text:
Facundo

Facundo: Civilization and Barbarism (original Spanish title: Facundo: Civilización y Barbarie) is a book written in 1845 by Domingo Faustino Sarmiento, a writer and journalist who became the second president of Argentina. It is a cornerstone of Latin American literature: a work of creative non-fiction that helped to define the parameters for thinking about the region's development, modernization, power, and culture. Subtitled Civilization and Barbarism, Facundo contrasts civilization and barbarism as seen in early 19th-century Argentina. Literary critic Roberto González Echevarría calls the work "the most important book written by a Latin American in any discipline or genre".

Facundo describes the life of Juan Facundo Quiroga, a caudillo who had terrorized provincial Argentina in the 1820s and 1830s. Kathleen Ross, one of Facundo's English translators, points out that the author also published Facundo to "denounce the tyranny of the Argentine dictator Juan Manuel de Rosas". Juan Manuel de Rosas ruled Argentina from 1829 to 1832 and again from 1835 to 1852; it was because of Rosas that Sarmiento was in exile in Chile, where he wrote the book. Sarmiento sees Rosas as heir to Facundo: both are caudillos and representatives of a barbarism that derives from the nature of the Argentine countryside. As Ross explains, Sarmiento's book is therefore engaged in describing the "Argentine national character, explaining the effects of Argentina's geographical conditions on personality, the 'barbaric' nature of the countryside versus the 'civilizing' influence of the city, and the great future awaiting Argentina when it opened its doors wide to European immigration".

Throughout the text, Sarmiento explores the dichotomy between civilization and barbarism. As Kimberly Ball observes, "civilization is identified with northern Europe, North America, cities, Unitarians, Paz, and Rivadavia", while "barbarism is identified with Latin America, Spain, Asia, the Middle East, the countryside, Federalists, Facundo, and Rosas". It is in the way that Facundo articulates this opposition that Sarmiento's book has had such a profound influence. In the words of González Echevarría: "in proposing the dialectic between civilization and barbarism as the central conflict in Latin American culture Facundo gave shape to a polemic that began in the colonial period and continues to the present day".

The first edition of Facundo was published in installments in 1845. Sarmiento removed the last two chapters of the second edition (1851), but restored them in the 1874 edition, deciding that they were important to the book's development.

The first translation into English, by Mary Tyler Peabody Mann, was published in 1868. A modern and complete translation by Kathleen Ross appeared in 2003 from the University of California Press.

Background
While exiled in Chile, Sarmiento wrote Facundo in 1845 as an attack on Juan Manuel de Rosas, the Argentine dictator at the time. The book was a critical analysis of Argentine culture as he saw it, represented in men such as Rosas and the regional leader Juan Facundo Quiroga, a warlord from La Rioja. For Sarmiento, Rosas and Quiroga were caudillos—strongmen who did not submit to the law. However, if Facundo's portrait is linked to the wild nature of the countryside, Rosas is depicted as an opportunist who exploits the situation to perpetuate himself in power.

Sarmiento's book is a critique and also a symptom of Argentina's cultural conflicts. In 1810, the country had gained independence from the Spanish Empire, but Sarmiento complains that Argentina had yet to cohere as a unified entity. The country's chief political division saw the Unitarists (or Unitarians, with whom Sarmiento sided), who favored centralization, counterposed against the Federalists, who believed that the regions should maintain a good measure of autonomy. This division was in part a split between the city and the countryside. Then as now, Buenos Aires was the country's largest and wealthiest city as a result of its access to river trade routes and the South Atlantic. Buenos Aires was exposed not only to trade but to fresh ideas and European culture. These economic and cultural differences caused tension between Buenos Aires and the land-locked regions of the country. Despite his Unitarian sympathies, Sarmiento himself came from the provinces, a native of the Western town of San Juan.

Argentine civil war
Argentina's divisions led to a civil war that began in 1814. A frail agreement was reached in the early 1820s, which led to the unification of the Republic just in time to wage the Cisplatine War against the Empire of Brazil, but the relations between the Provinces reached again the point of breaking-off in 1826, when Unitarist Bernardino Rivadavia was elected president and tried to enforce a newly enacted centralist Constitution. Supporters of decentralized government challenged the Unitarist Party, leading to the outbreak of violence. Federalists Juan Facundo Quiroga and Manuel Dorrego wanted more autonomy for the provinces and were inclined to reject European culture. The Unitarists defended Rivadavia's presidency, as it created educational opportunities for rural inhabitants through a European-staffed university program. However, under Rivadavia's rule, the salaries of common laborers were subjected to government wage ceilings, and the gauchos ("cattle-wrangling horsemen of the pampas") were either imprisoned or forced to work without pay.

A series of governors were installed and replaced beginning in 1828 with the appointment of Federalist Manuel Dorrego as the governor of Buenos Aires. However, Dorrego's government was very soon overthrown and replaced by that of Unitarist Juan Lavalle. Lavalle's rule ended when he was defeated by a militia of gauchos led by Rosas. By the end of 1829, the legislature had appointed Rosas as governor of Buenos Aires. Under Rosas's rule, many intellectuals fled either to Chile, as did Sarmiento, or to Uruguay, as Sarmiento himself notes.

Juan Manuel de Rosas
According to Latin American historian John Lynch, Juan Manuel de Rosas was "a landowner, a rural caudillo, and the dictator of Buenos Aires from 1829 to 1852". He was born into a wealthy family of high social status, but Rosas's strict upbringing had a deep psychological influence on him. Sarmiento asserts that because of Rosas's mother, "the spectacle of authority and servitude must have left lasting impressions on him". Shortly after reaching puberty, Rosas was sent to an estancia and stayed there for about thirty years. In time, he learned how to manage the ranch and he established an authoritarian government in the area. While in power, Rosas incarcerated residents for unspecified reasons, acts which Sarmiento argues were similar to Rosas's treatment of cattle. Sarmiento argues that this was one method of making his citizens like the "tamest, most orderly cattle known".

Juan Manuel de Rosas's first term as governor lasted only three years. His rule, assisted by Juan Facundo Quiroga and Estanislao López, was respected and he was praised for his ability to maintain harmony between Buenos Aires and the rural areas. The country fell into disorder after Rosas's resignation in 1832, and in 1835 he was once again called to lead the country. He ruled the country not as he did during his first term as governor, but as a dictator, forcing all citizens to support his Federalist regime. According to Nicolas Shumway, Rosas "forced the citizens to wear the red Federalist insignia, and his picture appeared in all public places... Rosas's enemies, real and imagined, were increasingly imprisoned, tortured, murdered, or driven into exile by the mazorca, a band of spies and thugs supervised personally by Rosas. Publications were censored, and porteño newspapers became tedious apologizers for the regime".

Domingo Faustino Sarmiento
In Facundo, Sarmiento is both the narrator and a main character. The book contains autobiographical elements from Sarmiento's life, and he comments on the entire Argentine circumstance. He also expresses and analyzes his own opinion and chronicles some historic events. Within the book's dichotomy between civilization and barbarism, Sarmiento's character represents civilization, steeped as he is in European and North American ideas; he stands for education and development, as opposed to Rosas and Facundo, who symbolize barbarism.

Sarmiento was an educator, a civilized man who was a militant adherent to the Unitarist movement. During the Argentine civil war he fought against Facundo several times, and while in Spain he became a member of the Literary Society of Professors. Exiled to Chile by Rosas when he started to write Facundo, Sarmiento would later return as a politician. He was a member of the Senate after Rosas's fall and president of Argentina for six years (1868–1874). During his presidency, Sarmiento concentrated on migration, sciences, and culture. His ideas were based on European civilization; for him, the development of a country was rooted in education. To this end, he founded Argentina's military and naval colleges.

Synopsis
After a lengthy introduction, Facundo's fifteen chapters divide broadly into three sections: chapters one to four outline Argentine geography, anthropology, and history; chapters five to fourteen recount the life of Juan Facundo Quiroga; and the concluding chapter expounds Sarmiento's vision of a future for Argentina under a Unitarist government. In Sarmiento's words, the reason why he chose to provide Argentine context and use Facundo Quiroga to condemn Rosas's dictatorship is that "in Facundo Quiroga I do not only see simply a caudillo, but rather a manifestation of Argentine life as it has been made by colonization and the peculiarities of the land".

Argentine context
Facundo begins with a geographical description of Argentina, from the Andes in the west to the eastern Atlantic coast, where two main river systems converge at the boundary between Argentina and Uruguay. This river estuary, called the Rio de Plata, is the location of Buenos Aires, the capital. Through his discussion of Argentina's geography, Sarmiento demonstrates Buenos Aires' advantages; the river systems were communications arteries which, by enabling trade, helped the city to achieve civilization. Buenos Aires failed to spread civilization to the rural areas and as a result, much of the rest of Argentina was doomed to barbarism. Sarmiento also argues that the pampas, Argentina's wide and empty plains, provided "no place for people to escape and hide for defense and this prohibits civilization in most parts of Argentina". Despite the barriers to civilization caused by Argentina's geography, Sarmiento argues that many of the country's problems were caused by gauchos like Juan Manuel de Rosas, who were barbaric, uneducated, ignorant, and arrogant; their character prevented Argentine society's progress toward civilization. Sarmiento then describes the four main types of gaucho and these characterizations aid in understanding Argentine leaders, such as Juan Manuel de Rosas. Sarmiento argues that without an understanding of these Argentine character types, "it is impossible to understand our political personages, or the primordial, American character of the bloody struggle that tears apart the Argentine Republic".

Sarmiento then moves on to the Argentine peasants, who are "independent of all need, free of all subjection, with no idea of government". The peasants gather at taverns, where they spend their time drinking and gambling. They display their eagerness to prove their physical strength with horsemanship and knife fights. Rarely these displays led to deaths, and Sarmiento notes that Rosas's residence was sometimes used as a refuge on such occasions, before he became politically powerful.

According to Sarmiento, these elements are crucial to an understanding of the Argentine Revolution, in which Argentina gained independence from Spain. Although Argentina's war of independence was prompted by the influence of European ideas, Buenos Aires was the only city that could achieve civilization. Rural people participated in the war to demonstrate their physical strengths rather than because they wanted to civilize the country. In the end, the revolution was a failure because the barbaric instincts of the rural population led to the loss and dishonor of the civilized city—Buenos Aires.

