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Henry Chaplin, 1st Viscount Chaplin

Henry Chaplin, 1st Viscount Chaplin (22 December 1840 – 29 May 1923) was a British landowner, racehorse owner and Conservative Party politician who sat in the House of Commons from 1868 until 1916 when he was raised to the peerage.

Background and education
The member of an old Lincolnshire family, Chaplin was born at Ryhall, Rutland, the second son of the Reverend Henry Chaplin, of Blankney, Lincolnshire, and his wife Carolina Horatia Ellice, daughter of William Ellice. His younger brother, Edward Chaplin, was also a politician. Chaplin was educated at Harrow and Christ Church, Oxford, where he was a friend of the Prince of Wales. At the age of 21, he inherited substantial estates in Lincolnshire (including the family seat of Blankney Hall), Nottinghamshire and Yorkshire. He was a Justice of the Peace and a Deputy Lieutenant of Lincolnshire, and a leading member of the Turf.

Engagement to Lady Florence Paget

In 1864 Chaplin fell in love with and became engaged to Lady Florence, daughter of Henry Paget, 2nd Marquess of Anglesey and a celebrated beauty. The wedding was to be the society event of the year with the Prince of Wales one of many to offer his congratulations. However, during their engagement Florence had secretly fallen in love with his best friend, Henry Rawdon-Hastings, 4th Marquess of Hastings. Just before her wedding, she had Chaplin take her to Marshall & Snelgrove's on Oxford Street to add to her wedding outfit. While Chaplin waited in the carriage outside, Florence walked straight through the shop and out to the other side, where Hastings waited for her in a carriage. Hastings and Florence were married on the same day. After the wedding, a reception was held in St James' Place before the newly married couple set off for their honeymoon at Donington Hall, Leicestershire while the scandal died down. Florence Paget informed Chaplin by letter the next day.

In the 1867 Derby, Chaplin renewed his rivalry with Lord Hastings. Hastings wagered thousands of pounds against Chaplin's horse, Hermit. Ten days before the race Hermit was injured and Chaplin was advised not to enter him. However, the injury was not as serious as first thought, and though not fully fit, Hermit entered the race and won it. Lord Hastings lost heavily and fell into severe debts. Adding to a drinking problem, Chaplin's great rival died in poverty the following year, aged 26.

Political career
Chaplin first entered parliament at the 1868 general election as Member of Parliament (MP) for Mid-Lincolnshire. He represented this constituency until it was replaced under the Redistribution of Seats Act 1885. In the 1885 general election he was returned to parliament for the new Sleaford division which he held until his defeat at the 1906 general election.

He was a devoted follower and admirer of Benjamin Disraeli, and they struck up a close friendship. Despite their political differences, Chaplin also retained the friendship and respect of the Liberal prime minister, William Ewart Gladstone, until the end of his life. On 29 April 1869 Chaplin delivered his maiden speech on the Irish Church Bill, which disestablished the Church of Ireland.

During the summer of 1875, Chaplin remained in London rather than attend Brighton races, in order to assist Disraeli in supporting the Merchant Shipping Bill against the opposition of Samuel Plimsoll. Disraeli wrote to Lady Bradford on 30 July: "He has never left my side, and his aid has been invaluable. He is a natural orator and a debater too. He is the best speaker in the House of Commons or will be. Mark my words". Chaplin also supported Disraeli's government against Liberal opposition during the debates on the Royal Titles Bill, which conferred on Queen Victoria the title "Empress of India".

Chaplin was a lifelong advocate of protectionism, being in this respect the most prominent inheritor of the views of Lord George Bentinck; his daughter Edith said he was "born a Protectionist, and to the end he remained convinced that Tariff Reform was the only measure which could restore a satisfactory means of livelihood to the English farmer". He was a member of the Royal Commission on the Depressed Condition of the Agricultural Interests (1879–1882) and opposed the Radicals' campaign to replace landlords with peasant proprietorship. The Royal Commission's final report blamed the agricultural depression on excessive foreign competition and the adoption of the gold standard, which had contributed to the decline in prices. Chaplin thereafter became an advocate of bimetallism. Chaplin was sworn of the Privy Council in 1885 and filled the office of Chancellor of the Duchy of Lancaster in Lord Salisbury's short ministry of 1885 to 1886. He opposed Gladstone's Irish Home Rule Bill of 1886, and when the Conservatives returned to power that year he turned down Salisbury's offer of the Department of Agriculture, which did not then have a seat in the Cabinet.

