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File:Three Dog Night - Captured Live at the Forum.jpg

Cover for album Captured Live at the Forum by Three Dog Night.

Fair use rationale for

 * It is believed that the use of this image on the English-language Wikipedia to illustrate an article on the audio recording in question falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright


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Stuart Richardson

Stuart Richardson (born 15 August 1973) is a Welsh musician. He is the bassist for the rock band No Devotion, formed by former members of Lostprophets with Geoff Rickly of Thursday. He is also the touring bassist for Thursday.

Career
Richardson is an only child. His mother worked in a butchers shop, bar and doctors office, and his dad was a miner. Richardson has said that one of his earliest musical obsessions was David Bowie. He was inspired to learn to play bass by Steve Harris of Iron Maiden.

Richardson's career in the music industry started off in the mid 1990s, working as a producer in his local area in Wales. By the late 1990s he was working as an engineer at Front Line Studios in Caerphilly, which is where he first met the other members of Lostprophets. He replaced Mike Lewis as bassist in Lostprophets after Mike switched to rhythm guitar, joining them in 1998 just before they recorded their third demo. He had worked with the band previously, having produced their first two demos. Lostprophets were signed to Columbia Records and Visible Noise in 2000 and released five studio albums.

In October 2013, ten months after lead singer Ian Watkins was arrested and charged with multiple sexual offences, Richardson and the remaining members of the band announced that they could "no longer make or perform music as Lostprophets". Six months later, they formed a new band, No Devotion, with Geoff Rickly as their new lead singer. The band have released two albums, Permanence (2015) and No Oblivion (2022).

During an appearance on the Sappenin' Podcast with Sean Smith in December 2019, Richardson revealed the reason why they formed a new band. "We didn't catch our breath after the whole thing went down with [Watkins]. So I was like, well 'fuck if that's gonna be the thing that's on my fucking gravestone.' Like 'Oh, that guy was in that band with that fucking prick.' It's like, fuck that. I'm gonna do my own band immediately." During the same interview, Richardson revealed that he had engaged in a violent altercation with Watkins in 2012, as the latter's drug use put much strain on his relationship with the remaining band members prior to his conviction.

Richardson has been the touring bassist of Thursday since 2017.

Personal life
He is the co-owner of Rocky Water Studios, a studio based in the Eau Galle Arts District of Melbourne Beach, Florida.

Richardson currently resides in Los Angeles, California, with his wife Marissa and their two daughters. He is currently endorsed by Orange Amplifiers.

With No Devotion

 * Permanence (2015)
 * No Oblivion (2022)

With Lostprophets

 * The Fake Sound of Progress (EP) (1999)
 * The Fake Sound of Progress (2000)
 * Start Something (2004)
 * Liberation Transmission (2006)
 * The Betrayed (2010)
 * Weapons (2012)

Other (selected)

 * Funeral For A Friend - Memory & Humanity (Backing vocals) (2008)
 * Attack! Attack! - Attack! Attack! (Producer, Engineer, Mixing) (2008)
 * Suburban Myth - Sick Feeling (Mixing) (2015)
 * Bars and Melody - Generation Z (Producer, Mixing, Composer) (2017)
 * Cyclone Static - From Scratch (Mixing, Mastering) (2019)

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

title: Stuart Richardson


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User talk:Wranga~enwiki

Welcome to the Wikipedia
Here are some links I thought useful:

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Feel free to contact me personally with any questions you might have. The Village pump is also a good place to go for quick answers to general questions. You can sign your name by typing 4 tildes, like this: ~.

Be Bold!

[[User:Sam Spade|Sam Spade Arb Com election]] 15:32, 4 Dec 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Wranga. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Wranga~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 20:35, 22 April 2015 (UTC)

title: User talk:Wranga~enwiki


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Thomas Wemyss Reid

Sir Thomas Wemyss Reid (29 March 1842 – 26 February 1905) was an English newspaper editor, novelist and biographer.

Early life
Reid was born at Newcastle upon Tyne in 1842, the son of a Congregational minister

Career
He became chief reporter on the Newcastle Journal aged 19. His reporting of the Hartley Colliery disaster (1862) established his reputation regionally, and two years later he was appointed editor of the Preston Guardian. He was made London correspondent of the Leeds Mercury in 1867, becoming its editor three years later. He reminisced of the changes he had made to the working methods of the Mercury: "When I was appointed editor of the Leeds Mercury I was told that I need never trouble to come to the office in the evening. If I looked in during the afternoon, and wrote my leader and notes, I would do all that was necessary. In those days, the provincial daily editor did not think of forming a judgement of his own on current events. When the pile of London dailies came in, he would read their leaders and base his own on them. In that way he was always a day behind London. I tried to change all that. I was down in my office each night, and I wrote my leaders on the telegraphic news as it came in . When Charles Dickens died, the news came in about eleven at night, and we went to press at one. I wrote a leader on Dickens's death, and that, I believe, was the only comment that appeared next day in any provincial daily on the matter. Other editors awoke to the fact that they, too, must no longer depend on London, and the old, easy-going times everywhere passed away."

He won the right for provincial newspapers to be admitted to the House of Commons press gallery and was (notes his entry in the ODNB) "the first to establish a provincial paper as a real rival to the London press, in the quality of its news and comment, and in its access to behind-the-scenes information". He held the editorship for seventeen years, until in 1887 he moved to London to become a director and general manager of Cassell & Co, the London publishers, a post he held until his death. From 1890 to 1899, he was the editor-in-chief of the moderate Liberal magazine The Speaker.

He wrote a number of biographies, principally of W E Forster (a personal friend), and of Richard Monckton Milnes, 1st Baron Houghton, but also including one of Charlotte Brontë. He also wrote a book on Tunisia, "Land of the Bey", and a number of popular novels, including "Gladys Fane".

On his death the Yorkshire Post, the Leeds-based rival of the Mercury described him as an inveterate political wire-puller who had known more about the formation of William Ewart Gladstone's administration in 1892 that anybody else outside the official circles. He was knighted in 1894.

Reid died in 1905 and is buried in Brompton Cemetery, London. A former subordinate offered the following pen-portrait: "His style, if direct and clever, was common place, and his manner of speech retained more than a suggestion of Northern provincialism. But at every point and in every situation he had a personality that impressed. He was self-willed, self-assured, and if provoked eminently combative. It was not by suavity alone that he made his way. He could fight, and I know that in politics at any rate he was a tolerably good hater. He was afraid of nobody. Rather below the medium height, without any particular graces of person or of address, he could hold his own anywhere. He talked well and unaffectedly, and in his eyes, which had a curious scintillating brightness, there ever seemed to lurk a shrewd and humorous patronage of all men and things."

Writings
Among his more permanent writings are: He pronounced Heathcliff, from Wuthering Heights, "the greatest villain of literature." (From "A character study from "Wuthering Heights," The Nassau Literary Magazine (1848–1908); Apr 1879; 34, 9; American Periodicals Series Online).
 * volume I, volume II - a compendium of short biographical character sketches of leading statesman and foreign premiers.
 * The Land of the Bey (1882),
 * Gladys Fane (1883),
 * and Lives of William Edward Forster (1888), and Lords Houghton (1891), and Playfair (1899), and William Black, Novelist (1902).

title: Thomas Wemyss Reid


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Actinism

Actinism is the property of solar radiation that leads to the production of photochemical and photobiological effects. Actinism is derived from the Ancient Greek ἀκτίς, ἀκτῖνος ("ray, beam"). The word actinism is found, for example, in the terminology of imaging technology (esp. photography), medicine (concerning sunburn), and chemistry (concerning containers that protect from photo-degradation), and the concept of actinism is applied, for example, in chemical photography and X-ray imaging.

Actinic chemicals include silver salts used in photography and other light sensitive chemicals.

In chemistry
In chemical terms, actinism is the property of radiation that lets it be absorbed by a molecule and cause a photochemical reaction as a result. Albert Einstein was the first to correctly theorize that each photon would be able to cause only one molecular reaction. This distinction separates photochemical reactions from exothermic reduction reactions triggered by radiation.

For general purposes, photochemistry is the commonly used vernacular rather than actinic or actino-chemistry, which are again more commonly seen used for photography or imaging.

In medicine
In medicine, actinic effects are generally described in terms of the dermis or outer layers of the body, such as eyes (see: Actinic conjunctivitis) and upper tissues that the sun would normally affect, rather than deeper tissues that higher-energy shorter-wavelength radiation such as x-ray and gamma might affect. Actinic is also used to describe medical conditions that are triggered by exposure to light, especially UV light (see actinic keratosis).

The term actinic rays is used to refer to this phenomenon.

In biology
In biology, actinic light denotes light from solar or other sources that can cause photochemical reactions such as photosynthesis in a species.

In photography
Actinic light was first commonly used in early photography to distinguish light that would expose the monochrome films from light that would not. A non-actinic safe-light (e.g., red or amber) could be used in a darkroom without risk of exposing (fogging) light-sensitive films, plates or papers.

Early "non colour-sensitive" (NCS) films, plates and papers were only sensitive to the high-energy end of the visible spectrum from green to UV (shorter-wavelength light). This would render a print of the red areas as a very dark tone because the red light was not actinic. Typically, light from xenon flash lamps is highly actinic, as is daylight as both contain significant green-to-UV light.

In the first half of the 20th century, developments in film technology produced films sensitive to red and yellow light, known as orthochromatic and panchromatic, and extended that through to near infra-red light. These gave a truer reproduction of human perception of lightness across the color spectrum. In photography, therefore, actinic light must now be referenced to the photographic material in question.

In manufacturing
Actinic inspection of masks in computer chip manufacture refers to inspecting the mask with the same wavelength of light that the lithography system will use.

In aquaculture
Actinic lights are also common in the reef aquarium industry. They are used to promote coral and invertebrate growth. They are also used to accentuate the fluorescence of fluorescent fish.

Actinic lighting is also used to limit algae growth in the aquarium. Since algae (like many other plants), flourish in shallower warm water, algae cannot effectively photosynthesize from blue and violet light, thus actinic light minimizes its photosynthetic benefit.

Actinic lighting is also a great alternative to black lights as it provides a "night environment" for the fish, while still allowing enough light for coral and other marine life to grow. Aesthetically, they make fluorescent coral "pop" to the eye, but in some cases also to promote the growth of deeper-water coral adapted to photosynthesis in regions of the ocean dominated by blue light.

In artificial lighting
"Actinic" lights are a high-color-temperature blue light. They are also used in electric fly killers to attract flies. The center wavelength for most actinic light products is 420 nanometers, with longer wavelengths regarded as "royal blue" (450nm) to sky blue (470nm) and cyan (490nm) and shorter wavelengths regarded as "violet" (400nm) and blacklight (365nm). Actinic light centered at 420nm may appear to the naked eye as a color between deep blue and violet.

title: Actinism


text:
User:T2X

= About T2X =

General Information
Name: A. Lingo

Age: 18

Gender: Male

Interests
[Blah...]

Aliases

 * Everlong1210
 * ALingo
 * Icaraus

Name Origin
The name T2X does not come from the terminator sequel, it was only a shortening of Tubular2000, with an X added for coolness. Tubular2000 was an alias that came after my very first one of Tubular120. I do not use the alias T2X anymore for new accounts, as I've moved on to ALingo.

Links
Ainsi est la vie - My blog

My Ourmedia page

title: User:T2X


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William Barnes Rhodes

William Barnes Rhodes (1772–1826) was an English author, best known for his burlesque opera, Bombastes Furioso.

Rhodes was born in Leeds on Christmas Day 1772, the second son of Richard Rhodes and his wife, Mercy. He worked as a writer in an attorney's office, before gaining a position as a clerk in the Bank of England around 1799. He was promoted to chief teller in 1823, and held that post until his death.

On 24 March 1825, Rhodes married Emma Millington. On 1 November 1826 he died at his home near Bedford Square, London, being survived by his wife, who gave birth to a daughter after his death.

Rhodes is best known as the author of a burlesque opera, "Bombastes Furioso", which became a popular success. It was produced anonymously at the Haymarket Theatre on 7 August 1810, with John Liston in the title role and Charles Mathews as the King of Utopia and was first printed in 1813, in Dublin, but was not published under Rhodes's name until 1822. He also published, in 1801, a translation into English verse of the Satires of Juvenal.

Rhodes was also a collector of dramatic literature and made large purchases when the Duke of Roxburghe's library was auctioned in June 1812. Rhodes's own library was sold by Sotheby's in 1825.

title: William Barnes Rhodes


text:
Captured Live at the Forum

Captured Live at the Forum is the third album by American rock band Three Dog Night, released in 1969.

The album was recorded at The Forum in Los Angeles. According to Three Dog Nightmare, Three Dog Night opened this show in support of Steppenwolf, who were recording various shows on their 1969–70 tour for an upcoming live album (Steppenwolf Live, released 1970). Steppenwolf and Three Dog Night both recorded for the ABC/Dunhill label and shared the same production team, and it was decided to also record Three Dog Night on this occasion, despite the band's having only released two prior albums. The choice paid off, as Captured Live at the Forum reached #6 on the Billboard album chart.

All the songs featured on Captured Live at the Forum were previously issued in studio versions by Three Dog Night. "Feelin' Alright", "Eli's Coming", and "Easy to Be Hard" were included on the band's second studio album Suitable for Framing, and the remainder on their eponymous first album.

Original pressings of the album bore the headline "In front of an audience over 18,000 on September 12, 1969 in Los Angeles, Three Dog Night was Captured Live at the Forum." Future pressings would remove the date and lead singer Chuck Negron's autobiography Three Dog Nightmare would subsequently list the concert's performance date as July 14, 1969. However, September 12, 1969 is listed as the date of employment on the AFM contract filed for the event.

Track listing

 * 1) "Heaven Is in Your Mind" (Jim Capaldi, Steve Winwood, Chris Wood) – 3:23
 * 2) "Feelin' Alright" (Dave Mason) – 4:55
 * 3) "It's for You" (John Lennon, Paul McCartney) – 2:02
 * 4) "Nobody" (Beth Beatty, Dick Cooper, Ernie Shelby) – 3:03
 * 5) "One" (Harry Nilsson) – 3:37
 * 6) "Chest Fever" (J.R. Robertson) – 7:02
 * 7) "Eli's Coming" (Laura Nyro) – 3:45
 * 8) "Easy to Be Hard" (Galt MacDermot, James Rado, Gerome Ragni) – 4:25
 * 9) "Try a Little Tenderness" (Jimmy Campbell, Reginald Connelly, Harry M. Woods) – 6:08

Three Dog Night

 * Cory Wells – vocals
 * Chuck Negron – vocals
 * Danny Hutton – vocals
 * Mike Allsup – guitar
 * Joe Schermie – bass
 * Floyd Sneed – drums
 * Jimmy Greenspoon – keyboard

Production

 * Producer: Richard Podolor
 * Engineer: Bill Cooper
 * Photography: Ed Caraeff
 * Roadie, Lighting: Dennis Albro
 * Roadie, Sound: Lee Carlton

Charts
Album – Billboard (United States)

title: Captured Live at the Forum


text:
Luxembourg in the Eurovision Song Contest

Luxembourg has participated in the Eurovision Song Contest 38 times since its debut at the first contest in. The Luxembourgish national broadcaster, RTL Luxembourg, participates in the contest representing the country. The nation participated in all but one event between 1956 and, only missing the. After finishing among the bottom seven countries in 1993, Luxembourg was relegated and prevented from competing in. The nation declined to return to the contest in, and would make no further appearances over the next three decades. The country returned to the event for the first time in 31 years in.

With five wins, Luxembourg is one of the contest's most successful nations, and between 1983 and 1994 the nation jointly held the record for most contest wins by a single country. Luxembourg won the Eurovision Song Contest in, with the song "Nous les amoureux" performed by Jean-Claude Pascal, in , with the song "Poupée de cire, poupée de son" performed by France Gall, recorded back-to-back wins in and , when represented by "Après toi" by Vicky Leandros and "Tu te reconnaîtras" by Anne-Marie David, and most recently in , with the song "Si la vie est cadeau" performed by Corinne Hermès. The contest has been held in Luxembourg four times, in, , , and , all of which took place in Luxembourg City. In addition to its five wins, Luxembourg recorded two third-place finishes in and, and in total has placed within the top five 13 times and the top ten 20 times. Luxembourg's fortunes in the contest changed in later years, with the nation's final seven appearances in the 1980s and 1990s resulting in four placements in the bottom five, ultimately leading to the nation's relegation and subsequent non-participation in 1993. On its return in 2024, Luxembourg qualified from the semi-finals and ultimately finished in 13th place in the final.

Contest history
Participation in the Eurovision Song Contest is open to members of the European Broadcasting Union (EBU), of which RTL Luxembourg (RTL Lëtzebuerg), a division of the RTL Group, is presently a member. One of seven countries to take part in the of the Eurovision Song Contest in 1956, Luxembourg has competed in the contest on 38 occasions since its debut entry. The nation participated in all but one event between 1956 and, with no Luxembourgish entry having participated in the. On each occasion that Luxembourg participated in the contest the country was represented by one song, with the exception of the first contest when each nation was represented by two songs. Luxembourg has won the contest on five occasions, marking it as one of the contest's most successful nations. The country's first win was recorded in with the song "Nous les amoureux" performed by Jean-Claude Pascal. Four years later the nation were awarded a second victory, with the song "Poupée de cire, poupée de son" performed by France Gall winning the contest in. Luxembourg recorded back-to-back victories in and  – becoming the second country to win the event in two consecutive events  – when represented by the song "Après toi" performed by Vicky Leandros, and "Tu te reconnaîtras" by Anne-Marie David, respectively. The nation achieved its most recent victory in, with the song "Si la vie est cadeau" performed by Corinne Hermès. With its fifth win Luxembourg became the joint-most successful Eurovision nation at that time, equalling the record for the most number of victories by a single country previously set by – a record which would remain until  recorded their sixth win in. All of Luxembourg's winners, however, were not of Luxembourgish descent, with four of the five artists being French and one, Leandros, being Greek.

During its original participation run between 1956 and 1993 the rules of the contest for the majority of those editions stated that each country was required to perform in one of the national languages of that country. The large majority of Luxembourgish entries were performed in French, which is one of the official languages of Luxembourg and the main language of communication in the country, while Luxembourgish, the country's national language, has featured in only three of the country's entries, in, , and.

Including its five wins, Luxembourg has placed within the top five on 13 occasions and within the top ten on 20 occasions, including two third-place finishes in and. The majority of the country's top placings, however, were recorded prior to its fifth contest win, and in the decade following its most recent victory Luxembourg's fortunes in the contest began to shift, leading to four appearances in the bottom five between and 1993.

Relegation, absence and return
After finishing among the bottom seven countries at the 1993 event, Luxembourg was relegated under a new system to accommodate entries from new nations wishing to compete for the first time, and was thus prevented from participating in the 1994 contest. Luxembourg subsequently declined to participate in the and continued to be absent from the contest for three decades, with the increased costs of participating in the event cited as a main contributing factor for the country's absence. Ahead of the Luxembourg was featured within a preliminary participants list for that edition, however, RTL subsequently reconsidered due to the scale of the participation fee, with Luxembourg ultimately absent from the final list of participating countries. RTL had been approached on several occasions in subsequent years about the possibility of returning to the contest and participation in the contest was the subject of discussion within the Luxembourgish parliament in the years following Luxembourg's last entry, as well as the subject of fan-led petitions run both in Luxembourg and in other countries. The organisation however varyingly identified high participation costs, organisational difficulties, the cost and logistical issues of staging the event should Luxembourg win, format incompatibilities at the broadcaster, disinterest among the Luxembourgish viewing public and poor results towards the end of Luxembourg's participation among the reasons future participation was consistently ruled out. In an interview with Luxemburger Wort in April 2024, Luxembourgish singer Thierry Mersch revealed that he had been contacted by broadcaster San Marino RTV to create a duet that would represent both countries jointly in the  contest. Despite the initial availability of Luxembourgish minister of Culture, the project was ultimately discarded for financial reasons.

On 15 December 2022, it was reported that Xavier Bettel, the Luxembourgish prime minister and minister for communications and media, had instigated discussions with RTL regarding the return of Luxembourg to the Eurovision Song Contest in, with a team within the Luxembourgish government formed to facilitate the country's return to the event. On 12 May 2023, ahead of the final of the, the 30th anniversary of Luxembourg's last entry and the 40th anniversary of Luxembourg's last win, RTL and the EBU announced that Luxembourg would return to the contest in 2024. As part of the announcement RTL and the Luxembourgish government highlighted the promotion of Luxembourgish culture, the development of the cultural section of Luxembourgish society, as well as economic and touristic benefits which participation in the event could bring.

In July 2023, RTL launched its national selection process, with a televised final held on 27 January 2024 at the Rockhal in Esch-sur-Alzette. Interested artists were able to apply to compete in the event, with applicants required to be Luxembourgish citizens, long-term residents, or those with a proven connection to the Luxembourgish music scene and strong involvement with Luxembourgish culture. This marked a change from the majority of previous Luxembourgish Eurovision selections, which were predominantly held internally and were often led by the RTL organisation in Paris rather than by the local Luxembourgish broadcaster. As a result, a large number of the artists which represented Luxembourg at Eurovision were not of Luxembourgish descent, including all five of the nation's winning artists. The Luxembourg Song Contest was officially launched on 1 December 2023, with RTL highlighting the event as a showcase for Luxembourgish talent and a platform for established and emerging artists within the Luxembourgish music scene. Following qualification to the final and a 13th place finish at the contest in Malmö, Sweden, David Gloesener, RTL's Eurovision coordinator in Malmö, confirmed that Luxembourg would participate in the in Switzerland and work had already begun to determine its entrant.

Congratulations: 50 Years of the Eurovision Song Contest
A special competition was held in October 2005 to celebrate the contest's 50th anniversary, with 14 songs from Eurovision history competing to determine the most popular song from the contest's first 50 years, with the winner determined through the combined votes of the viewing public and juries over two rounds. The contest was not relayed by a Luxembourgish broadcaster, however Luxembourg's winning song from 1965, "Poupée de cire, poupée de son" performed by France Gall, was featured among the 14 selected songs.

Hostings
As is customary the winning broadcaster is offered the opportunity to organise the following year's event, which has resulted in Luxembourg hosting the contest on four occasions. On each occasion the contest was held in Luxembourg City, and coincided with one of Luxembourg's victories. The and  events were held in the Grand Auditorium of Villa Louvigny and presented by Mireille Delannoy and Josiane Shen, respectively. The and  contests were held in the Grand Théâtre de Luxembourg (also known at the time as the Nouveau Théâtre and Théâtre Municipal) and presented by Helga Guitton and Désirée Nosbusch, respectively. Although Luxembourg won the contest in 1973 and were offered the opportunity to stage the, RTL declined the offer due to the financial strain of hosting two consecutive events, leading to the BBC to step in as organiser and staging the event in Brighton.

Heads of delegation
Each participating broadcaster in the Eurovision Song Contest assigns a head of delegation as the EBU's contact person and the leader of their delegation at the event. The delegation, whose size can greatly vary, includes a head of press, the contestants, songwriters, composers and backing vocalists, among others. At the 2024 contest the Luxembourgish Head of Delegation was Eric Lehmann.

Conductors
In contests where an orchestra was provided, a conductor was required to lead the musicians during each country's performance. Broadcasters were able to provide their own conductors or could call upon the services of the conductor appointed by the host broadcaster. The conductors which led the orchestra during the Luxembourgish entries each year are listed below.

Jury members
A five-member jury panel consisting of music industry professionals is assembled for every participating country for the Eurovision Song Contest, ranking all entries except for their own country's contribution. The modern incarnation of jury voting was introduced beginning with the, and , the juries' votes constitute 50% of the overall result in the final alongside televoting.

Commentators and spokespersons
RTL has broadcast the contest on various television and radio channels during its participation history and has provided commentary in different languages for the local audiences. On occasion commentary has been relayed from the broadcast feed of other participating countries. Between 1956 and 1991 the contest was broadcast on the French-language television channel of RTL (presently known as RTL9), and was also broadcast on the German-language television channel (previously known as RTL plus, now titled RTL) between 1984 and 1988; in 1992 and 1993 the contest was broadcast on the Luxembourgish-language channel RTL Hei Elei. The contest is also known to have been broadcast on RTL's radio stations, in 1966 on the French-language Radio Luxembourg, in 1973 on the Luxembourgish-language RTL Radio Lëtzebuerg and English-language Radio Luxembourg, and in 1979 on the German-language RTL Radio. Upon its return to the contest in 2024, RTL provided a wide array of broadcast options through television, radio and online streaming, with English, French and Luxembourgish language commentators recruited to provide context during the live shows.

As part of the contest's voting procedure, each participating broadcaster nominates a spokesperson which announces the results of their country's vote during the final. Since 1994 the spokespersons have been connected through satellite links, which replaced the use of telephone lines in previous events. Désirée Nosbusch, who had previously presented the, served as Luxembourg's spokesperson upon the country's return in 2024, and thus became the first Luxembourgish spokesperson to be seen in person during the contest.

Creative directors
As part of the broadcaster's delegation team, a creative director may be employed to provide guidance on the staging of the competing entry at the Eurovision Song Contest. At the 2024 contest RTL collaborated with the Ukrainian director German Nenov on the staging of the Luxembourgish entry in Malmö.


text: Talk:Captured Live at the Forum

title: Talk:Captured Live at the Forum


text:
James Rice (writer)

James Rice (26 September 1843 – 26 April 1882), English novelist, wrote a number of successful novels in collaboration with Walter Besant.

He was born in Northampton, and was educated at Cambridge University. He studied law, becoming a lawyer of Lincoln's Inn in 1871.

In 1868 he bought the publication Once a Week. It was loss-making, but made him acquainted with Besant. Together they had a successful collaboration, ended by Rice's death. He died in Redhill.

Works, all with Walter Besant

 * Ready-money Mortiboy (1872)
 * My Little Girl (1873)
 * With Harp and Crown (1874)
 * This Son of Vulcan (1876)
 * The Golden Butterfly (1876)
 * The Case of Mr Lucraft (1876) stories
 * The Monks of Thelema (1878)
 * By Celia's Arbour (1878)
 * 'Twas in Trafalgar's Bay (1879) stories
 * The Seamy Side (1880)
 * The Chaplain of the Fleet (1881)
 * Sir Richard Whittington (1881)
 * All Sorts and Conditions of Men, An Impossible Story
 * The Ten Years Tenant (1881) stories

title: James Rice (writer)


text: Category:Three Dog Night albums

title: Category:Three Dog Night albums


text:
Leitch Ritchie

Leitch Ritchie (1800–1865) was a Scottish novelist and journalist. He was born at Greenock and worked as a clerk in Glasgow, but about 1820 adopted literature as his profession.

Ritchie wrote four novels, of which the most successful was Wearyfoot Common. The others were Schinderhannes, The Robber of the Rhine and The Magician. In his later years he edited Chambers' Journal. He also wrote short stories, including one of the first British werewolf short stories The Man-Wolf (1831). Ritchie also wrote non-fiction works, such as travel books.

Life
Ritchie was at first an apprentice in a banking office, but at an early age went to London with letters of introduction to literary people. Called back by his father, to take up a position in a Glasgow trading firm, he started in 1818, with some friends, a fortnightly publication, The Wanderers, which ran to 21 numbers (4 April 1818 to 9 January 1819). The Glasgow firm became bankrupt, and Ritchie again went to London.

Working as a professional writer, Ritchie sent articles to the Foreign Quarterly Review, the Westminster Review, and other periodicals. The London Weekly Review, on which he had been employed, passed into other hands, he and the former editor, James Augustus St. John, went to live in Normandy. Books made his reputation, and from this period he had enough work. In addition to his other engagements, he with William Kennedy, started a monthly periodical, The Englishman's Magazine, which ran to seven numbers (April to October 1831), when his own illness caused its abandonment.

For some time Ritchie was editor of The Era, a sporting and dramatic newspaper, and was subsequently first editor of the Indian News and Chronicle of Eastern Affairs (No. 1, 11 June 1840), the copyright of which he was eventually given by the proprietor; and he later sold the newspaper. The latter part of his working life was spent in Scotland in editing Chambers's Journal, and other publications by his employers. During this period (the 1850s) he lived at 29 St Bernards Crescent in Stockbridge, Edinburgh where he befriended his near neighbour, Andrew Crichton, of 33 St Bernard's Crescent.

On 19 June 1862 Ritchie was granted a civil list pension. Retiring to London, he died at 1 Earlswood Terrace, East Greenwich, on 16 January 1865. He left a daughter, Mrs. Hughes, who resided at Perry Green, Hertfordshire.

Works
While contributing to periodicals in his early days in London, Ritchie brought out a volume entitled Head Pieces and Tail Pieces, by a Travelling Artist, 1820. He published also Tales and Confessions, 1829, and London Night Entertainments. Based in France, Ritchie produced The Game of Speculation, 1830, 2 vols. (reprinted in the "Parlour Library", No. 58, 1851), and The Romance of History, France, 1831, 3 vols.; 2nd edit. 1872.

Charles Heath commissioned Ritchie to write two series of books of travels: Turner's Annual Tour, 1833–5, and Heath's Picturesque Annual, 1832–45. He visited many places abroad, and the result was twelve illustrated volumes to which he supplied the letterpress. He edited the "Library of Romance", 1833–5, in 15 vols. Ritchie was also the author of:

 * Schinderhannes, the Robber of the Rhine, printed in the "Library of Romance", No. 2, 1833; reprinted in the "Parlour Library", No. xiii. 1848, and as a separate volume 1878.
 * The sea-wolf, printed in the "Library of Romance", Vol. XI, 1834.
 * The Magician, 1836, 3 vols.; reprinted in the "Parlour Novelist", 1846, and in the "Parlour Library", 1853.
 * Beauty's Costumes, a Series of Female Figures in the Dresses of all Times, by Charles Heath, with descriptions by L. Ritchie, 1838.
 * The Wye and its Associations: a Picturesque Ramble, 1841.
 * A View of the Opium Trade, Historical, Moral, and Commercial, 1843.
 * The British World in the East, 1847, 2 vols.
 * Windsor Castle and its Environs, including Eton College; 2nd edit. 1848.
 * Liber Fluviorum, or River Scenery of France, from Drawings by J. M. Turner, with descriptive letterpress by L. Ritchie, 1853; another edit. 1887.
 * Wearyfoot Common, 1855.
 * The New Shilling, 1857.
 * Winter Evenings, 1859, 2 vols.
 * The Midnight Journey, by L. Ritchie, and other Tales, by Mrs. Crowe and others; reprinted from Chambers's Journal, 1871.

He edited Friendship's Offering, 1824, and The Poetical Works of Thomas Pringle, 1838 (2nd edit. 1839), with a sketch of Thomas Pringle's life.

title: Leitch Ritchie


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T. W. Robertson

Thomas William Robertson (9 January 1829 – 3 February 1871) was an English dramatist and stage director known for his development of naturalism in British theatre.

Born to a theatrical family, Robertson began as an actor, but he was not a success and gave up acting in his late 20s. After earning a modest living writing articles for the press, translating and adapting foreign plays and writing several of his own plays he achieved success in 1865 with his play Society, which the actor-manager Marie Wilton presented at a small London theatre, the Prince of Wales's. Over the next five years Robertson wrote five more plays for the Prince of Wales's. Their naturalistic style and treatment of contemporary social issues was in strong contrast to the melodramas and exaggerated theatricality to which the public had been accustomed, and Robertson's plays were box-office and critical successes. Robertson supervised their productions and was a pioneer of modern stage directing.

Among later theatrical figures influenced by Robertson's Prince of Wales's plays and productions were W. S. Gilbert, Arthur Wing Pinero, Bernard Shaw and Harley Granville-Barker. Robertson wrote numerous plays for other theatres, and adapted many foreign plays for the English stage, but few of these made a strong or lasting impression. He strove successfully to improve the financial condition of dramatists, securing payment per performance, a basis that became the norm after his death.

Robertson suffered from heart disease and died at the age of 42 at the height of his fame and popularity.

Early years
Robertson was born in Newark-upon-Trent, Nottinghamshire on 9 January 1829. He came from a long-established theatrical family, active on the English stage since the early 18th century, and was the eldest son of William Shaftoe Robertson and his wife, Margharetta Elisabetta (née Marinus), a Danish-born actress. Robertson senior had been articled to a lawyer, but abandoned the law to become an actor, and was taken on by his uncle's Lincoln Circuit Company, of which he afterwards became manager. Many of Robertson's large family of siblings went on the stage, including his brothers Frederick and Edward, and his sisters Fanny, Elizabeth and Margaret, the last subsequently famous as Madge Kendal. He made his first appearance on the stage in June 1834 at the age of five as Hamish, the son of the title character in Rob Roy, and played roles including Cora's child in Sheridan's Pizarro and the Count's child in Kotzebue's The Stranger.

At the age of seven Robertson was sent to Spalding Academy, and then to a school in Whittlesey, acting with the family's theatrical company during the school holidays. When he was about 15 his schooling ceased and he rejoined the company full-time, not only as an actor, but also, according to his biographer Michael R. Booth, "as a scene painter, songwriter, playwright, prompter, and stage-manager". He wrote stage adaptations of Dickens stories for the company: "The Battle of Life" and "The Haunted Man". Apart from a brief and unsuccessful spell in the Netherlands as an English teacher, he remained with the company until its disbandment in 1849.

London
Robertson moved to London, earning a meagre living, writing and taking such acting parts as he could get. His biographer T. Edgar Pemberton wrote, "The amount of work that he did there during his early struggling days was prodigious. In addition to writing and adapting plays he contributed stories, essays, and verses to many magazines: dramatic criticisms to several newspapers: and ephemeral work to numerous comic journals". In 1851 Robertson had a new play presented in the West End, A Night's Adventure, a comic drama set in the time of the Jacobite rising of 1745. He hoped this would be start of a successful career as a dramatist, but the play was not a success, closing after four nights, and he continued to scratch a living as a writer and actor. Together with H. J. Byron, who became a close friend, he put on an entertainment at the Gallery of Illustration, without success. He worked as a prompter at the Olympic Theatre, tried unsuccessfully to join the army, and travelled to Paris with a company giving a season of English plays there. In 1855, while playing at the Queen's Theatre, he met a 19-year-old actress, Elizabeth Burton. They were married in July the following year; they had a son and three daughters. After their wedding the Robertsons toured Ireland before returning to act in London and the provinces. From 1858 Robertson, feeling that the life of a touring actor left no time for the serious business of writing plays, gave up acting and concentrated on writing.

Robertson's farcical sketch The Cantab, staged as an after-piece at the Strand Theatre in February 1861, attracted the attention of a Bohemian literary set, and led to his becoming a member of the Savage, Arundel and Reunion Clubs, where, in the words of his biographer Joseph Knight, "he enlarged his observation of human nature, and whence he drew some curious types". Among the up-and-coming writers with whom he mixed were F. C. Burnand, W. S. Gilbert, Tom Hood and Clement Scott. When Byron founded the magazine Fun in 1861, Robertson was a contributor from the outset. Writers for magazines and papers were seldom well paid, and to maintain a modest income Robertson wrote copiously: Pemberton lists a dozen publications to which he contributed in this period, ranging from Beeton's Englishwoman's Domestic Magazine and The Boy's Own Magazine to London Society and The Illustrated Times. Success remained elusive, and Robertson considered giving up writing and becoming a tobacconist.

Success

An important step to success came in 1864, when Robertson wrote David Garrick, an adaptation of Mélesville's comedy Sullivan. Edward Sothern staged the piece and starred in it. The actor was at the height of his popularity, and although the notices paid more attention to his performance than to Robertson's writing, the success of the production advanced the author's career. Encouraged by this professional achievement, he wrote a new play, Society, a comedy depicting what one critic called "the efforts of an illiterate millionaire to introduce his son into 'society', and the equally vigorous efforts of 'society' to repel the intruder". This play was his breakthrough. London managements turned it down, but through Byron's influence it was produced in Liverpool, where it was a critical and popular success.

Byron was a professional associate of Marie Wilton, who had recently taken over the management of one of London's smaller theatres, the Prince of Wales's. At his instigation Society was presented there on 11 November 1865. In a highly favourable notice the reviewer in The Times wrote, "The piece was vehemently applauded from beginning to end. Success could not be more unequivocal". Society ran for 26 weeks – 150 performances – a notable run for the time, establishing the fortunes of the theatre, as well as those of the author. It was revived several times during the next two decades, and was given nearly 500 performances under Wilton's (later the Bancrofts') management. Between the Liverpool and London openings, Robertson suffered the loss of his wife, who died on 14 August after months of ill health.

Robertson wrote the libretto of the 1865 one-act comic opera Constance, with music by Frederic Clay. It was well reviewed when presented at Covent Garden, but ran only briefly, and Robertson did not return to the musical theatre. In 1869 Clay asked him for a second libretto, but he declined and instead gave Clay an introduction to "a better man than I shall ever be", namely Gilbert, who collaborated with Clay on the successful Ages Ago.

The success of Society established Robertson as a playwright and enabled him to have a decisive voice in the staging of his subsequent plays. His next, the comedy Ours, was first given in August 1866 at the Prince of Wales's, Liverpool, under his personal direction with a cast that included Wilton, Squire Bancroft (her future husband and partner) and John Hare. The play transferred to the Prince of Wales's in London the following month and ran for 150 performances. The Times remarked on the "ultra-real" nature of the piece and of its staging.

"A complete reformation of the modern drama"
During the run of Ours, Robertson, Gilbert, Scott and others contributed short stories to a collection edited by Tom Hood. Robertson's, "The Poor-Rate Unfolds a Tale", formed the basis for his next play at the Prince of Wales's, but before that he had two plays staged at other London theatres: Shadow-Tree Shaft, a drama, at the Princess's, and A Rapid Thaw, an adaptation of a Sardou comedy, at the St James's. In April 1867 his stage version of the short story opened at the Prince of Wales's under the title Caste. In this piece Robertson developed the naturalistic, unexaggerated style for which he was becoming famous. Both as author and director he avoided the over-theatrical bombast of the early Victorian theatre. After the first night of Caste one critic wrote:

Gilbert, looking back in 1901, considered Caste Robertson's masterpiece, a judgement with which analysts in the 20th and 21st centuries have concurred. The play ran for 156 performances and was revived for several further runs during the rest of the 19th century.

In 1867 Robertson remarried. His second wife was Rosetta Elizabeth Rodmill Feist (1844–1912), whom he had met at a party in London in 1866. They became engaged in August 1867, married at the British consulate in Frankfurt on 17 October, and honeymooned in Paris. They had a daughter and a son. Once back in London, Robertson continued to write and direct. In February 1868 Play was produced at the Prince of Wales's. It ran for 106 performances and was followed by a successful revival of Society. In the same year Robertson adapted Alfred de Musset's 1834 play On ne badine pas avec l'amour for his sister Madge. As Passion Flowers it was staged under Robertson's direction at the Theatre Royal, Hull, and on tour.

Robertson had written Society with Sothern in mind, but the actor had been unavailable. In late 1868 Robertson adapted Émile Augier's comedy  L'Aventurière, presented at the Haymarket as Home, with Sothern in the lead role, and Ada Cavendish as Mrs Pinchbeck, in January 1869. It had a good run of 136 performances, but was outstripped by Robertson's School – loosely based on Roderich Benedix's Aschenbrödel – which opened at the Prince of Wales's in the same month and ran for 381 performances.

Last years
Robertson's last Liverpool premiere was on 22 February 1869. My Lady Clara was given at the Alexandra Theatre. The play was restaged in London on 27 March 1869 at the Gaiety Theatre, retitled Dreams. The London production featured Madge Robertson; it ran for 96 performances. Later in the same year A Breach of Promise ("An Extravagant Farce") was staged at the Globe Theatre, London, and Dublin Bay (a "comedietta") was performed at the Theatre Royal, Manchester.

In January 1870 Robertson was diagnosed as suffering from heart disease. He continued to write, and 1870 saw the production of Progress (adapted from Sardou) at the Globe, The Nightingale, a drama, at the Adelphi Theatre and his final work for the Prince of Wales's – M. P.. Robertson was an early beneficiary of improved financial terms for playwrights; the practice of payment by royalties was not widespread until the 1880s, but the management of the Prince of Wales's had paid him £1 a night for Society in 1865, and by the time of this final piece his nightly fee had risen to £5. He was also – most unusually for the period – paid for revivals. He was unable to supervise the production of M. P. or even to attend the first night. The company went to his house and gave him a private performance.

A comedy called Birth was presented by Sothern at the Theatre Royal, Bristol, followed by a provincial tour. Against medical advice Robertson attended the first night of a revival of Ours at the Prince of Wales's on 26 November. The following month he travelled to Torquay on doctor's orders, but found no improvement in his health and returned to London after two weeks. He was too ill to have any hand in the production of his last play, War, a drama staged at the St James's Theatre on 16 January 1871.

Robertson died at his home in Chalk Farm, London on 3 February 1871, aged 42. He was buried in Abney Park Cemetery. More than a thousand people attended the funeral, including the entire company of the Prince of Wales's, led by Marie Wilton, who placed a chaplet of flowers on the coffin. The theatre was closed that night in tribute to Robertson – an exceptional honour, according to The Times:

Plays
Robertson's reputation rests on his series of plays for Marie Wilton's company at the Prince of Wales's Theatre. They were seen as "problem plays", because they dealt seriously and sensitively with social issues of the day. Caste was about marriage across the class barrier and Society explored prejudice against social mobility. The plays were notable for what the critic Thomas Purnell dubbed their "cup and saucer" realism, treating contemporary British subjects in settings that were recognisable, unlike the oversized acting in Victorian melodramas that were popular at the time. The characters spoke in normal language rather than declaiming their lines. Looking back thirty years later at the original production, Bernard Shaw called Robertson's play Caste "epoch making ... After years of sham heroics and superhuman balderdash, Caste delighted everyone by its freshness, its nature, its humanity".

Shaw was mistaken in supposing everyone was delighted: some critics wrote that there was nothing in Robertson's plays but commonplace life represented without a trace of wit and sparkle, and absurdly realistic. More typical was the comment by a correspondent in The Era shortly after Robertson's death, asking who else could "successfully break, as he did, the trammels of conventionalism, and show us upon the stage living, breathing figures of flesh and blood, who walk, talk, act and think as tangible men and women really do in this work-a-day world of ours".

Some later analysts have disputed whether Robertson really originated some of the innovations attributed to him. In a 1972 study Errol Durbach suggests that "the 'revolution' had been initiated in France years before by Scribe and Sardou, those forerunners of the bourgeois domestic theatre and the well-made play". Durbach adds that in England, Vestris was staging plays "with a scrupulous concern for realistic detail", and Bulwer Lytton was already writing "the sort of play that would later be called 'Robertsonian. Booth (2004) comments that Robertson "was neither the herald of a new drama nor the apostle of a new realism, in spite of the claims of some of his successors and of later historians. He affirmed middle-class values rather than questioned them". Although Robertson's reputation as a revolutionary dramatist is debated, his importance in the development of modern stagecraft is generally agreed. Before him, star actors usually had control of scripts, and theatre managers had control of casting. Robertson insisted on retaining control over his scripts and casting and required that his actors follow his directions – a novel concept at that time. Dion Boucicault had been a forerunner, directing spectacular productions of his own plays, but Robertson applied the directorial precept to English domestic drama for the first time. Unlike Boucicault he did not act in his plays but applied himself exclusively to directing (or as it was called at the time "stage management") and in that capacity he could focus on ensemble and balance. Gilbert attended Robertson's rehearsals and later directed his own plays and operas based on what he had learned. He said of Robertson:

The actor-manager John Hare, who appeared under Robertson's direction at the Prince of Wales's, wrote:

As well as Gilbert, Hare and Shaw, leading theatrical figures who were influenced by Robertson included Arthur Wing Pinero and Harley Granville-Barker. The idealistic young playwright Tom Wrench in Pinero's Trelawny of the 'Wells' (1898) is an affectionate portrait of Robertson, of whom Pinero said, "If it hadn't been for Robertson I should never have been able to do what I have done, and that applies to the other fellows".

Original plays by Robertson

 * Source: T. Edgar Pemberton's edition of Society and Caste, 1905.

Adaptations

 * Source: Pemberton.

Unperformed

 * Source: Pemberton.

title: T. W. Robertson


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Gopi Krishna (yogi)

Gopi Krishna (30 May 1903 – 31 July 1984) was an Indian yogi, mystic, teacher, social reformer, and writer. He was one of the first to popularise the concept of Kundalini among Western readers. His autobiography Kundalini: The Evolutionary Energy in Man, which presented his personal account of the phenomenon of his awakening of Kundalini, (later renamed Living with Kundalini), was published in Great Britain and the United States and has since appeared in eleven major languages. According to June McDaniel, his writings have influenced Western interest in kundalini yoga.

Early life
He was born in a small village outside Srinagar, in the Indian state of Jammu and Kashmir. He spent his early years there, and later lived in Lahore, in the Punjab of British India.

Career
At the age of twenty, he returned to Kashmir. During the succeeding years he secured a post in the state government, married and raised a family. Early in his career he became the leader of a social organisation that was devoted to helping the disadvantaged in his community, especially with regard to issues concerning the well-being and rights of women.

At the age of thirty-four, while meditating one morning, he reported to have experienced the sudden and forceful awakening of Kundalini.

Gopi Krishna's experience radically altered the path of his life. He came to believe that the human brain was evolving and that an individual's profound mystical experience was a foretaste of what would eventually become an all-pervasive transformation in human consciousness. By his own account, Gopi Krishna's initial experience triggered a transformative process that lasted for twelve years. During this time, the sensations of light, splendor and joy alternated with – and were often completely overshadowed by – sensations of fire, unbearable heat and bleak depression. In the introduction to Krishna's book, Frederic Spiegelberg writes:

''' "Being exposed to Gopi Krishna's experiences is like meeting a space traveller who seemingly for no purpose has landed on a strange and unknown star without the standard equipment of the professional astronaut, and who simply reports about the bewildering landscape around him, colorfully, truthfully, without really knowing exactly what he has found. We have here, in this wholly unintellectual personality, a classical example of a simple man, uneducated in Yoga, who yet through intense labour and persistent enthusiasm, succeeds in achieving, if not Samadhi, yet some very high state in Yoga perfection, based entirely on his inner feeling development and not at all on ideas and traditions. . . Lacking the guiding hand of a master, it is Gopi Krishna's fate to be thrown from one despair into another, hectic ups-and-downs, the daily bread of this sensational experience. Like Faust, Na Ro Pa and many others, he finds a solution several times in his life only at the point of death. Even commonplace events take on an enormous character and lead him into depressions and dangers almost to the point of ruination. His own analysis of that situation is that the awakened Kundalini went up into the Pingala nadi instead of into the Sushumna nadi where it rightfully belongs. Where does all this lead him? To constant light-awareness, shimmering halo-consciousness but interrupted repeatedly by years of relapse and illness." '''

Before his death in 1984 at the age of eighty-one, Gopi Krishna would write seventeen books on Higher Consciousness – three of them entirely in verse. He credited this output not to his own efforts but to inspiration from a higher source.

One of the lesser-known facts about Gopi Krishna's life is that he was a crusader for women's rights. Putting this in historical and cultural context shows how very extraordinary his dedication to this cause was. In 1930 it had been less than ten years since women had won the vote and the vast majority of the women in the world were still considered chattel. In India conditions for women were even worse and a man campaigning publicly for women's rights would have been unheard of.

Gopi Krishna was reported to be a supporter for the equality of men and women. He acted, and at one point ended up imprisoned for his actions. One of his most far-reaching contributions involved bettering conditions for widows. At that time in India, the plight of a woman whose husband died was often horrific, especially if she had no grown children to help or protect her. The custom of sati (throwing oneself on the husband's funeral pyre) though outlawed was still practised, particularly in remote areas.

Along with his humanitarian efforts, Gopi Krishna produced poetry and books in prose and verse form. But his main thrust over the years was to write about mystical experience and the evolution of consciousness from a scientific point of view – that there is supposed to be a biological mechanism in the human body, known from ancient times in India as Kundalini, which is responsible for creativity, genius, psychic ability, religious, and mystical experience.

He chose the path of yoga due to his circumstances. His father renounced the world to lead a religious life leaving his twenty-eight-year-old mother with the responsibility of raising him and his two sisters. His mother now pinned all her hopes for success on her only son. Pandit Gopi Krishna was also a good freestyle wrestler and it is well known that he beat many a good wrestler. People who knew him well mention that he had the capability to be a world class wrestler, however, he spent most of his energy on intellectual pursuits.

But he failed to pass the examination to enter college, and he now took a lowly job and established his family. He also started on a discipline of meditation to discover who he was. After having been engaged in this for many years, he had his first Kundalini experience at the age of 34, which he describes thus in his autobiography.

According to June McDaniel, his writings have influenced Western interest in kundalini yoga. He wrote many books and travelled all over the world giving lectures. He came to feel the kundalini experience underlies all (or most) religions that started with a personal revelation. He could see kundalini iconography in cultures worldwide, from ancient Egypt to Quetzalcoatl to the caduceus of Mercury, and believed there was a common basis, and that he had been granted entry to this vision. Gopi Krishna theorised that the brain was in a state of organic evolution, and that the rising of Kundalini into the brain would open a normally silent chamber called brahma-randra in the yogic tradition. Krishna worked tirelessly to promote the scientific investigation of kundalini in the human frame, hypothesizing that this energy was leading humankind towards the goal of Higher Consciousness.

title: Gopi Krishna (yogi)


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Henry Crabb Robinson

Henry Crabb Robinson (13 May 1775 – 5 February 1867) was an English lawyer, remembered as a diarist. He took part in founding London University.

Life
Robinson was born in Bury St. Edmunds, Suffolk, as the third and youngest son of Henry Robinson (1736-1815) and Jemima (1736-1793), daughter of Denny Crabb, a landowner, maltster, and deacon of the congregational church at Wattisfield, Suffolk, and sister of Habakkuk Crabb.

After education at small private schools, he was articled in 1790 to an attorney in Colchester. At Colchester he heard John Wesley preach one of his last sermons. In 1796, he entered the office of a solicitor in Chancery Lane, London; but in 1798 a relative died, leaving Robinson a sum yielding a considerable yearly income. Proud of his independence and eager for travel, he went abroad in 1800. Between 1800 and 1805, he studied at various places in Germany, meeting men of letters there, including Goethe, Schiller, Johann Gottfried Herder and Christoph Martin Wieland. He then became correspondent for The Times in Altona in 1807. Later on he was sent to Galicia, in Spain, as a war correspondent in the Peninsular War. On his return to London in 1809, Robinson decided to quit journalism and studied for the Bar, to which he was called in 1813, and became leader of the Eastern Circuit. Fifteen years later he retired, and by virtue of his conversation and qualities became a leader in society. He was one of the founders of the London University (now University College London) and travelled several times to Italy, as many of his contemporaries did. Among those whom he befriended in Rome in 1829 was the novelist Sarah Burney.

Robinson died unmarried, aged 91. He was buried in a vault in Highgate Cemetery alongside his friend Edwin Wilkins Field. A bust of Crabb Robinson was made, and a portrait by Edward Armitage.

Works
Robinson's Diary, Reminiscences and Correspondence was published posthumously in 1869. It contains reminiscences of central figures of the English romantic movement: including Coleridge, Charles Lamb, William Blake, William Wordsworth, and of other writers such as Sarah Burney. They are documents on the daily lives of London writers, artists, political figures and socialites. In his essay on Blake, Swinburne says, "Of all the records of these his latter years, the most valuable, perhaps, are those furnished by Mr. Crabb Robinson, whose cautious and vivid transcription of Blake's actual speech is worth more than much vague remark, or than any commentary now possible to give." In 1829, Robinson was made a fellow of the Society of Antiquaries (F.S.A.), and contributed a paper to Archæologia entitled "The Etymology of the Mass".

His diaries were bequeathed to Dr Williams's Library, because Robinson had been a member of the Essex Street Chapel, the first avowedly Unitarian congregation in England.

title: Henry Crabb Robinson


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William Roper

William Roper (c. 1496 – 4 January 1578) was an English lawyer and member of Parliament. The son of a Kentish gentleman, he married Margaret, daughter of Sir Thomas More. He wrote a highly regarded biography of his father-in-law.

Life
William Roper the second was the eldest son of John Roper (d. 1524), Attorney-General to Henry VIII, and his wife Jane (died c.1544), daughter and coheir of Sir John Fyneux, Chief Justice of King's Bench. The Ropers were an ancient Kentish family, owners of the manor of St Dunstan outside the West Gate of Canterbury, since known as the Roper Gate. He was educated at one of the English universities and the studied law at Lincoln's Inn, being called to the bar in 1525. He was appointed Clerk of the Pleas in the Court of King's Bench, a post previously held by his father, holding the post until shortly before his death. Aged about twenty-three it is thought he joined the household of Sir Thomas More, marrying Margaret, More's eldest daughter, in 1521. They lived together in Well Hall in Eltham, Kent.

Erasmus, who knew More and his family well, described Roper as a young man "who is wealthy, of excellent and modest character and not unacquainted with literature". Roper became a convert to the Lutheran doctrine of Justification by Faith and spoke so freely of his belief that he was summoned to appear before Cardinal Wolsey on an accusation of heresy. More often disputed with Roper over his belief. He said to his daughter, "Meg, I have borne a long time with thy husband; I have reasoned and argued with him in these points of religion, and still given to him my poor fatherly counsel, but I perceive none of all this able to call him home; and therefore, Meg, I will no longer dispute with him, but will clean give him over and get me to God and pray for him." To these prayers by More, Roper attributed his return to Catholicism.

Roper and his wife took in Margaret Throckmorton. She would become the prioress of St Monica in Leuven.

He was a member of various Parliaments (as MP for several constituencies including Rochester and Canterbury) between 1529 and 1558 and appointed High Sheriff of Kent for 1554–55. Although he remained a Roman Catholic, he was permitted to retain his office of prothonotary of the Court of King's Bench after the accession of Elizabeth I. However, his diatribe against Elizabeth's late mother, Anne Boleyn, in his biography of More earned him the enmity of many Elizabethan loyalists and Protestants.

His biography of Sir Thomas More was written during the reign of Mary I nearly twenty years after More's death, but was not printed until 1626, when it became a primary source for More's earliest biographers because of Roper's intimate knowledge of his father-in-law.

In popular culture
Roper is an important character in Robert Bolt's play A Man for All Seasons, portrayed as a contrarian who changes his views after arguing with More in order to marry his daughter. (In fact he had married Margaret More some years before the events depicted in the play and film.) After arguing theology with Roper, More says, "They're a cantankerous lot, the Ropers, always swimming against the stream. Old Roper was the same."

In the 1966 film adaptation, Roper was portrayed by Corin Redgrave.

title: William Roper


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Talk:Scandza

Discussion at December 2004
An anonymous user added this:
 * It should be noted that it is clear that Jordanes hadn't been to the island himself, but described it on basis of legends and famous geographers' imperfect knowledge about the north of Europe, from days when it is considered that it was a common belief that the earth was round and flat.

In what way is it clear that it was based on legends? Unlike many later authors such as Adam of Bremen there are no supernatural creatures such as people with dog heads. What strange information Jordanes provided was correct (as far as it is possible to confirm it) and most of the tribes he mentioned can be identified. I find it clear that it was based on accounts of travellers such as Rodwulf, instead. Moreover, in what way is it relevant that contemporary people believed that the earth was flat??? I will remove this highly POV criticism.--Wiglaf 15:41, 4 Dec 2004 (UTC)

Critics on Jordanes and discussion of his reliability and sources can be read here for instance: It prooves me right about that.
 * The Getica of Jordanes - Books I-III Critical Analysis Review by Eric Anctil (#9730315) a student thesis for Professor: A.N. Sherwood with bibliography

When it comes to the theory of the shape of the earth, see flat earth; I thought about Mela when I wrote it, because there are nothing that says either that he belived in the flat earth theory, nor a spherical.

In DE SITU ORBIS (Grovonius' edition of 1683, as revised with important additions by his son in 1748), it is called Codanonia, but in DE CHOROGRAPHIA (internetedition) Scadinavia.

Here is another interpretation of the mentioned people and their lands: De Origine Actibusque Gothorum I:III with "classicized" grammar, normalized spelling and some emendations by Þeedrich Yeat.

I don´t think that the article is objective. To be objective it has to present all major different aspects, not present highely critizised interpretations without comments but as facts. The major theory among historicans today, is that you have to be very careful about Jordanes' information, although he is quite accurate and right about some things./213.101

...sort of a 6th century Wikipedian... --Wetman 07:55, 5 Dec 2004 (UTC)

Let me first state that I mostly agree with Antil's theory about the Goths. Moreover, Anctil's criticism is not as negative as yours. However, the major problem with Anctil is that he has an agenda behind flogging Jordanes. Anctil maintains that you should not take Jordanes writings at face value, and Anctil's objective is that then you might be more ready to believe Anctil's own theories about the origins of the Goths. There are many scholars who think differently, and consequently, I do not see how Anctil's argumentation could prove your point of view. You wrote The major theory among historicans today, is that you have to be very careful about Jordanes' information, although he is quite accurate and right about some things. That goes for most ancient sources. Why don't you add a last paragraph called "criticism" instead?--Wiglaf 09:13, 5 Dec 2004 (UTC)

My point of view is that there are several ideas about the origins of the goths, the land where they came from, and related tribes. Beside that all ancient sources are fruits of their times, and the ideas, methods, and purposes that comes with any writer has to be integrated, discussed and clearified in the intepretation. Further that the reliability of Jordanes is questioned by professionals, and that that has to be presented in every part of the article if claiming objetivity. To point out certain people of Sweden as "these mentioned in Getica" like that is a little speculative; interesting enough to be kept in the article, but even so it should be considered more as a suggested reading upon Jordanes. That my personal opinion in fact is that you are quite right about most of it, is not relevant.

I don't feel ready to write that critics though; the reason why I interferred was to point at the incertency, which I still think has to be added to the article ("That goes for most ancient sources"). If you read the abbr. swedish translation of this article, I think you will understand what I mean./213.101

 * Well certainty is a rare animal in research. I'd prefer to start the article on a positive note, and then let the identifications speak for themselves and most of them are not questioned, AFAIK. I will give it a thought, though.--Wiglaf 11:00, 5 Dec 2004 (UTC)

I'm so sorry :-) that I can't find the sources for the, as far as I know general belief that Jordanes never had been to Scandinavia himself. The presumption is based upon his dependance of sources like Cassiodorus, Pliny etc, and traditions among historicans./213.101

 * Hi, saw this discussion. Scandza seems to be a deliberate misassociation to Scotland by the "Screrefennae". They later claim they did not do it, as "Sami", and if caught tries to make "Sami" look bad, which really is an accurate name of the place mistakenly according to the former "Scandinavia", "Norway, Sweden, Denmark". The "Sami" still seem to try and make "Sami" look bad, with ridicolous outfits, and recently the "Fosen" action, they claim against reindeer abuse. They reindeer seem to have no problems at Fosen. They also seem to try and ridicule the runic concept of God, E (Ayn). One should disassociate, and also know that "Samilands" is a correct name of Scandinavia. — Preceding unsigned comment added by 2A02:FE1:7001:F100:6593:8F10:DEFC:ADD4 (talk) 10:15, 23 April 2024 (UTC)

 * Well, I don't think he ever was to the island (a peninsula according to his description) himself either :-). But, I do wonder which other island you suggest would correspond to Scandza.--Wiglaf 12:08, 5 Dec 2004 (UTC)

I think you get me wrong: I do have read Jordanes in english and compared it with latin editions but my latin is very poor. My point is that some says (= secondary sources), and it seems that we both find it obvious that so it is, that the knowledge about Scandinavia was so limited; and therefore, as my stand, the descriptions should not be taken that hard. There could be misinterpretations and unpurposed desinformation by them that isn't that clear to us. One should be careful when reading Jordanes, in my opinion./213.101
 * I thought the intro made this clear:It contains several accurate descriptions of Scandinavia, but is also jumbled and composed of information from several sources.--Wiglaf 13:33, 5 Dec 2004 (UTC)

It might be clear to you, but consider that also teenagers for instance read this, and because of that it is very important to explain, that there aren't an unquostioned "N1=N2" but instead possibilities, probabilities and suggestions. Further I would like that the article would present the context, both the historical one, the idea historical, and Jordanes'. /213.101

 * Do that in a subsection called "criticism", please. Moreover, the context is easily accessible for anyone, including teenagers, by clicking on Jordanes and Getica.--Wiglaf 17:52, 5 Dec 2004 (UTC)

What do critics mean?
What do critics, what is it that you critisize. im swedish so my english isnt world class. do you mean that the Goths didnt come from Scandzia or do you mean that Scandzia isnt the same as Scandinavia? if its later then i must say that you are wrong because theres no region in europe that is even close to jordanes descripton except Scandinavia?

 * None said so, because none forgot to sign the comment by adding ~ to the end of it. Said: Rursus ☻ 16:10, 19 August 2007 (UTC)

Factual accuracy
In Sweden there are a lot of so called historicians (mostly amateurs, f.ex. the Västgötaskolan "Western Geatish School") that invent a lot of connexions between mounds here and there in farmer Sweden and sentences about places and nations in old historical scriptures that forwards second hand histories of doubtful value and fill in the missing information by fabulation. The characteristic of these saga-makers, is that they never test arguments against their theories, and therefore safely can be said to reside outside science. This article must safe-guard against this by providing lots and lots of citations. Currently it cites Jordanes, who couldn't make any identification to places 1400 after his death, and beside that [northvegr.org] – nothing else!!! The factual accuracy is very very weak, it must be strengthened. Said: Rursus ☻ 15:12, 19 August 2007 (UTC)

 * Northverg.org is not a fact or research site, it is a lore, saga and maybe philosophy site. Said: Rursus ☻ 15:17, 19 August 2007 (UTC)

 * List of dubiosities:
 * How do we know Rodulf was from Bohuslän? Why not Blekinge, where the Herul inscriptions were found?
 * I thought that very few of the nations mentioned in Getica were positively identified, then with some doubt "Ostrogoti" as "Eastern Geats", and maybe "Suehans" with 'Swedes' (of Uppland) although "Suetidi" may be the 'Swedes', the text conveniently trying to diminish this so obvious ambiguity.
 * Why, if the "Screrefennae" are 'Sami' are they garthering game in the woods, and not cultivating reindeer?
 * I thought the "Vagoths" were the 'Western Geats' not the gotlanders. I thougth I heard someone historician saying that the "Vagoths" were identified as 'Western Geats'.
 * It seems one editor to this article has decided that "Liothida" is 'Luggude Hundred' or 'Lödde', but at the same time mentions that other sources connects "Liothida" to Södermanland. Why has the article choosen, and what citations can support such a stand point?
 * Why is "Ahelmil" connected to 'Halmstad'? Etymology doesn't seem to support such a connection, or does it? And the first archeological findings from Övraby, where was the original Halmstad, seems to indicate a trading post around 1000, isn't the identification anachronistic? Citation needed.
 * "Evagres" and "Otingis" are connected to 'Bohuslän' obviously by arbitrary opinion about the likeness between living among stones and 'Bohuslän'. Is this pure fabulation, or does it build on any reasonable argument? And besides, I thought that Bohuslän was part of Ranrike...
 * etc. ...
 * Said: Rursus ☻ 15:39, 19 August 2007 (UTC)

NPOV - Neutral Point of View
The micro-section of Myths about Scandza seems to tell us the following: "Scandza refers provenly to all Scandinavia." and "The support against the Goths being from Scandinavia is very weak". This is not facts, it is opinions. The fact is that there is not enough proof neither for nor against the statement that "Scandza equals Scandinavia", and the fact is that there is not enough proof neither for nor against the statement that "The Goths originated from Scandinavia". My personal opinion is that the Goths emerged from my bath room, when I was at the job, but that is an opinion. Said: Rursus ☻ 15:48, 19 August 2007 (UTC)

Timeframe
I happened to check the 'disambiguation needed', in the section Inhabitants. I did not find out to fix the disambiguation, but I did find an online translation of Jordanes. In reference to the disambiguation I find it most probable that Jordanes is in fact speaking of one of the Theoderics in the 5.th century. I base this on what Wolfram (Die Goten, 2001) write about Jordanes, specifically the genealogy of the Goths. So this really put some focus on what timeframe the article is supposed to describe.

On the same page where Jordanes mentions Theoderic, he is also listing a lot of names, apparently habitating 'scandza', and very similar, perhaps identical, to the names listed in this article. Among the names occur 'ostrogoth', and in this article the name is followed by a parenthesis wherein it says 'Östergötland'. I seriously doubt Jordanes would agree with that. However, I have not read Jordanes, and I have no expertise on this field. Suffice to say, that this information is not something you could put under the heading 'history'. According to Wolfram's interpretation - both of the history of the Goth's in general, and in regards to the reading of Jordanes in particular - the Ostrogoths came to as an invention with the writings of Cassiodor, circa in the year 519, under the reign of the ostrogoth Theoderic the Great.

I am not quite sure how to proceed. At a superficial glance the article seems a wild goosechase, not something to follow along with, in the pursuance of historical knowledge. But the most concrete finding is the question about what timeframe the article is suggesting. ???

NB!Online translation of Jordanes Sechinsic (talk) 19:21, 6 March 2010 (UTC)

(update) I must have read too fast. The intro state that the timeframe is 6.th century. I do find the article needing a serious rewrite. Most precisely said, the article puts forth a misinterpretation of Jordanes. In considerance to this, there is Wolfram, mentioned above. Secondly, there is the academic consensus, propagated by present day academic authorities, to read medieval texts as political literature, not as historical literature .(Ian N. Wood, Rosamond McKitterick, numerous authors & much literature, cf. ) But as a third point one can also observe the vagueness of the article, as notably in the intro, where it says Jordanes " account contains several accurate descriptions of Scandinavia". How can you prove that ? It is very obvious to put a here, but that would just be the beginning of a quite destructive re-editing of the article. Sechinsic (talk) 05:23, 8 March 2010 (UTC)

Outdated source
Amongst the sources listed (and extensively used) is a 1925 Swedish history book. For a subject on this period in history, which is dependant on archaeology and linguistics, subjects that has seen an immense development since the 1920s, this is really an extremely outdated source. I am not well-versed in the subject myself, but perhaps this book would be relevant for this article? --Saddhiyama (talk) 22:16, 20 November 2010 (UTC)
 * Nerman's nationalistic way of writing history was already reactionary in 1925. Ohlmarks has no academic standing. See also Talk:Oium etcetera. /Pieter Kuiper (talk) 11:13, 21 November 2010 (UTC)

File:Scandza.PNG nominated for deletion
See commons:Commons:Deletion requests/File:Scandza.PNG. --141.70.13.147 (talk) 19:55, 6 February 2012 (UTC)

Greek sources
We want to know the actual Greek sources, not the umptieth hand later source that says they referred to Scandia. 100.15.127.199 (talk) 03:55, 18 February 2022 (UTC)

title: Talk:Scandza


text:
William Stewart Rose

William Stewart Rose (1775–1843) was a British poet, translator and Member of Parliament, who held Government offices. From a Tory background, he was well-connected in the political and literary world, and made a mark by his championing of Italian poets and a burlesque style of verse based on their influence as satirists.

Life
Rose was born the second son of George Rose of Cuffnells near Lyndhurst in Hampshire, a senior civil servant and MP, and his wife Theodora Duer; George Henry Rose was his elder brother. He was educated at Hyde Abbey School under Charles Richards, and Eton College. He matriculated at St John's College, Cambridge in 1794, leaving without a degree, and entered Lincoln's Inn in 1796. He was uncle to Hugh Rose, 1st Baron Strathnairn, Sir William Rose and the Countess of Morton.

Rose was successively appointed Surveyor of Green-wax Monies (1797–1800), Clerk of Pleas at the Exchequer (1797–1837) and Reading Clerk to the House of Lords (1800–1824). He was also the Member of Parliament (MP) for Christchurch from 1796 to 1800, partnering his father. His post as Clerk of Pleas was considered by William Cobbett to be a sinecure; and Nathaniel Wraxall saw Rose's appointments as an example of his father's nepotism. In any case Rose treated all his posts as sinecures.

During 1814–5 Rose travelled in continental Europe, while Napoleon was on Elba. On this trip he suffered an attack of apoplexy in Verona, reported in a letter of Countess of Albany to Ugo Foscolo, saying he had lost the use of one side, and had gone to the baths at Abano Terme. Rose helped Foscolo come to the United Kingdom in 1816, enlisting the support of Stratford Canning. In 1817 Rose went to the Veneto, for about a year.

Suffering a stroke in 1824, Rose retired on a pension from his House of Lords post. He suffered from paralytic attacks. In these years he lived in Brighton. He had London visitors, and a friend in the Rev. Charles Townsend (1789–1870), a minor poet, curate at Brighton then St Peter's Church, Preston, from 1837 rector at Kingston-by-the-Sea: Townsend wrote the brief memoir for the 1864 edition of Rose's Ariosto translation. Charles Macfarlane, an admirer who became a friend, met Rose at an evening in Brighton given by Horace Smith in 1827.

Henry Crabb Robinson's diary records Rose at a breakfast given by Samuel Rogers, 6 January 1834: "a deaf and rheumatic man, who looks prematurely old". Eventually there was a mental decline: according to Rogers, Rose was an imbecile by the time of his death in Brighton, on 29 April 1843.

Associations
In 1803 Rose met Walter Scott in London. They became friends, and it was through Rose that Scott came to know John Bacon Sawrey Morritt. Scott addressed to Rose the introductory poem of Marmion in 1808, from his house Ashestiel, Ettrick Forest.

Rose was associated with wits of the Anti-Jacobin circle, such as George Canning and John Hookham Frere, Tories who also gravitated to the group around the Quarterly Review. They were interested in the burlesque aspects of Italian poetry. Another possible influence on Rose was John Herman Merivale, translator of Luigi Pulci.

Frere met Lord Byron in Seville in 1809; and Rose knew Byron from encounters in 1817–8 in Venice. Beppo: A Venetian Story was Byron's 1818 poem which in terms of style and tone, and the use of ottava rima, owed something to the "Whistlecraft" Arthurian burlesque published by Frere, for Rose, as Prospectus and Specimen of an intended National Work (1817), and later (after expansion) known as The Monks and the Giants (1818). The digressive and satiric style was then worked out more completely in Don Juan. Byron understood that Rose was the author. Given the Tory provenance, from political opponents, of the "Whistlecraft" verse, Byron was as much provoked to competition as influenced.

Frere initially thought Beppo was by Rose. Rose, in his verse epistle to Frere, published 1834, called Frere "father of his [Byron's] final song", with a footnote:

"In which I comprehend Beppo and Don Juan, and to warrant my assertion, it is fitting I should mention that Lord Byron made this avowal to me at Venice, and said he should have inscribed Beppo to him that had served him as a model, if he had been sure it would not have been disagreeble, supposing (as I conclude) that some passages in it might have offended him."

Despite his Tory background, and personal connection to followers of William Pitt the younger, Rose came to join the Holland House set of Whigs.

Works
Rose's major work was the translation of the Orlando Furioso of Ariosto, into English verse with notes, that he made in the years 1823 to 1831. The publisher John Murray II, seeing the success of Beppo as setting a new literary trend, commissioned the work, on which Rose had already made a start, for part publication. There was a later edition in the Bohn Library (1864, 2 vols.). Margaret Fuller told Charles Sumner in the 1840s that Rose's translation, better than the one he had been reading by John Hoole, was in fact the best. A modern view calls it "lumpen and over-literal", and it is not preferred to the Elizabethan version of John Harington.

The Court and Parliament of Beasts (1819), was a free verse translation from Gli Animali Parlanti of Giovanni Battista Casti. Philip Hobsbaum in the Oxford Dictionary of National Biography called this animal tale Rose's main claim to critical attention. It is divided into seven cantos, each prefaced by a personal dedication. The dedications were addressed, in order, to: Ugo Foscolo; John Hookham Frere (called "our British Berni"); his Hampshire house Gundimore; Henry Hallam; Bartholomew Frere; Sir Robert Ainslie, 1st Baronet; and Walter Scott. The 1819 edition by John Murray was preceded by a limited one, by William Bulmer (1816), which Rose may have shown Byron who knew the work by 1818.

Other works were:

 * The Naval History of the Late War (1802, vol.1 only)
 * A translation of Amadis de Gaul (1803). This was in rhymed verse, and a free and concise translation from the first three books of the French romance (from the Spanish) by Herberay des Essarts. Rose added notes, in the style of Gregory Lewis Way, editor of French fabliaux.
 * A translation of Partenopex de Blois (1807), from the French of Pierre Jean-Baptiste Legrand d'Aussy. Benjamin Disraeli lampooned Rose in Vivian Grey as Partenopex Puff.
 * The Crusade of St. Louis and Edward the Martyr (1810), ballads.
 * Apology, or Anecdotes of Monkeys (1815)
 * The Prospectus and Specimen of an Intended National Work (1817), pseudonymous. It was published for Rose by John Hookham Frere, as by William and Robert Whistlecraft. See above.
 * Letters from the North of Italy (1819, 2 vols.), travel writing. The discursive letters were addressed to Henry Hallam. They include pro-Napoleon sentiments, and mention the satirical poet Giuseppe Parini.
 * Translation into prose, with some verse passages, of the Orlando Innamorato of Boiardo, from the Italian prose of Francesco Berni, 1823. This work amounted to a dry run for the Orlando Furioso translation, and was prompted by Henry Vassall-Fox, 3rd Baron Holland.
 * Thoughts and Recollections by One of the Last Century (1825), essays, anonymous; contains an essay on translation.
 * Epistle to the Right Honourable John Hookham Frere in Malta (1834), verse letter,
 * Rhymes (1837)

Rose wrote five articles in the Quarterly Review, in 1812–3 and 1826.

Family
From 1817, for around a year, Rose was in Venice, and there began in 1818 a relationship with a married woman, Countess Marcella Maria Condulmer Zorzi. She returned to England with him, and they lived as man and wife. After her husband had died, they were married in 1835, in Brighton, where they had settled. They had no children.

title: William Stewart Rose


text:
Francis Rous

Francis Rous, also spelled Rouse (c. 1581 to 1659), was an English politician and Puritan religious author, who was Provost of Eton from 1644 to 1659, and briefly Speaker of the House of Commons in 1653.

Stepbrother of Parliamentary leader John Pym, he joined him in opposing Arminianism in the Church of England, and played a leading role in the impeachment of Archbishop Laud. When the First English Civil War began in 1642, he supported the 1643 Solemn League and Covenant, and was appointed to the Westminster Assembly.

Under the Protectorate, he moved away from his Presbyterian colleagues, becoming closer to the religious Independents, and Oliver Cromwell. He died in January 1659, and was buried in Eton College Chapel.

Biography
Francis Rous was born at Dittisham in Devon around 1581, fourth son of Sir Anthony Rous (ca 1555-1620), and his first wife, Elizabeth Southcote (1547–1585). His father remarried Philippa Colles (died 1620), mother of John Pym; his stepbrother became a close friend and political ally.

At some point after 1601, he married Philippa, 1575 to 1657; their son Francis, (1615–1643), became a distinguished classicist and doctor, but was disinherited by his father for marrying without his approval.

Career
Sir Anthony Rous was a devout Puritan, who instilled the same values in his children. Francis was educated at Pembroke College, Oxford, then known as Broadgates, and known for its "advanced Protestantism". In 1598, he moved to the University of Leiden, an important centre of study for Scots and English Calvinists.

As legal training was then considered part of an education, he attended the Middle Temple for a short period in 1601, but moved to Landrake, in Cornwall. There are few details of his life prior to 1626, although he produced several books, and Rous claimed in 1641 that he spent some of 1609 travelling in Europe with Sir Thomas Overbury, victim in one of the most famous murder cases of the period.

Understanding individuals from this period requires an appreciation of the centrality of religious belief in daily life, and politics. With the exception of Independents, who opposed any state church, most people believed in a 'universal' church, where everyone belonged to the same structure, and used the same practices; where Charles I, William Laud, Rous and others disagreed was the form it took, particularly within the Church of England. It was taken for granted good government depended on 'true religion', and as many also believed the Second Coming was imminent, it gave debates on what that meant a real urgency and importance.

"Puritan" was a term for anyone who wanted to reform, or 'purify', the Church of England, the most prominent being Presbyterians. Most of these factions considered themselves part of the national church; those who were expelled by the 1662 Act of Uniformity became Nonconformists. Like John Pym, Rous was a passionate opponent of Arminianism; between 1619 and 1623, he published three works focusing on idolatry and 'carnal gloriations' among the priesthood. In 1626, he was elected Member of Parliament for Truro, then Tregony in 1628. Rous and Pym led the attack on Roger Maynwaring and Robert Sibthorpe, two clergymen who published sermons supporting divine right of kings, and passive obedience. Essentially political arguments, they were seen as undermining the role of Parliament, and condemned as such. In a speech made in January 1629, Rous argued if Arminianism continued to spread, 'true religion' was doomed; this inspired much of the subsequent opposition to Archbishop Laud. Charles responded by dissolving Parliament, initiating the period of Personal Rule that continued until 1640.

Returned for Truro in the elections of April and November 1640 Long Parliament, Rous opened the debate on the legality of Laud's reforms in December 1640, and presented articles of impeachment against John Cosin in 1641. He sat in the Westminster Assembly, took the Solemn League and Covenant, and in 1644, became Provost of Eton College, a position he retained until his death in 1659.

In 1643, Rous published his metrical paraphrases of the Book of Psalms, The Psalms of David set forth in English meeter, to be used in the Churches of England and Scotland. His text was heavily edited by a committee of translators, and in 1650 his Psalms were approved for use by the General Assembly of the Church of Scotland. Despite the extent of the revisions, Rous's text for Psalm 23 is generally considered to be the basis of the popular Christian hymn, "The Lord's my Shepherd".

After 1647, Rous moved closer to the Independents like Oliver Cromwell, and supported Charles' execution in 1649; since Presbyterians believed a 'well-ordered' monarchy was divinely mandated, The Protectorate presented a problem. In April 1649, he published a pamphlet titled The Lawfulness of Obeying the Present Government; claiming to be written by a 'true Presbyterian', this argued scripture required obedience to authority, regardless of who wielded it.

In early 1652, he served on the Committee for Propagation of the Gospel; led by Congregationalist minister John Owen, Parliament was dissolved before any of its suggested reforms were enacted. He was appointed Speaker of the House of Commons in 1653, although he proved incapable of managing the violent factionalism of Barebone's Parliament. Along with Charles Worsley and John Lambert, Rous was increasingly disturbed by the radicalism of many MPs. In a pre-planned move, on the morning of 12 December 1653, he led moderate members to Cromwell's office, where they resigned 'their powers unto his Excellency', effectively dissolving Parliament.

He was MP for Cornwall in 1656, along with Pym's nephew, Anthony Nicholl, but rejected a seat in the newly created Upper House. His wife Philippa was terminally ill, and died in December 1657; Rous followed in January 1659. His will left £50 to his grandson, 'so long as he shall be in preparation towards a profession', and funded three scholarships for Etonians to attend Pembroke College. He was buried in Eton College Chapel.

Bibliography; significant works

 * 1616; Meditations of Instruction, of Exhortation, of Reprofe: indeavouring the Edification and Reparation of the House of God
 * 1619; The Arte of Happines, consisting of three Parts, whereof the first searcheth out the Happinesse of Man, the second particularly discovers and approves it, the third sheweth the Meanes to attayne and increase it;
 * 1622; Diseases of the Time attended by their Remedies;
 * 1623; Oyl of Scorpions;
 * 1626; Testis Veritatis; a reply to Richard Montagu's Appello Caesarem;
 * 1641; Catholicke Charity; originally written in response to a 1630 work of the Catholic Tobie Matthew, but could not be printed in the Laudian 1630s.
 * 1643; The Psalmes of David in English Meeter; used by the Church of Scotland until mid 19th century;
 * 1649; The Lawfulness of Obeying the Present Government;

title: Francis Rous