Life of Juan Facundo Quiroga
As the central character of Sarmiento's Facundo, he represents barbarism, the antithesis of civilization. (Portrait by Fernando García del Molino) The second section of Facundo explores the life of its titular character, Juan Facundo Quiroga—the "Tiger of the Plains". Despite being born into a wealthy family, Facundo received only a basic education in reading and writing. He loved gambling, being called el jugador (the player) —in fact, Sarmiento describes his gambling as "an ardent passion burning in his belly". As a youth Facundo was antisocial and rebellious, refusing to mix with other children, and these traits became more pronounced as he matured. Sarmiento describes an incident in which Facundo killed a man, writing that this type of behaviour "marked his passage through the world". Sarmiento gives a physical description of the man he considers to personify the caudillo: "[he had a] short and well built stature; his broad shoulders supported, on a short neck, a well-formed head covered with very thick, black and curly hair", with "eyes ... full of fire".

Facundo's relations with his family eventually broke down, and, taking on the life of a gaucho, he joined the caudillos in the province of Entre Ríos. His killing of two royalist prisoners after a jailbreak saw him acclaimed as a hero among the gauchos, and on relocating to La Rioja, Facundo was appointed to a leadership position in the Llanos Militia. He built his reputation and won his comrades' respect through his fierce battlefield performances, but hated and tried to destroy those who differed from him by being civilized and well-educated.

In 1825, when Unitarist Bernardino Rivadavia became the governor of the Buenos Aires province, he held a meeting with representatives from all provinces in Argentina. Facundo was present as the governor of La Rioja. Rivadavia was soon overthrown, and Manuel Dorrego became the new governor. Sarmiento contends that Dorrego, a Federalist, was interested neither in social progress nor in ending barbaric behaviour in Argentina by improving the level of civilization and education of its rural inhabitants. In the turmoil that characterized Argentine politics at the time, Dorrego was assassinated by Unitarists and Facundo was defeated by Unitarist General José María Paz. Facundo escaped to Buenos Aires and joined the Federalist government of Juan Manuel de Rosas. During the ensuing civil war between the two ideologies, Facundo conquered the provinces of San Luis, Cordoba and Mendoza.

On return to his San Juan home, which Sarmiento says Facundo governed "solely with his terrifying name", he realized that his government lacked support from Rosas. He went to Buenos Aires to confront Rosas, who sent him on another political mission. On his way back, Facundo was shot and killed at Barranca Yaco, Córdoba. According to Sarmiento, the murder was plotted by Rosas: "An impartial history still awaits facts and revelations, in order to point its finger at the instigator of the assassins".

Consequences of Facundo's death
In the book's final chapters, Sarmiento explores the consequences of Facundo's death for the history and politics of the Argentine Republic. He further analyzes Rosas's government and personality, commenting on dictatorship, tyranny, the role of popular support, and the use of force to maintain order. Sarmiento criticizes Rosas by using the words of the dictator, making sarcastic remarks about Rosas's actions, and describing the "terror" established during the dictatorship, the contradictions of the government, and the situation in the provinces that were ruled by Facundo. Sarmiento writes, "The red ribbon is a materialization of the terror that accompanies you everywhere, in the streets, in the bosom of the family; it must be thought about when dressing, when undressing, and ideas are always engraved upon us by association".

Finally, Sarmiento examines the legacy of Rosas's government by attacking the dictator and widening the civilization–barbarism dichotomy. By setting France against Argentina—representing civilization and barbarism respectively—Sarmiento contrasts culture and savagery:

"France's blockade had lasted for two years, and the 'American' government, inspired by 'American' spirit, was facing off with France, European principles, European pretensions. The social results of the French blockade, however, had been fruitful for the Argentine Republic, and served to demonstrate in all their nakedness the current state of mind and the new elements of struggle, which were to ignite a fierce war that can end only with the fall of that monstrous government."

Genre and style
Spanish critic and philosopher Miguel de Unamuno comments of the book, "I never took Facundo by Sarmiento as a historical work, nor do I think it can be very valued in that regard. I always thought of it as a literary work, as a historical novel". However, Facundo cannot be classified as a novel or a specific genre of literature. According to González Echevarría, the book is at once an "essay, biography, autobiography, novel, epic, memoir, confession, political pamphlet, diatribe, scientific treatise, [and] travelogue". Sarmiento's style and his exploration of the life of Facundo unify the three distinct parts of his work. Even the first section, describing Argentina's geography, follows this pattern, since Sarmiento contends that Facundo is a natural product of this environment.

The book is partly fictional, as well: Sarmiento draws on his imagination in addition to historical fact in describing Rosas. In Facundo, Sarmiento outlines his argument that Rosas's dictatorship is the main cause of Argentina's problems. The themes of barbarism and savagery that run through the book are, to Sarmiento, consequences of Rosas's dictatorial government. To make his case, Sarmiento often has recourse to strategies drawn from literature.

Civilization and barbarism
Facundo is not only a critique of Rosas's dictatorship, but a broader investigation into Argentine history and culture, which Sarmiento charts through the rise, controversial rule, and downfall of Juan Facundo Quiroga, an archetypical Argentine caudillo. Sarmiento summarizes the book's message in the phrase "That is the point: to be or not to be savages". The dichotomy between civilization and barbarism is the book's central idea; Facundo Quiroga is portrayed as wild, untamed, and standing opposed to true progress through his rejection of European cultural ideals—found at that time in the metropolitan society of Buenos Aires.

The conflict between civilization and barbarism mirrors Latin America's difficulties in the post-Independence era. Literary critic Sorensen Goodrich argues that although Sarmiento was not the first to articulate this dichotomy, he forged it into a powerful and prominent theme that would impact Latin American literature. He explores the issue of civilization versus the cruder aspects of a caudillo culture of brutality and absolute power. Facundo set forth an oppositional message that promoted a more beneficial alternative for society at large. Although Sarmiento advocated various changes, such as honest officials who understood enlightenment ideas of European and Classical origin, for him education was the key. Caudillos like Facundo Quiroga are seen, at the beginning of the book, as the antithesis of education, high culture, and civil stability; barbarism was like a never ending litany of social ills. They are the agents of instability and chaos, destroying societies through their blatant disregard for humanity and social progress.

If Sarmiento viewed himself as civilized, Rosas was barbaric. Historian David Rock argues that "contemporary opponents reviled Rosas as a bloody tyrant and a symbol of barbarism". Sarmiento attacked Rosas through his book by promoting education and "civilized" status, whereas Rosas used political power and brute force to dispose of any kind of hindrance. In linking Europe with civilization, and civilization with education, Sarmiento conveyed an admiration of European culture and civilization which at the same time gave him a sense of dissatisfaction with his own culture, motivating him to drive it towards civilization. Using the wilderness of the pampas to reinforce his social analysis, he characterizes those who were isolated and opposed to political dialogue as ignorant and anarchic—symbolized by Argentina's desolate physical geography. Conversely, Latin America was connected to barbarism, which Sarmiento used mainly to illustrate the way in which Argentina was disconnected from the numerous resources surrounding it, limiting the growth of the country.

American critic Doris Sommer sees a connection between Facundo's ideology and Sarmiento's readings of Fenimore Cooper. She links Sarmiento's remarks on modernization and culture to the American discourse of expansion and progress of the 19th century.

Writing and power
In the history of post-independence Latin America, dictatorships have been relatively common—examples range from Paraguay's José Gaspar Rodríguez de Francia in the 19th century to Chile's Augusto Pinochet in the 20th. In this context, Latin American literature has been distinguished by the protest novel, or dictator novel; the main story is based around the dictator figure, his behaviour, characteristics and the situation of the people under his regime. Writers such as Sarmiento used the power of the written word in order to criticize government, using literature as a tool, an instance of resistance and as a weapon against repression.

Making use of the connection between writing and power was one of Sarmiento's strategies. For him, writing was intended to be a catalyst for action. While the gauchos fought with physical weapons, Sarmiento used his voice and language. Sorensen states that Sarmiento used "text as [a] weapon". Sarmiento was writing not only for Argentina but for a wider audience too, especially the United States and Europe; in his view, these regions were close to civilization; his purpose was to seduce his readers toward his own political viewpoint. In the numerous translations of Facundo, Sarmiento's association of writing with power and conquest is apparent.

Since his books often serve as vehicles for his political manifesto, Sarmiento's writings commonly mock governments, with Facundo being the most prominent example. He elevates his own status at the expense of the ruling elite, almost portraying himself as invincible due to the power of writing. Toward the end of 1840, Sarmiento was exiled for his political views. Covered with bruises received the day before from unruly soldiers, he wrote in French, "On ne tue point les idees" (misquoted from "on ne tire pas des coups de fusil aux idees", which means "ideas cannot be killed by guns"). The government decided to decipher the message, and on learning the translation, said, "So! What does this mean?". With the failure of his oppressors to understand his meaning, Sarmiento is able to illustrate their ineptitude. His words are presented as a "code" that needs to be "deciphered", and unlike Sarmiento those in power are barbaric and uneducated. Their bafflement not only demonstrates their general ignorance, but also, according to Sorensen, illustrates "the fundamental displacement which any cultural transplantation brings about", since Argentine rural inhabitants and Rosas's associates were unable to accept the civilized culture which Sarmiento believed would lead to progress in Argentina.

Legacy
For translator Kathleen Ross, Facundo is "one of the foundational works of Spanish American literary history". It has been enormously influential in setting out a "blueprint for modernization", with its practical message enhanced by a "tremendous beauty and passion". However, according to literary critic González Echevarría it is not only a powerful founding text but "the first Latin American classic, and the most important book written about Latin America by a Latin American in any discipline or genre". The book's political influence can be seen in Sarmiento's eventual rise to power. He became president of Argentina in 1868 and was able to apply his theories to ensure that his nation achieved civilization. Although Sarmiento wrote several books, he viewed Facundo as authorizing his political views.

According to Sorensen, "early readers of Facundo were deeply influenced by the struggles that preceded and followed Rosas's dictatorship, and their views sprang from their relationship to the strife for interpretive and political hegemony". González Echevarría notes that Facundo provided the impetus for other writers to examine dictatorship in Latin America, and contends that it is still read today because Sarmiento created "a voice for modern Latin American authors". The reason for this, according to González Echevarría, is that "Latin American authors struggle with its legacy, rewriting Facundo in their works even as they try to untangle themselves from its discourse". Subsequent dictator novels, such as El Señor Presidente by Miguel Ángel Asturias or The Feast of the Goat by Mario Vargas Llosa, drew upon its ideas, and a knowledge of Facundo enhances the reader's understanding of these later books.

One irony of the impact of Sarmiento's essay genre and fictional literature is that, according to González Echevarría, the gaucho has become "an object of nostalgia, a lost origin around which to build a national mythology". While Sarmiento was trying to eliminate the gaucho, he also transformed him into a "national symbol". González Echevarría further argues that Juan Facundo Quiroga also continues to exist, since he represents "our unresolved struggle between good and evil, and our lives' inexorable drive toward death". According to translator Kathleen Ross, "Facundo continues to inspire controversy and debate because it contributes to national myths of modernization, anti-populism, and racist ideology".

Publication and translation history
The first edition of Facundo was published in instalments in 1845, in the literary supplement of the Chilean newspaper El Progreso. The second edition, also published in Chile (in 1851), contained significant alterations—Sarmiento removed the last two chapters on the advice of Valentín Alsina, an exiled Argentinian lawyer and politician. However, the missing sections reappeared in 1874 in a later edition, because Sarmiento saw them as crucial to the book's development.

Facundo was first translated in 1868, by Mary Mann, a friend of Sarmiento, with the title Life in the Argentine Republic in the Days of the Tyrants; or, Civilization and Barbarism. More recently, Kathleen Ross has undertaken a modern and complete translation, published in 2003 by the University of California Press. In Ross's "Translator's Introduction," she notes that Mann's 19th-century version of the text was influenced by Mann's friendship with Sarmiento and by the fact that he was at the time a candidate in the Argentine presidential election: "Mann wished to further her friend's cause abroad by presenting Sarmiento as an admirer and emulator of United States political and cultural institutions". Hence Mann's translation cut much of what made Sarmiento's work distinctively part of the Hispanic tradition. Ross continues: "Mann's elimination of metaphor, the stylistic device perhaps most characteristic of Sarmiento's prose, is especially striking".

title: Facundo


text:
Stapelia

Stapelia is a genus of low-growing, spineless, stem succulent plants, predominantly from South Africa with a few from other parts of Africa. Several Asian and Latin American species were formerly included but they have all now been transferred to other genera. The flowers of certain species, most notably Stapelia gigantea, can reach 41 cm (16 inches) in diameter when fully open. Most Stapelia flowers are visibly hairy and generate the odor of rotten flesh when they bloom.

Description
The hairy, oddly textured and coloured appearance of many Stapelia flowers has been claimed to resemble that of rotting meat, and this, coupled with their odour, has earned the most commonly grown members of the genus Stapelia the common name of carrion flowers. A notable exception is the sweetly scented Stapelia flavopurpurea. Such odours serve to attract various specialist pollinators including, in the case of carrion-scented blooms, blow flies of the dipteran family Calliphoridae. They frequently lay eggs around the coronae of Stapelia flowers, convinced by the plants' deception.

Cultivation
A handful of species are commonly cultivated as pot plants and are even used as rockery plants in countries where the climate permits. Stapelia are good container plants and can grow well under full sun and light to moderate watering. They should be planted in well-drained compost as the stems are prone to rotting if kept moist for long.

Species
32 species are accepted: • # Stapelia acuminata Masson – South Africa

• # Stapelia arenosa C.A.Lückh. – Cape Province

• # Stapelia asterias Masson – South Africa

• # Stapelia cedrimontana Frandsen – Cape Province

• # Stapelia clavicorona I.Verd. – Transvaal

• # Stapelia concinna Masson – South Africa

• # Stapelia divaricata Masson – South Africa

• # Stapelia engleriana Schltr. – tropical Africa

• # Stapelia erectiflora N.E.Br. – South Africa

• # Stapelia flavopurpurea Marloth – South Africa

• # Stapelia gettliffei R.Pott – Transvaal

• # Stapelia gigantea N.E.Br. – KwaZulu-Natal

• # Stapelia glanduliflora Masson – South Africa

• # Stapelia grandiflora Masson – South Africa

• # Stapelia hirsuta L. – South Africa

• # Stapelia kwebensis N.E.Br. – Botswana

• # Stapelia leendertziae N.E.Br. – South Africa

• # Stapelia × meintjiesii I.Verd. –

• # Stapelia obducta L.C.Leach – Cape Province

• # Stapelia olivacea N.E.Br. – South Africa

• # Stapelia paniculata Willd. – South Africa

• # Stapelia parvula Kers – Angola

• # Stapelia pearsonii N.E.Br. – Great Namaqualand

• # Stapelia pillansii N.E.Br. – South Africa

• # Stapelia remota R.A.Dyer – Namibia

• # Stapelia rubiginosa Nel – Little Namaqualand

• # Stapelia rufa Masson – South Africa

• # Stapelia schinzii A.Berger & Schltr. – Namibia

• # Stapelia similis N.E.Br. – Little Namaqualand

• # Stapelia surrecta N.E.Br. – Cape Province

• # Stapelia unicornis C.A.Lückh. – Eswatini

• # Stapelia villetiae C.A.Lückh. – Cape Province

 * Unplaced names
 * Stapelia × dejecta Salm-Dyck
 * Stapelia fuscopurpurea N.E.Br.
 * Stapelia × massonii Haw.
 * Stapelia × multiflora DC.
 * Stapelia × multiflora Rüst
 * Stapelia × plantii Hook.f.

now transferred to other genera (Angolluma, Brachystelma, Caralluma, Duvalia, Echidnopsis, Gonolobus, Hoodia, Hoya, Huernia, Monolluma, Orbea, Orbeopsis, Pachycymbium, Piaranthus, Quaqua, Stapelianthus, Tromotriche, Tridentea, Triplosperma) • # S. adscendens now Caralluma adscendens
 * Species formerly included

• # S. albipilosa now Tridentea marientalensis subsp. albipilosa

• # S. albocastanea now Orbeopsis albocastanea

• # S. anemoniflora now Duvalia anemoniflora

• # S. ango now Caralluma ango

• # S. anguinea now Orbea variegata

• # S. aperta now Tridentea aperta

• # S. arida now Quaqua arida

• # S. articulata now Pectinaria articulata

• # S. atropurpurea now Orbea variegata

• # S. atrosanguinea now Piaranthus atrosanguineus

• # S. auobensis now Tridentea marientalensis

• # S. ausana now Tridentea jucunda var. dinteri

• # S. barbata now Huernia barbata

• # S. bisulca now Orbea variegata

• # S. bufonia now Orbea variegata

• # S. campanulata now Huernia campanulata

• # S. caudata now Ceropegia spathulata

• # S. chinensis now Hoya carnosa

• # S. choanantha now Tridentea choanantha

• # S. chrysostephana now Angolluma chrysostephana

• # S. ciliata now Orbea ciliata

• # S. cincta now Tridentea jucunda var. cincta

• # S. clavata now Trichocaulon clavatum

• # S. clavigera now Huernia clavigera

• # S. clypeata now Orbea variegata

• # S. cochinchinensis now Triplosperma cochinchinensis

• # S. compacta now Duvalia caespitosa var. compacta

• # S. concolor now Duvalia caespitosa

• # S. conspurcata now Orbea variegata

• # S. cooperi now Orbea cooperi

• # S. corderoyi now Duvalia corderoyi

• # S. curtisii now Orbea variegata

• # S. decaisneana now Pachycymbium decaisneanum

• # S. decora now Piaranthus germinatus subsp. decorus

• # S. deflexa now Orbea variegata

• # S. dinteri now Tridentea jucunda var. dinteri

• # S. dummeri now Orbea dummeri

• # S. dwequensis now Tridentea dwequensis

• # S. elegans now Duvalia elegans

• # S. europaea now Caralluma europaea

• # S. fucosa now Orbea verrucosa var. fucosa

• # S. furcata now Orbeopsis melanantha

• # S. fuscata Jacq. now Tromotriche revolut

• # S. geminata now Piaranthus geminatus

• # S. gemmiflora now Tridentea gemmiflora

• # S. gettleffii now Gonostemon gettliffei

• # S. glauca now Tromotriche revoluta

• # S. gordonii now Hoodia gordonii

• # S. gussoneana now Caralluma europaea

• # S. guttata now Huernia guttata

• # S. herrei now Tridentea herrei

• # S. hircosa now Tridentea gemmiflora

• # S. hirtella now Duvalia caespitosa

• # S. incarnata now Quaqua incarnata

• # S. irrorata now Orbea irrorata

• # S. jacquiniana now Duvalia elegans

• # S. jucunda now Tridentea jucunda

• # S. knobelii now Orbeopsis knobelii

• # S. laevis now Tromotriche pedunculata

• # S. lepida now  Orbea lepida

• # S. longidens now Orbea longidens

• # S. longii now Tridentea longii

• # S. longipes now Tromotriche longipes

• # S. macloughlinii now Orbea macloughlinii

• # S. × maculosa now Orbea × maculosa

• # S. mammillaris now Quaqua mammillaris

• # S. marginata now Orbea variegata

• # S. marientalensis now Tridentea marientalensis

• # S. marmorata now Orbea variegata

• # S. mastodes now Duvalia caespitosa var. compacta

• # S. melanantha now Orbeopsis melanantha

• # S. mixta now Orbea variegata

• # S. montagnacii now Stapelianthus montagnacii

• # S. multangula now Echidnopsis multangula

• # S. namaquensis now Orbea namaquensis

• # S. neliana now Tridentea herrei

• # S. normalis now Orbea variegata

• # S. obliqua now Orbea variegata

• # S. ocellata now Huernia ocellata

• # S. orbicularis now Orbea variegata

• # S. pachyrrhiza now Tridentea pachyrrhiza

• # S. pancololote now Gonolobus pancololote

• # S. parviflora now Quaqua parviflora

• # S. parvipuncta now Tridentea parvipuncta

• # S. peculiaris now Tridentea peculiaris

• # S. pedunculata now Tridentea pedunculata

• # S. picta now Orbea variegata

• # S. pilifera now Hoodia pilifera

• # S. planiflora now Orbea variegata

• # S. prognatha now Orbea prognatha

• # S. pruinosa now Quaqua pruinosa

• # S. pulchella now Orbea pulchella

• # S. pulchra now Orbea verrucosa

• # S. pulla now Piaranthus pullus

• # S. punctata now Gonolobus luteus

• # S. quadrangula now Monolluma quadrangula

• # S. quinquenervis now Orbea variegata

• # S. radiata now Duvalia caespitosa

• # S. ramosa now Quaqua ramosa

• # S. reclinata now Duvalia caespitosa var. caespitosa

• # S. replicata now Duvalia caespitosa var. caespitosa

• # S. reticulata now Huernia reticulata

• # S. retusa now Orbea variegata

• # S. revoluta now Tromotriche revoluta

• # S. rogersii now Angolluma rogersii

• # S. roriflua now Orbea verrucosa

• # S. rugosa J.C.Wendl. now Orbea verrucosa

• # S. rugosa Donn ex Jacq. now Orbea variegata

• # S. ruschiana now Tridentea ruschiana

• # S. semota now Orbea semota

• # S. serrulata now Piaranthus geminatus subsp. decorus

• # S. stygia now Tridentea gemmiflora

• # S. subulata now Caralluma subulata

• # S. tapscottii now Orbea tapscottii

• # S. thudichumii now Tromotriche thudichumii

• # S. tubata now Huernia tubata

• # S. tuberculata now Duvalia caespitosa var. caespitosa

• # S. tuberosa now Brachystelma tuberosum

• # S. umbonata now Tridentea pachyrrhiza

• # S. umbracula now Orbea umbracula

• # S. vaga now Orbea lutea subsp. vaga

• # S. variegata now Orbea variegata

• # S. venusta now Huernia venusta

• # S. verrucosa now Orbea verrucosa

• # S. virescens now Tridentea virescens

• # S. wendlandiana now Orbea wendlandiana

• # S. woodii now Orbea woodii

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

title: Stapelia


text:
Molly Sims

Molly Sims (born May 25, 1973) is an American fashion model and actress. She was featured in campaigns for Jimmy Choo, Escada, Giorgio Armani, Michael Kors, and Chanel, among others. She frequently modeled for the Sports Illustrated swimsuit issue in the early 2000s and walked the runway for the annual Victoria's Secret Fashion Show in 2001.

As an actress, she portrayed Delinda Deline in NBC's comedy-drama series Las Vegas (2003–2008), and the "right Missy" in The Wrong Missy (2020).

Early life and education
Molly Sims was born on May 25, 1973, to Jim and Dottie Sims. As a child she lived in Mayfield, Kentucky, then moved to Murray, Kentucky, so that her father could continue working for his book company located in Murray, Kentucky. She has an older brother, Todd. Following her graduation from Murray High School in 1991, Sims enrolled in Vanderbilt University to study political science. In 1993, when Sims was 19 years old, she dropped out to pursue a career in modeling. At Vanderbilt, she was a member of Delta Delta Delta.

Modeling
After sending her photos to a few modeling agencies, Sims got signed to Next Models Management in New York City.

She was featured on the cover of Vogue Spain's April 1997 issue and Vogue Paris ' September 1999 issue. In 2001, Sims became an official spokesmodel for Old Navy, appearing in advertisements known for using the tag line "You gotta get this look!" Sims walked the runway for the annual Victoria's Secret Fashion Show in 2001 and the following year she landed a multiyear contract with CoverGirl. She has also appeared on the runway for Veronique Leroy, Jerome L'Huillier, Givenchy, Ann Demeulemeester, and Emanuel Ungaro. She has graced the cover of numerous fashion magazines, including Ocean Drive, Lucky, Marie Claire, Elle, Cosmopolitan, Allure, Glamour, Shape, Self, and Vanidades.

She appeared in the Sports Illustrated swimsuit issue in 2000, 2001, 2002, 2004, and 2006; in the 2006 issue, she appeared in a photo wearing a bikini designed by Susan Rosen worth $30 million that was made of diamonds.

In 2004, Sims launched Grayce by Molly Sims, a jewelry line consisting of necklaces, earrings, rings, and bracelets. The collection is available at HSN, Henri Bendel, Scoop, Ron Herman, and Matches London.

Acting
She has appeared as a hostess for MTV's House of Style (2000–02) and Lifetime's Project Accessory (2011), a spin-off of the series Project Runway. Sims appeared in the music videos for Moby's "We Are All Made of Stars" (2002) and The Lonely Island's "Jizz in My Pants" (2008).

Sims portrayed Delinda Deline in NBC's comedy-drama series Las Vegas (2003–2008), which focused on a team of people working at the fictional Montecito Resort and Casino dealing with issues that arise within the working environment. The series concluded after five seasons on February 15, 2008. Sims had guest roles on several television shows, such as Crossing Jordan, The Twilight Zone, Andy Richter Controls the Universe, Royal Pains, Wedding Band, and Men at Work. She has appeared in several films, such as The Benchwarmers (2006), Yes Man (2008), The Pink Panther 2 (2009), and Fired Up! (2009).

Sims was a contributor on the ABC talk show The View during the 2015–2016 season.

Personal life
Sims married Netflix executive Scott Stuber on September 24, 2011, at a Napa Valley vineyard. The couple has three children, two sons born in 2012 and 2017; and a daughter born in 2015.

Community involvement
Sims appeared on a special edition of Who Wants to Be a Millionaire (1999), and won $125,000 for ovarian cancer research, and hosted a charity event benefiting Ovarian Cancer Research Alliance. Sims is a global ambassador for Population Services International's Five & Alive program, which addresses health crises facing children under the age of five and their families. She is also an ambassador for Operation Smile.

title: Molly Sims


text:
Bürgersinn

 Bürgersinn  (Citizen Spirit) op. 295 is a waltz by Johann Strauss II composed in 1865 for the Citizen's Ball held during the Vienna Carnival Fasching of the year. His prestigious post of the 'KK Hofballmusikdirektor', which he attained in 1863, meant that his responsibilities included composing dance music for these functions.

This annual Citizen's Ball was held every year, especially for the middle-class as Emperor Franz Josef permitted the traditional ball to be held in the festive hall of the Habsburg's winter residence. Strauss first performed the work at the Redoutensaal of the Imperial Hofburg dedicated to the 'Gentlemen Committee of the Members of the Citizen's Ball' on 7 February 1865.

The work belongs to a period where Strauss' waltzes were in a period of interesting development, both structurally as well as musically. The citizen spirit was vividly invoked with its Viennese light-heartedness, but more so with its gentle pastoral Introduction where anticipation of an exciting waltz was at hand. Even the first theme of the waltz was quintessentially Viennese with its chorded melody. Other tunes were graceful and lyrical (sections 2 and 3) whereas the later melodies (sections 4 and 5) are more energetic and jovial in character.

title: Bürgersinn


text:
Talk:Milice

Untitled
As far as I know, the Milice was more of a paramilitary organization than a secret police. David.Monniaux 19:39, 14 Dec 2004 (UTC)

WikiProject Military history/Assessment/Tag & Assess 2008
Article reassessed and graded as start class. --dashiellx (talk) 19:57, 21 May 2008 (UTC)

Semi-protection
This page might be a candidate for semi-protection if it continues to be vandalized. It's come under heavy IP vandalism the last couple of days. CopaceticThought (talk) 07:27, 20 June 2009 (UTC)

History
Odd that the history section starts by saying that the resistance scored successes in murdering members of the Milice! Neither balanced nor a logical starting point for a section on the history of the Milice. —Preceding unsigned comment added by 124.197.15.138 (talk) 08:44, 21 May 2011 (UTC)

Editing
The start of this article in particular has been badly edited. I don't understand how to fix the issue of the picture covering the table at the start of the article - could someone else fix it? — Preceding unsigned comment added by Noble Korhedron (talk • contribs) 13:41, 1 December 2011 (UTC)

Rank insignia
The buttons should be in silver, otherwise the French rank system becomes upside down. The metal that is the same as the buttons is the higher than the other metal. In the chart its the other way around. The source shows the correct metal. Creuzbourg (talk) 12:55, 25 July 2019 (UTC)
 * I was working out from the photo in the source which shows the buttons as gold. Are you saying the other source showing them as white/silver is more correct? Skjoldbro (talk) 11:05, 26 July 2019 (UTC)
 * Littlehjon has silver. Creuzbourg (talk) 13:03, 26 July 2019 (UTC)

title: Talk:Milice


text:
Talk:Canadian Charter of Rights and Freedoms

Mark Steyn case
While the article paints this lovely picture of free speech rights today the Canadian conservative author Mark Steyn is having to defned himself against the Canadian Government over a book he wrote. The book was a best seller, and excerpted in one of Canada's largest magazine. Apparently neither popularity, truthfulness, or the importance of the political questions being discussed in the article and book provide any protection against the group-rights grievence process led by the Canadian Human Rights Commission.

It would be nice to see both the controversy discussed in the article, and the lofty claims for the Charter being the equal of the US Bill of Rights "downsized" to reflect reality, rather than the preening. —Preceding unsigned comment added by 71.32.253.72 (talk) 18:29, 19 December 2007 (UTC)

Well said. This article is very far from neutral, and ignores the fact that the Charter spawned "Human Rights Tribunals" where defendants are denied legal due process, must pay for their own lawyers, and virtually always lose, whereas the complainants are provided with free legal counsel, and can file complaints merely for being "offended" by something someone said or wrote. Also, Canadians refer to people who are right of centre as "conservatives", with the term "right-wing" being reserved for extremists, so this article portrays the Charter as being criticized by extremists. There are many Canadians only slightly right of centre who are appalled by what they perceive as partisan judicial activism, and by the court's description of the Charter as a "living tree": a "charter" is supposed to be carved in stone, not something that is to be constantly re-interpreted as the seasonal fashions change.77Mike77 (talk) 10:02, 11 June 2016 (UTC)

Thatcher Cabinet discussions
Today's story about the Thatcher Cabinet potentially having difficulty getting the Charter through the UK Parliament because of a lack of provincial support should be incorporated, but I don't have time right now to do it myself. -Rrius (talk) 18:08, 16 April 2012 (UTC)

There is also no mention of the discussion concerning the elimination of the Westminister tradition of the supremacy of Parliament, and re-conferring that supremacy to a panel of unelected judges. A strong minority of Canadians have grave concerns about unelected judges trumping democracy in Canada, and the Charter is not universally loved in Canada in the way that this cheerleading article presents it. Concern about "judicial activism" is a very hotly-discussed topic in Canada.77Mike77 (talk) 03:32, 6 April 2013 (UTC)

"Canada Act 1982" and "Constitution Act, 1982" in need of merging into one article.
"Canada Act 1982" and "Constitution Act, 1982" in need of merging into one article. — Preceding unsigned comment added by Absolutely Certainly (talk • contribs) 23:08, 7 June 2022 (UTC)
 * Um, why? The Charter is a huge subject on its own, and is only part of the Constitution Act, 1982.  Singularity42 (talk) 23:12, 7 June 2022 (UTC) Sorry misread the OP's request.  Agree with Joeyconnick below.  Also, how is this relevant to this article? Singularity42 (talk) 23:34, 7 June 2022 (UTC)
 * Canada Act 1982 is the British legislation, and the Constitution Act, 1982 is the Canadian legislation, so no. —Joeyconnick (talk) 23:22, 7 June 2022 (UTC)

 * They’re separate pieces of legislation and should have their own articles. Mr Serjeant Buzfuz (talk) 02:49, 8 June 2022 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 23:24, 1 February 2023 (UTC)
 * Royal Coat of Arms of Canada.svg


text:
Mitsubishi Outlander

The Mitsubishi Outlander (三菱・アウトランダー) is a compact crossover SUV manufactured by Japanese automaker Mitsubishi Motors since 2001. It was originally known as the Mitsubishi Airtrek (三菱・エアトレック) when it was introduced in Japan.

The original Airtrek name was chosen to "describe the vehicle's ability to transport its passengers on adventure-packed journeys in a 'free-as-a-bird' manner", and was "coined from Air and Trek to express the idea of footloose, adventure-filled motoring pleasure." The Outlander nameplate which replaced it evoked a "feeling of journeying to distant, unexplored lands in search of adventure."

The second generation of the vehicle was introduced in 2006 and all markets including Japan adopted the Outlander name, although production of the older version continued in parallel. It was built on the company's GS platform, and used various engines developed by Mitsubishi, Volkswagen, and PSA Peugeot Citroën. PSA's Citroën C-Crosser and Peugeot 4007, which were manufactured by Mitsubishi in Japan, are badge engineered versions of the second generation Outlander. Global sales achieved the 1.5 million unit milestone in October 2016, 15 years after its market launch.

As part of the third generation line-up, Mitsubishi launched in January 2013 a plug-in hybrid model called Outlander PHEV. , global sales totaled about 300,000 units, and according to JATO Dynamics, the Outlander PHEV is the world's all-time best selling plug-in hybrid since December 2018. , Europe is the leading market with over 126,000 units sold through January 2019, and the Outlander plug-in hybrid listed as Europe's best-selling plug-in hybrid car for five years running, 2015 to 2019.

The fourth-generation model was released 2021. Following Mitsubishi's entry to Renault–Nissan–Mitsubishi Alliance, the fourth-generation Outlander is based on the Rogue/X-Trail, which is built on the CMF-CD platform.

First generation (CU/ZE/ZF; 2001)
The first-generation Outlander/Airtrek was based on the Mitsubishi ASX concept vehicle exhibited at the 2001 North American International Auto Show. The ASX (Active Sports Crossover) represented Mitsubishi's approach to the industry wide crossover SUV trend for retaining the all-season and off-road abilities offered by a high ground clearance and four-wheel drive, while still offering car-like levels of emissions, economy, and size.

The Airtrek was first introduced to the Japanese market on 20 June 2001, and was sold at Mitsubishi Japan dealership chain called Car Plaza. It offered a choice of either a 126 PS 4G63 2.0 L or a 139 PS 4G64 2.4 L GDI, mated to a standard INVECS-II 4-speed automatic transmission. Both front- and four-wheel drive were available. The four-wheel drive version uses open differentials for the front and rear axles, with a viscous coupling unit for the center differential. A performance-oriented model, called the Turbo-R, was introduced in 2002 and used a detuned version of the Lancer Evolution's 4G63T 2.0 L I4 turbo. The engine produced 240 PS and 343 N·m, although in export markets the Outlander version's output was reduced to 202 PS and 303 N·m. The availability of four-cylinder engines under 2.0 liters offered Japanese buyers a vehicle that was in compliance with Japanese regulations concerning exterior dimensions and engine displacement, however, the exterior dimensions exceed Japanese regulations for the "compact" designation.

The Outlander arrived in 2003 in North America, replacing the Mitsubishi Montero Sport, with a modified front grille and headlights which increased the overall length by approximately 130 mm, and the two models were manufactured in parallel thereafter. It shared its platform with the Mitsubishi Grandis, also introduced in 2003. A version of the 4G64 powerplant was offered first, while a 4G69 2.4 L SOHC MIVEC I4 producing 120 kW and 220 N·m, and the turbocharged 4G63T appeared in 2004. All had the option of front- or four-wheel drive.

In several South American markets it was known as the Montero Outlander, to benefit from an association with the strong-selling Mitsubishi Montero Sport.

Second generation (CW/ZG/ZH; 2006)
On 17 October 2005, Mitsubishi launched the second generation model, dropping the Airtrek in Japan in favour of adopting the global name. It features a new DOHC 2.4 L 16-valve MIVEC engine; INVECS-III continuously variable transmission (CVT), Mitsubishi's AWC system which features electronically controlled four-wheel-drive and stability control, on a stretched Mitsubishi GS platform. The North American version, powered by a newly designed 6B31 3.0 L V6 SOHC MIVEC was shown in April 2006 at the New York International Auto Show prior to its release in October the same year. Due to the availability of a V6 engine, Mitsubishi returned to offering a shorter version of this vehicle and reintroduced the Mitsubishi RVR on 17 February 2010. The usage of a four-cylinder engine under 2.0 liters offers Japanese buyers a vehicle that was in compliance with Japanese regulations concerning exterior dimensions and engine displacement, which has tax advantages, giving buyers the ability to purchase a vehicle capable of seating seven people without paying the tax penalty of a larger engine.

The second generation Outlander went on sale in Europe in February 2007, and this time included a diesel engine – essential in the European market at the time. Mitsubishi chose to purchase Volkswagen's 2.0-litre Pumpe-Düse unit with 140 PS, as also installed in the European market Grandis. Before this even went on sale, Mitsubishi had decided that there was a need for a more powerful diesel option and by November 2007 higher end diesel models received PSA's 2.2-liter DW12 common rail diesel with 156 PS. Both diesels were labelled "Di-D" by Mitsubishi. In September 2010 Mitsubishi's own 2.3-liter 4N14 diesel engine with 177 PS was introduced while the Volkswagen engine was discontinued. The PSA unit continued to be available in certain countries.

The Outlander, which features Mitsubishi's RISE safety body, received a four-star rating from the Euro NCAP car safety performance assessment programme. One of its unique features is something Mitsubishi calls a "Flap-Fold Tailgate"; it is a two-piece tailgate integrated into the rear bumper that folds down for easy loading, while serving as a bench when the tailgate is open, able to accommodate up to 400 lb.

In the Philippines, the second generation Outlander was released in 2007. It was offered in 2 grades; the entry-level GLS and the top-spec GLS Sport. The GLS grade is powered by a 2.4L MIVEC inline-four engine, while the GLS Sport is powered by a 3.0L V6 engine both paired to a INVECS-III CVT with 6-speed sportronic mode and multi-select 4WD system.

In 2009, the GLX grade was added to the lineup, powered by the same 2.4L inline-four engine as the GLS.

In its home market of Japan it was the best-selling SUV from October 2006 to March 2007, while in the U.S. market it achieved 1,694 and 2,108 sales in November and December 2006, the first two full months it was available; Mitsubishi hoped for at least 4,000 sales per month in the United States. In Chile, where both generations were on sale simultaneously, the new model was badged Outlander K2.

Increased demand for the Lancer, and the consequent effects on the capacity of the company's Mizushima production facility, have obliged Mitsubishi to reassess production of the Outlander. In September 2007, they announced that from 2008, production of European market Outlanders would be transferred from Nagoya to its NedCar plant in the Netherlands, while the Citroën C-Crosser and Peugeot 4007 would have their production transferred from Mizushima to Nagoya.

The model was facelifted for the 2008 model year, although the 2007 grille carried over in the United States and Canada for 2008-09 until another facelift in the 2010 model year.

At the 2007 SEMA Show in Las Vegas, the company displayed a Mitsubishi Evolander (now known as Mitsubishi Outlander Ralliart) concept, powered by a 240 kW supercharged version of the vehicle's 6B31 V6 engine and equipped with suitably uprated suspension, brakes, wheels/tires, body kit and interior. A second show car, an Outlander GT Prototype with a front grille based on the Mitsubishi Lancer Evolution X, was exhibited at the 2009 New York International Auto Show, and formed the basis of the facelifted model introduced in late 2009.

Along with a major facelift for the 2010 model year, the top end Outlander XLS (GT in the US) introduced a new colour multi-function display and the Mitsubishi S-AWC AWD system. The lower trims retain the previous MFD and the less advanced AWC AWD system. Likewise, the interior was also slightly revised to incorporate leather into the dashboard trim and doors.

Gallery

 * First facelift

Third generation (GF/GG/ZJ/ZK/ZL; 2012)
Mitsubishi unveiled the third-generation Outlander at the 2012 Geneva Motor Show. The production version of the Outlander was debuted in Russia in July 2012, and was introduced in other European markets in September 2012. While the new vehicle was introduced to North America at the November 2012 LA Auto Show it was not available for purchase until early 2014. North American Outlanders continued on the second-generation platform through model year 2013. However, the third generation Outlander are not sold in the Philippine market due to poor sales, in favor of the third-row Mitsubishi Montero Sport.

The redesigned model has a new lightweight body that weighs approximately 90 kg less than the previous model due to extensive use of high tensile strength steel. With a lower drag coefficient of cd 0.33, fuel economy has been improved over the previous model. Inside, the dashboard and front doors are covered with soft touch material, the seats are redesigned, and there is good sound insulation.

The front suspension consists of MacPherson struts with a stabilizer bar, and the rear suspension is a multi-link design with a stabilizer bar. Electric Power Steering reduces load on the engine compared to a hydraulic system and helps to improve fuel economy. Disc brakes are installed on all four wheels, with 294 mm vented rotors in front along with 302 mm solid rotors in back.

Newly available safety features include a Forward Collision Mitigation system, a Lane departure warning system, a driver knee airbag to reduce leg injury in a crash, and adaptive cruise control. In addition, the Outlander has standard driver and passenger front airbags, front side torso airbags along with curtain airbags, ABS with EBD, Traction Control Logic, Active Stability Control, Hill Start Assist, and a brake pedal that recedes to prevent leg injury in a crash.

In crash tests conducted by the Insurance Institute for Highway Safety, the Outlander received a top score of "Good" in every category. When equipped with the optional Forward Collision Mitigation system, the car received the Institute's Top Safety Pick+ award. The vehicle also received full five star overall ratings in the United States, Japanese, and European New Car Assessment Programs.

The third generation Mitsubishi Outlander was launched in Malaysia in April 2016 with a 2.4-litre engine and being fully imported. In September 2017, a 2.0-litre engine locally assembled variant debuted before being for sale in October 2018. In January 2018, the 2.4-litre engine variant became more affordable due to local assembly. In October 2018, a limited edition 'Sports Edition' limited to 120 units based on the 2.0-litre engine variant became available and featured dual-tone paint.

Second facelift
At the 2015 New York International Auto Show, Mitsubishi debuted a heavily revised Outlander for the 2016 model year. The vehicle features new design language called "Dynamic Shield" that will be the basis for future vehicles in different segments. The revised headlights now include LED DRLs with the option of full LED headlights. Inside the cabin, Mitsubishi made refinements to the steering wheel, headliner, rear folding seats, and door controls.

Besides cosmetic changes, the updated Outlander has somewhat reduced cabin noise via increased use of sound insulation, thicker door glass, dynamic suspension and differential dampers, and thicker weatherstripping. The suspension and steering are re-tuned and a new generation Jatco CVT8 transmission introduced for four-cylinder models. The revised SUV first went on sale in Russia in April 2015, followed by the Australia in June and Canada and the Caribbean in July.

Third facelift
The Outlander received another facelift for the 2019 model year. Changes included a new twin blade grille that contains black inserts, revised front and rear bumper design, and new 18-inch alloy wheels.

Outlander PHEV
The third generation includes a plug-in hybrid variant, called PHEV, and its production version was unveiled at the 2012 Paris Motor Show.

Specifications

The plug-in hybrid has a 2.0-litre 4-cylinder MIVEC petrol engine, coupled with an electric powertrain, derived from the electric systems used on the Mitsubishi i-MiEV, it produces a combined 197 hp. Two 60 kW electric motors independently power the front and rear wheels, while the petrol-powered engine can be used as a generator for the motors, and/or power the vehicle directly. The combustion engine can only send power to the front wheels as there is no driveshaft linking it to the rear wheels. Located on the left side of the engine (positioned transaxle-style), the front motor is a smaller, lighter, and higher output version of the permanent magnet synchronous electric motor used in the i-MiEV.

The Outlander PHEV has a 12 kWh lithium-ion battery pack capable of delivering an all-electric range of 32.5 mi under the New European Driving Cycle. Under the Japanese JC08 test the all-electric range is 60 km, with a top speed of 120 km/h. The battery pack is located in a dust- and waterproof encasement positioned beneath the passenger compartment subfloor and between the front and rear axles, with no intrusion into the passenger compartment. It consists of 80 cells configured in series. Mitsubishi's target was to achieve a combined fuel economy for Japan in "EV Drive" mode of 67 km/L equivalent, or equivalent to about 157 miles per U.S. gallon (MPGe). Fuel economy in hybrid mode for Japan is 44 mpgus.

The plug-in hybrid comes equipped with two charging sockets, regular and quick charging CHAdeMO. When charging at home the driver can choose between a standard 3-pin plug socket or via a dedicated EV charging point. From a standard plug, charging from empty to full charge takes about five hours. From a dedicated charging point at home or at a public charging point, it takes about 3.5 hours for a full charge. The DC rapid charging socket can be used at CHAdeMO charging stations. Rapid charging allows for an 80% charge in approximately 25 minutes.

The Outlander PHEV features three driver-activated modes, which are ECO Mode, Battery Save Mode and Battery Charge Mode, along with three driving modes: "EV Drive", "Series Hybrid", and "Parallel Hybrid". It also features regenerative braking during normal deceleration (braking or coasting), with the front and rear electric motors working as generators so that electricity can be generated and fed back into the main battery pack. In addition, the plug-in hybrid has a set-up that allows the driver to control the strength of the engine braking with paddles behind the steering wheel. The driver switches on regenerative braking either by sliding the central selector to the "B" position, or by operating the paddles.

The 2019 model Outlander has a 13.8 kWh battery, which increases the range to 65 km and the top speed to 135 km/h.

Sales
Sales began in Japan by late January 2013, becoming the first SUV plug-in hybrid in the market.

The European version was unveiled at the 2013 Geneva Motor Show. The European version is similar to the Japanese model except for minor adjustments to comply with EU requirements, and Mitsubishi expected an emission rating of 44 g/km. Retail deliveries began in Europe in October 2013, beginning in the Netherlands and followed by the Nordic countries, Sales in Australia were originally scheduled for June 2013, but began only in 2014.

The introduction in the United States was initially scheduled for January 2014, but was delayed. Due to California's regulations that require a battery-monitoring unit (BMU), Mitsubishi delayed the market launch in the U.S. to mid-2017 as model year 2017. The BMU conducts onboard diagnosis of the Outlander's lithium-ion battery capacity and output, and it alerts the driver to possible degradation, which might affect the vehicle's emissions.

The Outlander PHEV ranked as the world's top selling plug-in hybrid in 2014, and also as the third best-selling plug-in electric car after the all-electrics Tesla Model S and Nissan Leaf. Global sales totaled about 42,400 units in 2015, representing 24.6% of worldwide sales of the Outlander lineup, making the plug-in hybrid for a second year in a row the world's best-selling plug-in hybrid, and also the third top selling plug-in electric car.

The Outlander PHEV ranked in 2014 as the top selling plug-in electric vehicle in Europe. During 2015, the Outlander plug-in hybrid surpassed the Leaf as the all-time top selling plug-in passenger car in Europe. In 2017, the Outlander PHEV topped plug-in hybrid sales in Europe, for the fifth year running.

European sales passed the 100,000 unit milestone in January 2018, and global deliveries achieved the 150,000 unit mark in March 2018. The 200,000th unit milestone was attained in March 2019. Global sales reached 250,000 units in May 2020, and 300,000 units in January 2022. According to JATO Dynamics, the Outlander PHEV became the world's all-time best selling plug-in hybrid in December 2018. , the Outlander plug-in hybrid was available for retail sales in 50 countries.

The following table presents retail sales and registrations for the top selling national markets by year through December 2015.

Reception
The Outlander PHEV was selected as one of the top five finalists for the 2014 World Green Car of the Year.

Battery incident
In March 2013, the battery pack of an Outlander PHEV at a dealership in Yokohama overheated and melted some of the battery cells, after the vehicle had been fully charged and stood for one day. Nobody was injured in the incident. The battery packs are produced by GS Yuasa, the same company that supplies the batteries for the Boeing 787 Dreamliner, whose entire fleet was grounded in January 2013 for battery problems. Mitsubishi did not issue a recall but halted production and sales until it determined the cause of the battery problems. The carmaker advised the 4,000 owners of the Outlander plug-in hybrid to drive only on gasoline mode for the time being. On 19 August 2013, after changing a production process to avoid damaging any batteries, Mitsubishi restarted production of the Outlander plug-in hybrid.

Safety
The 2014 Outlander was awarded "Top Safety Pick+" by IIHS.

Fourth generation (GM/GN/ZM; 2021)
The fourth-generation Outlander debuted on February 16, 2021. It first takes inspiration from the GT-PHEV concept which debuted at the 2016 Paris Motor Show, then the Engelberg Tourer concept which debuted at the 2019 Geneva Motor Show, and finally developed four years after Nissan purchased a 34 percent stake in Mitsubishi Motors. It is based on the Nissan Rogue/X-Trail (T33), and is the first Mitsubishi product riding on the new CMF-CD platform. Like its predecessor, it continues to offer the same seven-seat configuration.

Changes include the new PR25DD 2.5-litre petrol engine shared with the Nissan Rogue, producing 181 hp and 245 Nm. A plug-in hybrid powertrain is expected with diesel powertrains discontinued. Due to its close ties with the Rogue, many interior elements are also shared with this model. New interior features include an available 9.0-inch infotainment system with wireless Apple CarPlay, a 12.3-inch digital instrument cluster and a head-up display.

In the US, it is sold in five trim levels: ES, SE, SE Launch Edition, SEL and SEL Launch Edition.

The model was introduced in Australia in November 2021 and went on sale in February 2022. Trim levels available are ES, LS, Aspire, Exceed and Exceed Tourer, with the ES trim receiving both 5-seat and 7-seat options.

The Outlander includes a 360-degree camera, forward collision mitigation, lane-departure warning, blind-spot monitoring. The North American market 2022 Outlander SE Launch Edition adds features such as adaptive cruise control and lane departure prevention.

Outlander PHEV
The plug-in hybrid version was released in Japan in October 2021. It uses the 4B12 engine used by the previous generation Outlander PHEV with a more powerful motor and a larger 20 kWh battery, delivering an increase of power output on the front and rear motors, combining for a total driving range of 87 km in electric-only mode. The engine was rated at 170 PS at 6,000 rpm and 226–232 Nm at 4,100 rpm depending on region. North American release is scheduled in 2022 for the 2023 model year. Contrary to its predecessor, the PHEV model is available in a 7-seat configuration which made possible by unifying the rear motor with the control unit.

This version of the car is set to launch in the Philippine market in May 2024

Awards
Mitsubishi Outlander PHEV won the Technology Car of the Year Award in 2021–2022 Japan Car of the Year Awards.

Safety
The 2022 Outlander was awarded "Top Safety Pick+" by IIHS.

Sales and production
Global Outlander sales achieved the 1.5 million unit milestone in October 2016, 15 years after its market launch.

Production
(sources: Facts and Figures, Mitsubishi Motors website. Facts & Figures 2005, Facts & Figures 2009, Facts & Figures 2013, Facts & Figures 2019 )

title: Mitsubishi Outlander


text:
Third Gladstone ministry

The third Gladstone ministry was one of the shortest-lived ministries in British history. It was led by William Ewart Gladstone of the Liberal Party upon his reappointment as Prime Minister of the United Kingdom by Queen Victoria. It lasted five months until July 1886.

Formation
The Liberal Party under the leadership of William Gladstone came to power in the United Kingdom in February 1886 after they, with the support of the Irish Nationalists, defeated the Conservative government of Lord Salisbury. The ministry was to become one of the most short-lived in British history. Gladstone, aged 76, became Prime Minister of the United Kingdom for the third time. Sir William Vernon Harcourt became Chancellor of the Exchequer, Hugh Childers Home Secretary and future Prime Minister the Earl of Rosebery Foreign Secretary. Lord Selborne and Sir Henry James both rejected the Lord Chancellorship, a post, which, however, was accepted by Sir Farrer Herschell, who was ennobled as Baron Herschell. Former Foreign Secretary Lord Granville became Secretary of State for the Colonies, while another political veteran, Lord Kimberley, resumed the post of Secretary of State for India which he had held from 1882 to 1885. The influential Joseph Chamberlain was appointed President of the Local Government Board while future party leader and Prime Minister Henry Campbell-Bannerman was made Secretary of State for War. The government also saw John Morley hold his first ministerial post as Chief Secretary for Ireland.

The ministry is chiefly remembered for Gladstone's first attempt to introduce the Home Rule Bill for Ireland. The bill was defeated by a majority of 30 (93 Liberal MP's having voted against it) on 8 June and on 26 June Parliament was dissolved. The issue split the Liberal Party. Lord Hartington, who had refused to serve under Gladstone because of his Irish policies, became leader of the Liberal Unionists. He was joined by Joseph Chamberlain, who had resigned over Home Rule in April.

Fate
The Conservative Party, with the support of the Liberal Unionists, gained a decisive victory in the July 1886 general election, and Lord Salisbury once again became Prime Minister. The Liberals were to remain out of office until 1892, when Gladstone became Prime Minister for a fourth time.

Changes
April 1886: James Stansfeld succeeds Joseph Chamberlain at the Local Government Board. George Otto Trevelyan leaves the Cabinet. His successor as Secretary for Scotland is not in the Cabinet.

List of ministers
Cabinet members are listed in bold face.

 * Notes

title: Third Gladstone ministry


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Timeline of Shakespeare criticism

This article is a collection of quotations and other comments on English playwright William Shakespeare and his works.

Shakespeare enjoyed recognition in his own time, but in the 17th century, some poets and authors began to consider him as the supreme dramatist and poet of all times of the English language. No other dramatist has been performed even remotely as often on the British (and later the world) stage as Shakespeare. Editors and critics have studied the dramatic performances of his texts as well as the language of Shakespeare. His works are read and studied not only by poets and authors, but also by psychoanalysts, psychologists and philosophers.

17th century
Ben Jonson, 1630: "I remember the players have often mentioned it as an honor to Shakespeare, that in his writing, whatsoever he penned, he never blotted out a line. My answer hath been, 'Would he had blotted a thousand,' which they thought a malevolent speech. I had not told posterity this but for their ignorance, who chose that circumstance to commend their friend by wherein he most faulted; and to justify mine own candor, for I loved the man, and do honor his memory on this side idolatry as much as any. He was, indeed, honest, and of an open and free nature; had an excellent fancy, brave notions, and gentle expressions, wherein he flowed with that facility that sometime it was necessary he should be stopped. 'Sufflaminandus erat,' as Augustus said of Haterius. His wit was in his own power; would the rule of it had been so too. Many times he fell into those things, could not escape laughter, as when he said in the person of Caesar, one speaking to him: 'Caesar, thou dost me wrong.' He replied: 'Caesar did never wrong but with just cause;' and such like, which were ridiculous. But he redeemed his vices with his virtues. There was ever more in him to be praised than to be pardoned." "Timber" or "Discoveries"

John Milton, 1632:

"On Shakespeare" was Milton's first published poem & appeared (anonymously) in the 2nd folio of plays by Shakespeare (1632) as "An Epitaph on the admirable Dramaticke Poet, W.SHAKESPEARE".

Samuel Pepys, diary entry for 29 September, 1662: "This day my oaths of drinking wine and going to plays are out, and so I do resolve to take a liberty to-day, and then to fall to them again. To the King's Theatre, where we saw "Midsummer's Night's Dream [sic]," which I had never seen before, nor shall ever again, for it is the most insipid ridiculous play that ever I saw in my life. I saw, I confess, some good dancing and some handsome women, which was all my pleasure." John Dryden, 1668: "To begin then with Shakespeare; he was the man who of all Modern, and perhaps Ancient Poets, had the largest and most comprehensive soul. All the Images of Nature were still present to him, and he drew them not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learn'd; he needed not the spectacles of Books to read Nature; he look'd inwards, and found her there." Essay of Dramatic Poesy

Thomas Rymer (neo-classical "rules" and "classical unities" extremist), 1692: "The Moral, sure, of this Fable [Othello] is very instructive. First, This may be a caution to all Maidens of Quality how, without their Parents consent, they run away with Blackamoors. Secondly, This may be a warning to all good Wives, that they look well to their Linnen. Thirdly, This may be a lesson to Husbands, that before their Jealousie be Tragical, the proofs may be Mathematical".

(Rymer's notorious attack on Othello ultimately did Shakespeare's reputation more good than harm, by firing up John Dryden, John Dennis and other influential critics into writing eloquent replies.)

Samuel Cobb (1675–1713), translator and master at Christ's Hospital:

From Poetica Brittanici (1700). Cobb provides an example of the diffusion of Jonson's concept of Shakespeare as the "child of nature."

18th century
Bevill Higgons:

From the preface to the revision of The Merchant of Venice (1701) by George Granville, 1st Baron Lansdowne. Here, Shakespeare is made both to recognize his own lack of sophistication and to approve the neoclassical polish added by Granville.

Joseph Addison, 1712: "Among the English, Shakespeare has incomparably excelled all others. That noble extravagance of fancy, which he had in so great perfection, thoroughly qualified him to touch... his reader's imagination, and made him capable of succeeding, where he had nothing to support him besides the strength of his own genius." Spectator no. 419

Alexander Pope, 1725: "His Characters are so much Nature her self that 'tis a sort of injury to call them by so distant a name as Copies of her. Those of other Poets have a constant resemblance, which shews that they receiv'd them from one another and were but multiplyers of the same image: each picture like a mock-rainbow is but the reflexion of a reflexion. But every single character in Shakespeare is as much an Individual as those in Life itself; it is as impossible to find any two alike; and such as from their relation or affinity in any respect appear most to be Twins will upon comparison be found remarkably distinct. To this life and variety of Character we must add the wonderful Preservation of it; which is such throughout his plays that had all the Speeches been printed without the very names of the persons I believe one might have apply'd them with certainty to every speaker. . . . I will conclude by saying of Shakespeare, that with all his faults, in comparison of those that are more finished and regular, as upon an ancient majestick piece of Gothick architecture, compared with a neat modern building: the latter is more elegant and glaring, but the former is more strong and more solemn. . Nor does the whole fail to strike us with greater reverence, though many of the parts are childish, ill-placed, and unequal to its grandeur." Preface to Pope's edition of Shakespeare's works

Voltaire, 1733 Letters concerning the English nation: He created theatre. He had a genius full of strength and fertility, natural and without any spark of good taste and any knowledge of the rules. I'll tell you something hazardous but true: the merit of this author has lost the English theatre; there are such beautiful scenes, such great and at the same time so terrible pieces widespread in his monstrous farces which go by the name of tragedies; these plays have always been performed with great success. The Time, which alone makes the reputation of men, at the end made their faults respectable. The most gigantic and bizarre ideas of this author have earned, after two hundred years, the right to be considered sublime.

Samuel Johnson, 1765 The Plays of William Shakespeare: "[Shakespeare's] adherence to general nature has exposed him to the censure of criticks, who form their judgments upon narrower principles. Dennis and Rymer think his Romans not sufficiently Roman; and Voltaire censures his kings as not completely royal. ... These are the petty cavils of petty minds."

"That it [mixing tragedy and comedy] is a practice contrary to the rules of criticism will be readily allowed; but there is always an appeal open from criticism to nature."

"To the unities of time and place he has shewn no regard, and perhaps a nearer view of the principles on which they stand will diminish their value, and withdraw from them the veneration which, from the time of Corneille, they have very generally received by discovering that they have given more trouble to the poet, than pleasure to the auditor."

"Perhaps it would not be easy to find any author, except Homer, who invented so much as Shakespeare, who so much advanced the studies which he cultivated, or effused so much novelty upon his age or country. The form, the characters, the language, and the shows of the English drama are his."

"The work of a correct and regular writer is a garden accurately formed and diligently planted, varied with shades, and scented with flowers; the composition of Shakespeare is a forest, in which oaks extend their branches, and pines tower in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelter to myrtles and to roses; filling the eye with awful pomp, and gratifying the mind with endless diversity. Other poets display cabinets of precious rarities, minutely finished, wrought into shape, and polished unto brightness. Shakespeare opens a mine which contains gold and diamonds in unexhaustible plenty, though clouded by incrustations, debased by impurities, and mingled with a mass of meaner minerals." Johann Wolfgang Goethe, 1795–1796 Wilhelm Meister's Apprenticeship (book IV, chap. 3 and 13): "Prince Hamlet is suddenly facing the need for a great action imposed upon your soul that is unable to do it." / "He [the character] is a beautiful being that succumbs under the load he can't distance itself without it."

J. W. Goethe, Writings on literature: "Much has been said about Shakespeare that does not seem anything left to say, but the spirit has features to stimulate the spirit forever..."

"Shakespeare make effect with vitality of the word, and this is what becomes apparent in reading aloud, when the listener is distracted, not by a flawed or right presentation. There is no pleasure greater and purer than, with closed eyes, accompanied a Shakespeare's play, not declaimed, but recited by a safe and natural voice. Follow up the wires with it simple plot developments. For the description of the characters we can to imagine certain pictures, but we must, indeed, through a series of words and speeches, to experiment what is happening internally, and here all who are part of the story seem to have combined not leave anything obscure or in doubt."

"Shakespeare meets with the spirit of the world. He enters the world as it is spirit. For both, nothing is hidden; but as the work of the spirit of the world is to store mysteries before the action, or even after, the meaning of the poet is going to reveal the mystery, making us confident before the action, or just in run it."

"Shakespeare stands out singularly, linking the old and new in a lush. Wish and duty trying to put itself in balance in his plays; both are faced with violence, but always so that the wish is at a disadvantage."

"Perhaps no one has made so great as the first major link of wish and duty in the individual character as Shakespeare did."

19th century
Charles Lamb, 1811: "We talk of Shakespeare's admirable observation of life, when we should feel, that not from a petty inquisition into those cheap and every-day characters which surrounded him, as they surround us, but from his own mind, which was, to borrow a phrase of Ben Jonson's, the very 'sphere of humanity' he fetched those images of virtue and of knowledge, of which every one of us recognizing a part, think we comprehend in our natures the whole; and often mistake the powers which he positively creates in us, for nothing more than indigenous faculties of our own minds, which only waited the application of corresponding virtues in him to return a full and clear echo of the same." On the Tragedies of Shakespeare

Thomas de Quincey, 1823: "O, mighty poet! Thy works are not as those of other men, simply and merely great works of art; but are also like the phenomena of nature, like the sun and the sea, the stars and the flowers,—like frost and snow, rain and dew, hail-storm and thunder, which are to be studied with entire submission of our own faculties, and in the perfect faith that in them there can be no too much or too little, nothing useless or inert—but that, the further we press in our discoveries, the more we shall see proofs of design and self-supporting arrangement where the careless eye had seen nothing but accident!" "On the Knocking at the Gate in Macbeth".

Thomas Carlyle, 1841: "Nay, apart from spiritualities; and considering him merely as a real, marketable, tangibly useful possession. England, before long, this Island of ours, will hold but a small fraction of the English: in America, in New Holland, east and west to the very Antipodes, there will be a Saxondom covering great spaces of the Globe. And now, what is it that can keep all these together into virtually one Nation, so that they do not fall out and fight, but live at peace, in brotherlike intercourse, helping one another? This is justly regarded as the greatest practical problem, the thing all manner of sovereignties and governments are here to accomplish: what is it that will accomplish this? Acts of Parliament, administrative prime-ministers cannot. America is parted from us, so far as Parliament could part it. Call it not fantastic, for there is much reality in it: Here, I say, is an English King, whom no time or chance, Parliament or combination of Parliaments, can dethrone! This King Shakespeare, does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying-signs; indestructible; really more valuable in that point of view than any other means or appliance whatsoever? We can fancy him as radiant aloft over all the Nations of Englishmen, a thousand years hence. From Paramatta, from New York, wheresoever, under what sort of Parish-Constable soever, English men and women are, they will say to one another: 'Yes, this Shakespeare is ours; we produced him, we speak and think by him; we are of one blood and kind with him.'" On Heroes, Hero-Worship, and the Heroic in History

Victor Hugo, 1859: "Two exiles, father and son, are on a desert island serving a long sentence. In a morning, sitting in front of the house, the young man asks: 'What do you think of this exile?' 'It will be long... ", replied the father. 'And how occupy it?', continues the young son. The old serene man reply: 'I will look the ocean, and you?' It is a long silence before the son's answer: 'I will translate Shakespeare.' Shekespeare: the ocean."

20th century
Leo Tolstoy, 1906: "I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful aesthetic pleasure, but having read, one after the other, works regarded as his best: "King Lear," "Romeo and Juliet," "Hamlet" and "Macbeth," not only did I feel no delight, but I felt an irresistible repulsion and tedium... Several times I read the dramas and the comedies and historical plays, and I invariably underwent the same feelings: repulsion, weariness, and bewilderment. At the present time, before writing this preface, being desirous once more to test myself, I have, as an old man of seventy-five, again read the whole of Shakespeare, including the historical plays, the "Henrys," "Troilus and Cressida," "The Tempest", "Cymbeline", and I have felt, with even greater force, the same feelings,—this time, however, not of bewilderment, but of firm, indubitable conviction that the unquestionable glory of a great genius which Shakespeare enjoys, and which compels writers of our time to imitate him and readers and spectators to discover in him non-existent merits,—thereby distorting their aesthetic and ethical understanding,—is a great evil, as is every untruth." Tolstoy on Shakespeare.

D. H. Lawrence, 1928:
 * "When I read Shakespeare I am struck with wonder
 * that such trivial people should muse and thunder
 * in such lovely language
 * How boring, how small Shakespeare's people are!
 * Yet the language so lovely! like the dyes from gas-tar."
 * Yet the language so lovely! like the dyes from gas-tar."

"When I Read Shakespeare" in The Complete Poems of D. H. Lawrence.

Sigmund Freud, 1930: "Incidentally, in the meantime, I ceased to believe that the author of Shakespeare's works was the man of Stratford." (Freud supported the theory that the works attributed to Shakespeare were written by Edward de Vere, the Earl of Oxford, and that this discovery enabled better interpretation of his sonnets) (Outline of Psychoanalysis, 1940/1987: 220). Note added in The Interpretation of Dreams (1900) – Freud, 1900/1987: 260 Freud, 1939: "It is well known that the genius is incomprehensible and irresponsible; so we should bring it to the dance as a full explanation to what the other solution has failed. The same consideration applies also to the remarkable case of William Shakespeare of Stratford." Moses and Monotheism, 1939/1987: 83

W. H. Auden, 1947: "There is a continual process of simplification in Shakespeare's plays. What is he up to? He is holding the mirror up to nature. In the early minor sonnets he talks about his works outlasting time. But increasingly he suggests, as Theseus does in A Midsummer Night's Dream, that "The best in this kind are but shadows" (V.i.214), that art is rather a bore. ... I find Shakespeare particularly appealing in his attitude towards his work. There's something a little irritating in the determination of the very greatest artists, like Dante, Joyce, Milton, to create masterpieces and to think themselves important. To be able to devote one's life to art without forgetting that art is frivolous is a tremendous achievement of personal character. Shakespeare never takes himself too seriously." Lectures on Shakespeare (ed. by Arthur Kirsch)

T. S. Eliot: "Dante and Shakespeare divide the modern world between them, there is no third." Dante, 1929

T. S. Eliot, 1922: "We must simply admit that here Shakespeare tackled a problem which proved too much for him. Why he attempted it at all is an insoluble puzzle; under compulsion of what experience he attempted to express the inexpressibly horrible, we cannot ever know. We need a great many facts in his biography; and we should like to know whether, and when, and after or at the same time as what personal experience, he read Montaigne, II. xii., Apologie de Raimond Sebond. We should have, finally, to know something which is by hypothesis unknowable, for we assume it to be an experience which, in the manner indicated, exceeded the facts. We should have to understand things which Shakespeare did not understand himself." Hamlet and His Problems, in The Sacred Wood: Essays on Poetry and Criticism.

Otto Maria Carpeaux: "The greatest poet of modern times and—except for the limitations of our critical judgement—of all time."

Allan Bloom, 1964: "Shakespeare devotes great care to establishing the political setting in almost all his plays, and his greatest heroes are rulers who exercise capacities which can only be exercised within civil society. To neglect this is simply to be blinded by the brilliance of one's own prejudices. As soon as one sees this, one cannot help asking what Shakespeare thought about a good regime and a good ruler." on his Shakespeare's Politics (with Harry V. Jaffa).

Kenneth Burke: "Shakespeare found many ingenious ways to make it seem that his greatest plays unfolded of themselves, like a destiny rather than by a technical expert’s scheming. . . . He spontaneously knew how to translate some typical tension or conflict of his society into terms of variously interrelated personalities—and his function as a dramatist was to let that whole complexity act itself out, by endowing each personality with the appropriate ideas, images, attitudes, actions, situations, relationships, and fatality. The true essence of his “beliefs” was thus embodied in the vision of that complexity itself. . . . Perhaps in this sense Shakespeare never wrote the ideal Shakespearean play; but again and again he came close to it. . . . he was the sort of craftsman who, if we believed such-and-such, could make a great play out of such beliefs, and could as easily have made a great play out of the opposite beliefs, if those others were what moved us. For what he believed in above all was the glory of his trade itself, which is to say, the great humaneness of the word. . . so masterfully embodied in Shakespeare’s blithe dramaturgic schemings." Kenneth Burke on Shakespeare

Stephen Booth, 1994: "A good metaphor for ... the action of casual, incidental relationships among words and ideas in Shakespeare is patina. Networks of nonsensical relationship act upon speeches and plays the way a patina does upon artwork in metal. They smooth across seams and deny them without obliterating them. Grosser examples of the effect have been noted in literature ever since people started analyzing double plots and noticing echoing situations and spotting thematic common denominators and sustained patterns of imagery." Close Reading Without Readings

Harold Bloom, 1994: "...Shakespeare is the Canon. He sets the standard and the limits of literature." The Western Canon

21st century
Daniel S. Burt, 2009: "It should come as no surprise to see William Shakespeare placed at the head of a ranking of the most influential literary artists of all time. At literature’s most basic and elemental level of language, form, and vision, Shakespeare’s power is unequaled. If the mark of a writer’s greatness is the creation of the largest imaginary universe populated by believable characters and the reflection of the widest human experience, surely Shakespeare is alone in the magnitude of his achievement. Acknowledged as the greatest English writer, unrivaled in popular and critical acclaim, Shakespeare is also the recognized international master whose universality communicates across cultural divides."

Stanley Wells, 2016: "His plays give us the greatest sense of the value of human life; of how people live; of how people love and of the importance of human relationships than any other writers of his time or of any other time. Shakespeare’s plays are as popular as they are because he was perhaps the greatest writer who has ever lived."

title: Timeline of Shakespeare criticism


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title: User talk:66.157.164.158


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File:Mazda Cosmo Series II Model.jpg

Mazda Cosmo Series II model image

This is about the only way we're going to get an image of this important car! --SFoskett 19:59, Dec 14, 2004 (UTC)

title: File:Mazda Cosmo Series II Model.jpg


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Caffè Lavena

Caffé Lavena is a café in the city of Venice, Italy.

It was established in 1750, and was originally called Regina d'Ungheria (the Queen of Hungary) under the Austro-Hungarian empire. The café has its origins in the popular Venice of the 17th century, it became later Orso Coronato (Crowned Bear) because of the picturesque sign showing a bear standing on his hind legs with a crown on its head. In 1860, Carlo Lavena bought the cafè and it has remained in his family ever since.

title: Caffè Lavena


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Edward Rowland Sill

Edward Rowland Sill (April 29, 1841 – February 27, 1887) was an American poet and educator.

Biography
Born in Windsor, Connecticut, he graduated from Yale in 1861, where he was Class Poet and a member of Skull and Bones. He engaged in business in California, and entered the Harvard Divinity School in 1867 but soon left for a position on the staff of the New York Evening Mail. After teaching at Wadsworth and Cuyahoga Falls, Ohio (1868–1871), he became principal of Oakland High School in Oakland, California.

From 1874 to 1882, Sill was professor of English literature at the University of California. His health failing, he returned to Cuyahoga Falls in 1883. He devoted himself to literary work, abundant and largely anonymous, until his death in 1887 in Cleveland, Ohio.

In 1904 Mount Sill, a peak in the Sierra Nevada mountain range in California and the state's sixth-highest mountain, was named for him by noted mountaineer Joseph LeConte.

Works
Much of his poetry was contributed to The Atlantic Monthly, the Century Magazine, and the Overland Monthly. Many of his prose essays appeared in The Contributors Club, and others appeared in the main body of the Atlantic. Among his works are:
 * A translation of Rau's Mozart (1868).
 * The Hermitage and Other Poems (1868).
 * Opportunity (1880)
 * The Venus of Milo and Other Poems (1883), a farewell tribute to his California friends.
 * Poems (1887).
 * The Hermitage and Later Poems (1889). 1892 reprint
 * Hermione and Other Poems (1899).
 * Prose of Edward Rowland Sill'' (1900).
 * The Poems of Edward Rowland Sill (1902).

A memorial volume was privately printed by his friends in 1887. A biographical sketch in The Poetical Works of Edward Rowland Sill, edited by William Belmont Parker with Mrs Sill's assistance was printed in 1906, and his poem "The Fool's Prayer" (1879) was selected for inclusion in the Yale Book of American Verse in 1912.

Sill was the subject of biographies by William Belmont Parker in 1915 and by Alfred Riggs Ferguson in 1955. According to the Encyclopædia Britannica Eleventh Edition, "He was a modest and charming man, a graceful essayist, a sure critic. His contribution to American poetry is small but of fine quality. His best poems, such as The Venus of Milo, The Fool's Prayer and Opportunity, gave him a high place among the minor poets of America, which might have been higher but for his early death."

title: Edward Rowland Sill