He became the first President of the Board of Agriculture in 1889, with a seat in the Cabinet, and retained this post until 1892. In the Conservative Cabinet of 1895 to 1900 he was President of the Local Government Board, and was responsible for the Agricultural Rates Act 1896. However, he was not included in the ministry after its reconstruction in 1900. Salisbury offered him a peerage, which he declined. Chaplin was considered an authority on agricultural matters and he served on the Royal Commission on the Supply of Food and Raw Materials in Time of War (1903–1905), the Royal Commission on Housing and the Royal Commission on Horse Breeding. He was also president of the Old Age Pensions Committee.

When in 1903 the Tariff Reform movement began under Joseph Chamberlain's leadership, he gave it his enthusiastic support, becoming a member of the Tariff Commission and one of the most strenuous advocates in the country of tariffs in opposition to free trade. His daughter Edith said that Chamberlain's adoption of Tariff Reform must have seemed to Chaplin that "the hour he had waited for all his life had come at last"; Chaplin had been raised in a wheat-growing county that had been hard-hit by the agricultural depression and he had for years past advocated protectionism as a solution. He had supported the protectionist "Fair Trade" campaign in the 1880s and gained the nickname the "Veteran Protectionist". Chaplin earned Chamberlain's gratitude for his hard work in the Tariff Reform campaign.

After losing his seat at Sleaford in the Liberal landslide of 1906, Chaplin was returned to the House of Commons at a by-election in May 1907 as member for Wimbledon. His opponent was the Independent Liberal candidate, Bertrand Russell, who stood on a platform of women's suffrage. Chaplin was opposed to this, saying "he might be very old-fashioned, but he drew the line at that". His own campaign focused on Tariff Reform and Imperial Preference, imperial union and opposition to Irish Home Rule. In his election address for the January 1910 general election, Chaplin supported the proposals of Lord Roberts and Lord Charles Beresford on national defence, and reiterated his support for Tariff Reform.

In 1912 he was dismayed when Bonar Law, the Conservative leader, dropped tariffs on food as official Conservative policy in order to focus on fighting the Liberal government's Irish Home Rule Bill. Chaplin was an ardent supporter of the Ulster Unionists in their opposition to the Bill during the 1914 crisis, believing that Home Rule would be the first step towards imperial disintegration. Upon the outbreak of the First World War in August 1914, Chaplin supported the stance took by H. H. Asquith and congratulated Margot Asquith on her husband's speech that announced Britain's entry into the conflict.

When the Conservatives entered into a coalition with the Liberal government in 1915, Chaplin became the leader of an Opposition in the House of Commons that offered friendly criticism. He held his seat in the Commons until 1916, when he was raised to the peerage as Viscount Chaplin, of Saint Oswald's, Blankney, in the County of Lincoln. He believed that the emergency wartime measures taken by the government to ensure the supply of food had vindicated his protectionist beliefs, writing in April 1917 of "the vital need to go back to the old system and grow most of our food here in the future".

During the political crisis of autumn 1922, Chaplin, along with other "Die Hards", was opposed to the Conservatives remaining in the coalition government headed by David Lloyd George. On 19 October, he tried to attend the Carlton Club meeting of Conservative MPs that decided to end the coalition but he was refused admittance because he was a peer. Five days later he wrote to a leading supporter of the coalition, Austen Chamberlain: "What did you was the Coalition!! From many letters I received I was almost sure it would be fatal. Far and away the greatest man in my time was Disraeli and he stated..."England loves not Coalitions"."

Chaplin's personality enabled him to make friends across the political spectrum, and after his death the Labour MP George Lansbury wrote in the Daily Herald: "Our best friends were the late Henry Chaplin, Lord Long and Gerald Balfour; they all, at least, tried to understand us". His Conservative colleague Walter Long said Chaplin was "a fine speaker of the old-fashioned school, and delivered many great "orations" from his place in Parliament, and was one of the most deservedly popular men that ever lived". Chaplin's friend Lord Willoughby de Broke said he possessed a geniality and kindliness that contributed to his popularity:

"The English public in fact have always recognised in him a manifestation of an ideal they have been seeking, a fine symbol of their own race, a sportsman and a 'Sahib,' and a political leader among the governing classes who owned the land... He was one of the last, almost the last, of the fox-hunting country gentlemen who also wielded political influence... [N]o one was half such a country gentleman as Henry Chaplin looked... He possessed a strongly marked individuality, easily recognisable, familiar to the public. Every one knew him by sight."

Willoughby de Broke recalled an occasion before the First World War when he helped Chaplin judge Lord Lonsdale's young foxhounds; after luncheon, Chaplin rose to reply to the toast of "The Judges", when all the puppy-walkers got up and sang "For He's a Jolly Good Fellow":

"[They] cheered him and cheered him again and again before he was allowed to speak. There he was. He was 'The Squire.' He was their own Harry Chaplin, who loved the soil and the horses and the bullocks and the hounds and the hunting. He was part of them, and they were part of him; they knew how he loved agriculture, and how he hated 'Dicky Cobden' and all his works, and they just took him to their hearts."

In her biography of Chaplin, his daughter Edith said he was "of no outstanding brilliance, he owed his power to his fixed sincerity of purpose", and concluded:

"[H]e was a representative—almost the last representative—of that type of landed gentry whose political and social influence had meant so much to Victorian England. He belonged essentially to that old school of country gentlemen to whom a long line of squires had bequeathed a tradition of responsibility to their country no less than to their acres. ... He was a representative of an elder England, which changes in little things but continues unchanged in the greater matters of policy and conduct—the essential England of good sense, generosity, humour, and faithful service."

Agriculture
Known as the "Squire of Blankney", Chaplin took an active interest in agricultural questions, as a popular and typical representative of the English "country gentleman" class. However, mounting debts forced him to sell the family seat of Blankney Hall to Lord Londesborough in 1887.

Family
In 1876 Chaplin married Lady Florence, daughter of George Sutherland-Leveson-Gower, 3rd Duke of Sutherland, who had survived the Wigan rail crash of 1873. They had one son, Eric, and two daughters, Edith and Florence. Lady Florence died in childbirth in 1881, giving birth to her youngest daughter, Florence. Lord Chaplin remained a widower until his death in May 1923, aged 82. He was succeeded in the viscountcy by his son, Eric.

Chaplin and Lady Florence's eldest daughter, the Hon. Edith, married Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry, and became a well-known society hostess. In 1926 she wrote a 400-page memoir of him.

title: Henry Chaplin, 1st Viscount Chaplin


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La Légende des siècles

La Légende des siècles (English: The Legend of the Ages) is a collection of poems by Victor Hugo, conceived as an immense depiction of the history and evolution of humanity.

Written intermittently between 1855 and 1876 while Hugo worked in exile on numerous other projects, the poems were published in three series in 1859, 1877, and 1883. Bearing witness to the unparalleled poetic talent evident in all Hugo's art, the Légende des Siècles is often considered the only true French epic and, according to Baudelaire's formulation, the only modern epic possible.

The dreaming poet contemplates the "wall of the centuries," indistinct and terrible, on which scenes of the past, present and future are drawn, and along which the whole long procession of humanity can be seen. The poems are depictions of these scenes, fleetingly perceived and interspersed with terrifying visions. Hugo sought neither historical accuracy nor exhaustiveness; rather, he concentrated on obscure figures, usually his own inventions, who incarnated and symbolized their eras. As he proclaims in the preface to the first series, "this is history, eavesdropped upon at the door of legend." The poems, by turns lyrical, epic and satirical, form a view of the human experience, seeking less to summarize than to illustrate the history of humanity, and to bear witness to its long journey from the darkness into the light.

Origin
La Légende des siècles was not originally conceived as the vast work it was to become. Its beginning, the original seed, was in a vague project entitled Petites Epopées ("Little Epics"), which features in the notes and jottings of Hugo from 1848, and which gives no indication of so vast an ambition.

After Les Châtiments and Les Contemplations, his editor, Hetzel, was perturbed by the submission of La Fin de Satan and Dieu, both of which were nearly complete. Seeing that Hugo was ready to proceed yet further down the metaphysical (or even eschatological) road mapped out by the final Contemplations, Hetzel became anxious at the probability of their failure with the public, and preferred the sound of the Petites Epopées which Hugo had mentioned, feeling they would be more in harmony with the spirit of the times. Even though these "epics" were still no more than sketches, in March 1857 Hetzel wrote to Hugo, rejecting Fin de Satan and Dieu, but accepting with enthusiasm the Petites Epopées.

This new commission was nevertheless transformed by the influence of Hugo's latest ideas and most recent works, created with the same dash and fire and in a sort of magma of inspiration: a mixture of poesy, mysticism and philosophy which is characteristic of Hugo's first decade of exile. This inspiration normally led him to write a large number of poems, more or less brief, which would finally be published as components in projects which were constantly shifting and evolving. In this case Hugo integrated the little epics into his poetical system by casting them as the "human" panel in a triptych of which "God" and "Satan" were the wings, with the implication that they were merely sparse fragments stolen from a greater epic: the whole of human experience itself. On 11 September 1857 Hugo signed a contract with Hetzel, reserving the right to alter the project's title.

Later, Hetzel pronounced himself willing to publish La Fin de Satan and Dieu; but Hugo, perhaps conscious of the difficulties of completing either to his satisfaction, had by that time thrown himself entirely into the new project. He began by taking the French Revolution as the turning point in human history, intending to use a poem entitled La Révolution as a pivot around which La Pitié Suprême or Le Verso de la page would revolve. More titles were written down, but some were discarded or greatly altered, and the section dealing with the 19th century coalesced as L'Océan — La Révolution — le Verso de la page — la Pitié Suprême — Les Pauvres Gens — L'épopée de l'Âne.

Hetzel followed this evolution with alarm, and, fearing that the great philosophical questions would turn these little epics into towering giants, endeavoured to temper Hugo's ardour. After a serious illness in the summer of 1858, Hugo tried to reassure Hetzel by writing in a more straightforwardly narrative vein (e.g. Le Petit Roi de Galice and Zim-Zizimi), and modified his plans—but retained the general ambition, which he declared in a preface. He had hit on the idea of publishing in several instalments, to give himself more time and space within which to work. The title was not decided on until a month after the manuscript's submission. With his gift for phrases, Hugo came up with La Légende des Siècles. Petites Épopées was kept as a subtitle.

First Series
The first series was published in two volumes on 26 September 1859 (see 1859 in poetry) in Brussels. In exile, Hugo dedicated it to his home country:

 * Livre, qu'un vent t'emporte
 * En France, où je suis né !
 * L'arbre déraciné
 * Donne sa feuille morte.

The framing of the series is resolutely Biblical: opening with Eve (Le sacre de la femme) and closing on La trompette du jugement, the classical world is largely forgotten (the Roman Empire, for which Hugo had little admiration, is represented only by its decadence). Several poems dating from 1857 to 1858 were set aside for a future continuation.

Contents

 * Préface
 * I. D'Ève à Jésus (Le sacre de la femme ; La conscience ; Puissance égale bonté ; Les lions ; Le temple ; Booz endormi ; Dieu invisible au philosophe ; Première rencontre du Christ avec le tombeau)
 * II. Décadence de Rome (Au lion d'Androclès)
 * III. L'Islam (L'an neuf de l'Hégire ; Mahomet ; Le cèdre)
 * IV. Le Cycle Héroïque Chrétien (Le parricide ; Le mariage de Roland ; Aymerillot ; Bivar ; Le jour des rois)
 * V. Les Chevaliers Errants (La terre a vu jadis ; Le petit roi de Galice ; Eviradnus)
 * VI. Les Trônes d'Orient (Zim-Zizimi ; 1453 ; Sultan Mourad)
 * VII. L'Italie — Ratbert
 * VIII. Seizième siècle — Renaissance. Paganisme (Le Satyre)
 * IX. La Rose de l'Infante
 * X. L'Inquisition (Les raisons du Momotombo)
 * XI. La Chanson des Aventuriers de la Mer
 * XII. Dix-septième siècle, Les Mercenaires (Le régiment du baron Madruce)
 * XIII. Maintenant (Après la bataille ; Le crapaud ; Les pauvres gens ; Paroles dans l'épreuve)
 * XIV. Vingtième siècle (Pleine mer — Plein ciel)
 * XV. Hors des temps (La trompette du jugement)

New Series
Work on the second series began immediately after the first, but Hugo was soon busy with Les Misérables and with completing La Fin de Satan and Dieu. In 1862, with the publication of Les Misérables, Hugo reviewed his earlier plan and gathered together the poems already written: L'Âne, Les Sept Merveilles du Monde (a recent one), La Révolution, and La Pitié Suprême. Again, he delayed work for the sake of novels (Les travailleurs de la mer and L'Homme Qui Rit). In 1870, a decisive moment came, when Hugo decided to keep La Révolution for the future collection Les Quatre Vents de l'esprit, and to fuse together La Légende, Dieu and La Fin de Satan, according to the following plan: La Fin de Satan, first book — L'Océan — Elciis — La Vision de Dante — Les Religions (from Dieu) — La Pitié Suprême. Current events in the 1870s, however, saw upheavals in Hugo's life, and he was once more greatly involved in politics.

La Nouvelle Série was finally published on 26 February 1877 (see 1877 in poetry), Hugo's sixty-fifth birthday. Most of the contents date from 1859 and 1875–1877, and the events of the 1870s make themselves felt: the Paris Commune, the fall of Napoleon III, and the beginnings of the Third Republic.

The collection closes with the formidable Abîme, a vertiginous dialogue between Man, Earth, Sun, and Stars, playing on the numberless steps leading to an infinity behind which stands God, and placing human beings, with all their pettiness, face to face with the Universe.

Contents

 * La vision d'où est sorti ce livre
 * I. La Terre (La terre – hymne)
 * II. Suprématie (Supremacy), poem inspired by the third part of the Kena Upanishad
 * III. Entre géants et dieux (Le géant, aux dieux ; Les temps paniques ; Le titan)
 * IV. La ville disparue
 * V. Après les dieux, les rois (I : Inscription ; Cassandre ; Les trois cents ; Le détroit de l'Euripe ; La chanson de Sophocle à Salamine ; Les bannis ; Aide offerte à Majorien ; II : L'hydre ; Le romancero du Cid ; Le roi de Perse ; Les deux mendiants ; Montfaucon ; Les reîtres ; Le comte Félibien)
 * VI. Entre lions et rois (Quelqu'un met le holà)
 * VII. Le Cid exilé
 * VIII. Welf, Castellan d'Osbor
 * IX. Avertissements et châtiments (Le travail des captifs ; Homo duplex ; Verset du Koran ; L'aigle du casque)
 * X. Les Sept merveilles du monde
 * XI. L'Epopée du ver
 * XII. Le Poëte au ver de terre
 * XIII. Clarté d'âmes
 * XIV. Les chutes (Fleuves et poëtes)
 * XV. Le Cycle pyrénéen (Gaïffer-Jorge, duc d'Aquitaine ; Masferrer ; La paternité)
 * XVI. La Comète
 * XVII. Changement d'horizon
 * XVIII. Le Groupe des Idylles
 * XIX. Tout le passé et tout l'avenir
 * XX. Un poëte est un monde
 * XXI. Le Temps présent (La Vérité, lumière effrayée ; Tout était vision ; Jean Chouan ; Le cimetière d'Eylau ; 1851 — choix entre deux passants ; Écrit en exil ; La colère du bronze ; France et âme ; Dénoncé à celui qui chassa les vendeurs ; Les enterrements civils ; Le prisonnier ; Après les fourches caudines)
 * XXII. L'Élégie des fléaux
 * XXIII. Les Petits (Guerre civile ; Petit Paul ; