular hairs. These red hairs give the species its scientific name, from the Latin phoenicus, meaning red.

In addition to seed propagation, new plants are formed from the tips of existing canes touching the ground. They thrive in moist soil and grow near and within wooded areas. As a fruit develops, it is surrounded by a protective calyx covered in hairs that exude tiny drops of sticky fluid. While the structure resembles those of carnivorous plants, the wineberry plant does not get nutrients from insects caught in the sap: the sticky mucilage contains no digestive enzymes, surrounding tissues cannot absorb nutrients, and there are no protein-storage tissues. Also, unlike carnivorous plants, wineberry grows in nutrient-rich soil, so it need not resort to insect proteins as a source of nitrogen.

The plant's leaves and stems/branches are covered in spines. The leaves appear in sets of three, where the two side leaves are small, and the center leaf is large. The leaves are green on top, and white on the bottom because of a dense layer of woolly hairs.

Cultivation and uses
Wineberries grow in the wild in many parts of the United States, primarily the Appalachian Mountains. They are common along the edges of fields and roadsides, and still are used as breeding stock for raspberry cultivars. They are edible, with no poisonous look-a-likes in North America. Other plants that may be mistaken as wineberries include red raspberry, salmonberry, black raspberry, and blackberry, all of which are edible. Sweet and tart with a raspberry-like flavor, wineberries are used similarly to raspberries to make pastries, such as pie or other sweet treats.

Introduced status
The wineberry is native to eastern Asia and has been introduced into parts of North America and Europe. Wineberries grow vigorously and can form extensive, dense thickets that displace many native species. Wineberries can be found in many habitats, such as forest, fields, stream banks, and wetland edges, as well as open woods. The first years of growth for wineberries are longer (approximately 32%) than many other black and red raspberries. Wineberries are a host to several viruses, such as raspberry yellow spot that can affect native species of raspberry.

Wineberry vine growth may be controlled variously, such as by biological mechanisms increasing susceptibility to diseases, or mechanical effects by digging, excavating or repeatedly cutting back the plant until it dies. Concentrations mixed to the manufacturers specifications can be applied to the leaves to kill the plants. The wineberry is listed as a noxious weed by both Connecticut and New York where its possession and sale are prohibited by law.

title: Rubus phoenicolasius


text:
Opel Tigra

The Opel Tigra name has been applied to two different cars engineered and produced by the German automaker Opel, both based on different iterations of the Corsa supermini, the first built in Spain, the second in France. The first Tigra was a small 2+2 coupé, produced from 1994 to 2000. The later compact hard topped convertible roadster model was introduced in May 2004.

The Tigra was sold in the United Kingdom as the Vauxhall Tigra, in Australia as the Holden Tigra, and was sold in Brazil, Argentina and Mexico as the Chevrolet Tigra.

Tigra A (1994–2000)

The first Tigra was based on the coupé concept car of the same name that was shown at the 1993 Frankfurt Motor Show, alongside an open top Tigra Roadster concept and the Scamp off roader/pickup. The première of the concept Tigra in the United Kingdom was in October 1993, at the London Motorfair.

The Tigra was built on the platform of the second generation Opel Corsa. The production vehicle was introduced in the beginning of 1994, and was built at Opel's Zaragoza plant in Spain. Production commenced in September 1994. General Motors' Pontiac division had considered importing the Tigra to the United States, but in the end it was determined that the car was too small for American consumers. Television advertisements in the United Kingdom for the (Vauxhall) Tigra featured the tune "Fiesta" by The Pogues.

The Tigra shared no body panels with the Corsa on which it was based, and the interior layout was different, however still kept the Corsa dashboard and most major engine parts. The Tigra also included a 2+2 seating arrangement. Due to the coupé styling and compact dimensions of the car, rear seat space was limited. The design incorporated a lightning theme as per the Opel logo; this can be seen in the way the roof and waistlines meet the reverse rake of the B-pillar, while lightning-shaped reflection appears in the metal ahead of the rear wheelwell in certain lighting conditions.

The Tigra was available with two petrol engines options, both from the Ecotec family, an entry-level 1.4 L with 90 PS, and a larger sportier version, powered by the 1.6 L engine with 106 PS, sourced from the Corsa GSi and later Corsa Sports. Both were DOHC 16 valve engines with electronic fuel injection.

The smaller engine was available with an optional four-speed automatic gearbox. The 1.6-litre model came with front fog lights as standard, a feature unavailable on the 1.4-litre version. An automatic option for the 1.4 was added in February 1995.

The suspension was essentially unchanged from the Corsa donor model, although the setup had been tweaked by Lotus. However, the car carried extra weight, with 150 kg over the equivalent engined Corsa models. 0–100 km/h acceleration on the 1.6 L model was 10.5 seconds, one second slower than the Corsa GSi. A higher top speed of 203 km/h was obtained thanks to the higher gear ratios, a lower drag coefficient of 0.31, and standard 15" wheels on the more powerful model.

The car was imported by GM and sold as the Chevrolet Tigra in Brazil and Mexico, and as the Vauxhall Tigra in the United Kingdom. The Chevrolet Tigra was imported to Brazil only for a few months, between the end of 1998 to the beginning of 1999, due to a sudden depreciation of the real, which forced General Motors do Brasil to end importation. Only the 1.6 L model was imported, detuned to 100 PS for tax purposes. The 15" wheels were also exchanged for more affordable 14" wheels.

Production ended in July 2000, with the final sale number worldwide being 256,392. In Germany, from 1994 to 2000, 59,462 models of the car were sold.

Tigra TwinTop B (2004–2009)
After an absence of four years, Opel resurrected the nameplate Tigra in June 2004, for a new sports car based on the third generation Opel Corsa. The Tigra TwinTop, as it was called in markets of Opel, was a two-seater coupé convertible with a retractable hardtop, in the fashion of the Peugeot 206 CC.

It was launched at the Geneva Motor Show in March 2004, and was produced by French coachbuilder Heuliez. Sales commenced in October 2004. Like its predecessor, the Tigra TwinTop was available with two petrol powered engines.

The base model used the 1.4 L engine with 90 PS, from the Family 0, while the top of the range uses the Ecotec 1.8 L from the Corsa GSi, with 125 PS. An economic version, which used Fiat's Multijet 1.3 diesel engine, was introduced in 2005.

The second generation was marketed in Australia as the XC series Holden Tigra, only with the 1.8 L engine. Production ended in May 2009, with the final production number being 90,874.

title: Opel Tigra


text:
Ellen Langer

Ellen Jane Langer (born March 25, 1947) is an American professor of psychology at Harvard University; in 1981, she became the first woman ever to be tenured in psychology at Harvard. Langer studies the illusion of control, decision-making, aging, and mindfulness theory. Her most influential work is Counterclockwise, published in 2009, which answers questions about aging from her research and interest in the particulars of aging across the nation.

Early life and education
Langer was born in The Bronx, New York. She received a bachelor's degree in psychology from New York University, and her PhD in Social and Clinical Psychology from Yale University in 1974.

Career
Langer has had a significant influence on the positive psychology movement. Along with being known as the mother of positive psychology, her contributions to the study of mindfulness have earned her the moniker of the "mother of mindfulness." Her work helped to presage mind/body medicine, which has been regarded by many scientists to be an important intellectual movement and one that now has "considerable evidence that an array of mind-body therapies can be used as effective adjuncts to conventional medical treatment." She has co-authored experimental research indicating a connection between time perception and wound healing, although this study has been called into question for flawed analyses.

She has published over 200 articles and academic texts, was published in The New York Times, and discussed her works on Good Morning America. Additionally, in many introductory psychology courses at universities across the United States, her studies are required reading.

Many regard Langer as a trailblazer who initiated a transformative shift in perspective. Daniel Gilbert, a psychology professor, stated in the 1989 anthology Unintended Thought, “[Langer] pointed out that social inference is not always a conscious and deliberate act; rather it is often the province of mindless automata.” He further noted, “This clarion call was widely appreciated, and if Langer did not quite set the stage for a psychology of unconscious social inference, she at least rented the theatre.”

Aging

Langer and colleagues have conducted multiple forms of research to promote the flexibility of aging. Some of her most impactful work has been her research on her famous Counterclockwise Study (1979). This study found that when elderly men were temporarily placed in a setting that recreated their past, their health improved, and they even looked younger. This study was originally published by Oxford University Press and later described in her best seller, Mindfulness. It is the basis of what is now called Reminiscence Therapy. The study was the basis of a British Academy of Film and Television Awards nominated BBC series, The Young Ones. However, this study was never published in a peer-reviewed journal. The only publication of this finding is in a chapter of a book edited by Langer. As of 2018, the counterclockwise "pilot" study has not been replicated.

Other important work has shown that rewarding behaviors and following completion of memory tasks improves memory. Another study showed that among nursing home patients, simply taking care of a plant improves mental and physical health, as well as life expectancy. This study was shown to be the result of a statistical error. These studies were the primitive steps to creating the Langer Mindfulness Scale. By having chambermaids call their everyday activity “exercise” rather than “labor,” Langer found that the chambermaids experienced a myriad of health benefits including: "a decrease in their systolic blood pressure, weight, and waist-to-hip ratio."

Mindfulness
Langer is well known for her contributions to the study of mindfulness and of mindless behaviour, with these contributions having provided the basis for many studies focused on individual differences in unconscious behavior and decision-making processes in humans. In 1989, she published Mindfulness, her first book, and some have referred to her as the "mother of mindfulness". In an interview with Krista Tippett on the National Public Radio program "On Being," broadcast on September 13, 2015, Langer defined mindfulness as "the simple act of noticing new things."

Awards
In 1980, she was the recipient of a Guggenheim Fellowship. Other honors include the Award for Distinguished Contributions to Psychology in the Public Interest of the American Psychological Association, the Liberty Science Center Genius Award, the Distinguished Contributions of Basic Science to Applied Psychology award from the American Association of Applied and Preventive Psychology, the James McKeen Cattel Award, and the Gordon Allport Intergroup Relations Prize.

Criticism
In a 2014 New York Times Magazine profile, Langer described the week-long paid adult counterclockwise retreats she was creating in San Miguel de Allende, Mexico, aimed at replicating the effects found in her New Hampshire study. According to the article, "Langer makes no apologies for the paid retreats, nor for what will be their steep price." Langer was defiant when pressed on the ethics of her study:

 "To my question of whether such a nakedly commercial venture will undermine her academic credibility, Langer rolled her eyes a bit. 'Look, I'm not 40 years old. I've paid my dues, and there's nothing wrong with making this more widely available to people, since I deeply believe it.'"

title: Ellen Langer


text:
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title: User talk:Kaelin~enwiki


text:
Little Germany, Manhattan

Little Germany, known in German as Kleindeutschland and Deutschländle and called Dutchtown by contemporary non-Germans, was a German immigrant neighborhood on the Lower East Side and East Village neighborhoods of Manhattan in New York City. The demography of the neighborhood began to change in the late 19th century, as non-German immigrants settled in the area. A steady decline of Germans among the population was accelerated in 1904, when the General Slocum disaster decimated the social core of the population with the loss of more than 1,000 lives.

Growth
Beginning in the 1840s, large numbers of German immigrants entering the United States provided a constant population influx for Little Germany. In the 1850s alone, 800,000 Germans passed through New York. By 1855 New York had the third largest German population of any city in the world, outranked only by Berlin and Vienna. The German immigrants differed from others in that they usually were educated and had marketable skills in crafts. More than half of the era's bakers and cabinet makers were Germans or of German origin, and many Germans also worked in the construction business. Educated Germans such as Joseph Wedemeyer, Oswald Ottendorfer and Friedrich Sorge were important players in the creation and growth of trade unions, and many Germans and their Vereine (German American clubs) were also often politically active. Oswald Ottendorfer who was the owner-editor of the Staats-Zeitung, New York's largest German-language newspaper, was among the wealthiest and most socially prominent German-Americans in the city. He also became the undisputed leader of the newly important German Democracy, which would help Fernando Wood recapture the mayor's office in 1861 and elect Godfrey Gunther as mayor in 1863.

At the time, Germans tended to cluster more than other immigrants, such as the Irish, and in fact those from particular German states preferred to live together. This choice of living in wards with those from the same region was perhaps the most distinct and overlooked feature of Kleindeutschland. For instance the Prussians, who by 1880 accounted for nearly one-third of the city's German-born population, were most heavily concentrated in the city's Tenth Ward. Germans from Hessen-Nassau tended to live in the Thirteenth Ward in the 1860s and in the ensuing decades moved northward to the borders of the Eleventh and Seventeenth Wards. Germans from Baden by the 1880s tended to favor living in the Thirteenth Ward, and Württembergers began by the 1860s to migrate northward into the Seventeenth Ward. The Bavarians (including Palatines from the Palatinate region of western Germany on the Rhine River, which was subject to the King of Bavaria), the largest group of German immigrants in the city by 1860, were distributed evenly in each German ward except the Prussian Tenth. Aside from the small group of Hanoverians, who had a strong sense of self-segregation forming their own "Little Hanover" in the Thirteenth Ward, the Bavarians displayed the strongest regional bias, mainly toward Prussians: at all times the most distinctive characteristic of their settlement pattern remained that they would be found wherever the Prussians were fewest.

In 1845, Little Germany was already the largest German-American neighborhood in New York; by 1855, its German population had more than quadrupled, displacing the American-born workers who had first moved into the neighborhood's new housing, and at the beginning of the 20th century, it was home to almost 50,000 people. From a core in the riverside 11th Ward, it expanded to encompass most of the 10th, 13th, and 17th Wards, the same area that later became known as the Jewish Lower East Side. Tompkins Square Park, in what is now known as Alphabet City, was an important public space that the Germans called the Weisse Garten. There were beer gardens, sport clubs, libraries, choirs, shooting clubs, German theatres, German schools, German churches, and German synagogues. A large number of factories and small workshops operated in the neighborhood, initially in the interiors of blocks, reached by alleyways. There were major commercial streets including department stores. Stanley Nadel quotes a description of the neighborhood at its peak in the 1870s:

"At the beginning of the '70s, after a decade of continuously rising immigration, Kleindeutschland was in its fullest bloom. Kleindeutschland, called Dutchtown by the Irish, consisted of 400 blocks formed by some six avenues and nearly forty streets. Tompkins Square formed pretty much the center. Avenue B, occasionally called the German Broadway, was the commercial artery. Each basement was a workshop, every first floor was a store, and the partially roofed sidewalks were markets for goods of all sorts. Avenue A was the street for beer halls, oyster saloons and groceries. The Bowery was the western border (anything further west was totally foreign), but it was also the amusement and loafing district. There all the artistic treats, from classical drama to puppet comedies, were available."

General Slocum disaster

On June 15, 1904, St Mark's Evangelical Lutheran Church organized their 17th annual picnic to commemorate the end of the school year. A large paddlewheeler, the General Slocum, was chartered for a cruise on the East River to a picnic site on Long Island, and over 1,300 passengers, mostly women and children, participated in the event. Shortly after departing, a fire started in a storage compartment in the forward section. Although the ship was equipped with lifeboats and preservers, both were in disrepair. The inadequacy of the safety equipment, compounded with the poor leadership of Captain William Van Schaick, caused an estimated 1,021 passengers to die by fire or drowning.

Although only one percent of Little Germany's population was killed by the disaster, those lost were members of the most established families, the social foundation of Little Germany's community, and the extent of the disaster had enormous repercussions on the St Mark's parish. The disaster as well as the accelerated exodus that was already well underway and the future anti-German sentiment that would occur during World War I would lead Kleindeutschland to extinction. Some bereaved parents, spouses, children, and friends committed suicide. To further complicate matters, the desire to find a culprit, conflicting public opinion, and family quarrels among survivors about the distribution of money from a relief fund led the culture of Little Germany to turn sour. The final indignity was the jury's refusal to find Captain Van Schaick guilty of manslaughter; one of the only things he was ever punished for was lack of safety-preparedness, which was sufficient for him to receive a ten-year prison sentence.

Decline
The General Slocum disaster was perhaps the final blow in hastening the end of Little Germany, but for decades before that event, the neighborhood had been contracting in size, both in population and in area. Near the end of the 19th century, between 1870 and 1900, second-generation German-Americans began to leave the old neighborhood to resettle in Brooklyn, in particular in Williamsburg, and farther uptown on the East Side of Manhattan, in Yorkville. At the same time, the press of new mass immigration into the city of not only Germans – whose numbers peaked in the 1880s – and Irish, but also large numbers of Russian and Yiddish speaking Eastern European Jews and Italians from the south of that country caused Little Germany to contract, so that rather than taking up a large portion of the East Side below 23rd Street, it was eventually bounded by 14th Street on the north, Grand Street on the south, Broadway on the west, and the East River on the east. As well, the new mix of immigrants coming in changed the character of the area, so that what had been Kleindeutschland began to transform into the Lower East Side. The Slocum disaster accelerated the process, as in its wake, much of the remaining German population moved, to Yorkville and elsewhere.

title: Little Germany, Manhattan


text:
Orchard Park

Orchard Park may refer to:

Canada

 * Royal Orchard Park in Markham, Ontario
 * Orchard Park Shopping Centre in Kelowna, British Columbia

United Kingdom

 * Orchard Park, Cambridgeshire (previously known as Arbury Park)
 * Orchard Park, Laugharne, a street in Laugharne.
 * Orchard Park Estate, a council estate in Kingston upon Hull

United States

 * Orchard Park, New York, a town in Erie County New York
 * Orchard Park (village), New York, within the Town of Orchard Park
 * Orchard Park, Lancaster County, Pennsylvania
 * Orchard Park (Fremont County, Colorado)
 * Orchard Park (Omaha), a park in Omaha, Nebraska
 * Orchard Park (Oregon), a city park in Hillsboro, Oregon
 * Orchard Park, a section of the Roxbury neighborhood of Boston, Massachusetts
 * Orchard Park (neighborhood), Indiana, a neighborhood in Carmel, Indiana

Other

 * "Orchard Park" (song), a 2017 song by Aaron West and the Roaring Twenties

title: Orchard Park


text:
Emil Puhl

Emil Johann Rudolf Puhl (28 August 1889 in Berlin – 30 March 1962 in Hamburg) was a Nazi economist and banking official during World War II.

Career
A Nazi, Puhl was director and vice-president of Germany's Reichsbank during World War II and also served as a director for the Bank for International Settlements (BIS) at Basel (Switzerland).

Nazi gold
He was instrumental in moving Nazi gold during the war. Some of the gold had been looted from countries occupied by the Nazis, and some also stolen from their victims incarcerated in Nazi concentration camps. Much came from the victims of Operation Reinhard at Auschwitz, Majdanek, Treblinka, Bełżec, Chełmno and Sobibór where mass murder involved mainly gassing the prisoners with Zyklon B or from engine fumes, the toxic component being carbon monoxide. All their property was removed before they passed into the "showers" (which were, in fact, gas chambers, where they died). Even after death, their corpses were carefully examined for any concealed items such as gold or jewelry as well as gold teeth, which had to be removed forcibly before being passed on to the Reichsbank.

Nuremberg Trials
At the Ministries Trial, one of the last of the twelve Nuremberg trials held between 6 January 1948 and 13 April 1949, he was convicted of war crimes and sentenced to five years' imprisonment. He was released from prison 21 December 1949, several months early due to good conduct.

title: Emil Puhl


text:
Joseph A. Steger

Joseph A. Steger (February 17, 1937 – May 9, 2013) was president of the University of Cincinnati from 1984 to 2003. He was succeeded by Nancy L. Zimpher.

He had PhD and MS degrees from Kansas State University in Psychophysics and Statistics, and a BA from Gettysburg College in Experimental Psychology.

title: Joseph A. Steger


text:
Talk:Varna (Hinduism)

Quotes from primary sources
Rishi Markandeya, with Vyasa, argue that in Kali Yuga there are not four varnas, but there is only one Shudra varna. "Mahabharata" (3.188.18, 41): ब्राह्मणाः क्षत्रिया वैश्याः संकीर्यन्तः परस्परम् । शूद्रतुल्या भविष्यन्ति तपःसत्यविवर्जिताः ॥ १८ ॥ ब्राह्मणाः क्षत्रिया वैश्या न शिष्यन्ति जनाधिप । एकवर्णस्तदा लोको भविष्यति युगक्षये ॥ ४१ ॥

Nayanar-siddh Tirumular also states that in Kali Yuga there is only one kula. "Thirumantiram" (2104): ஒன்றே குலமும் ஒருவனே தேவனும் நன்றே நினைமின் நமனில்லை நாணாமே சென்றே புகுங்கதி யில்லை நும் சித்தத்து நின்றே நிலைபெற நீர்நினைந் துய்மினே. 2A00:1FA0:C217:949C:714A:A9F3:BF03:9B54 (talk) 10:49, 20 October 2023 (UTC)

 * You need to provide reliable WP:SECONDARY sources, preferably scholarly sources. -- Kautilya3 (talk) 11:52, 20 October 2023 (UTC)
 * It is not necessary, because these are quotes from the religious primary sources themselves. Such citations are usually added to religious articles on Wikipedia without the need for any reference to scientific works. 2A00:1FA0:C217:949C:714A:A9F3:BF03:9B54 (talk) 12:25, 20 October 2023 (UTC)

Varnas in the Upanishads
In the Upanishads, varnas are determined not by the genealogies of people, but by the qualities of their personalities. Look in Chandogya Upanishad 4.4.3-5, Vajrasuchika Upanishad 5, Niralamba Upanishad 6. 2A00:1FA0:8217:A76F:904C:9520:C709:3736 (talk) 10:15, 23 October 2023 (UTC)

Varnas in the The Epics section
From first hand experience, the line "The first model describes Varna as colour-coded system, through a sage named Bhrigu, "Brahmins Varna was white, Kshtriyas was red, Vaishyas was yellow, and the Shudras' black"." in the paragraph under the epics is being misunderstood/misused. I was in a 200 people seminar where the speaker used this sentence to refer to skin colour calling it discriminatory in nature.

The sentence should clearly state that this "color coded model" does not speak of one's skin color but refers to personality. White means pure which a truly learned person should be, red talks about power in kshtriyas. Yellow speaks of envy/greed in vaysas where as black denotes lack of knowledge in shudras.

There should be more detail about rajas, tamas and satvikta here to ensure that what these colors signify is not misunderstood. 2A02:EE80:4026:3004:9407:6B58:13B2:73CD (talk) 16:28, 28 November 2023 (UTC)

Vajrasuchi Upanishad
@Pepperbeast please provide the quote from your given source. And who is Mariola Offredi? is he a scholar? please provide a bio of him. Please see under WP:HISTRS We need academic sources for these claims. Thanks. Timovinga (talk) 11:55, 6 February 2024 (UTC)

 * The article clearly needs to be edited.
 * In Chandogya Upanishad 4.4.3-5, Vajrasuchika Upanishad 5, Niralamba Upanishad 6, it is clearly stated that varnas are determined not by the pedigree of people, but by the qualities of their personalities.
 * And in Mahabharata 3.188.18, 41, it is clearly stated that in Kali-Yuga there are no varnas at all, except for the shudras. 2A00:1FA0:C4DF:46E1:30C5:C064:2404:8915 (talk) 13:37, 9 March 2024 (UTC)

Varna-Chaturasram
It was not at all hierarchical. It was based on the special qualities of an individual that he or she was segregated into one of the four classes in then-society. None of his or her next generations could attain that privilege. They, according to their qualities, would stay in that Varna or had to join another one of the four if he or she did not have those qualities of being titled of an earlier Varna. 2409:40E0:45:476C:8000:0:0:0 (talk) 09:47, 26 May 2024 (UTC)

title: Talk:Varna (Hinduism)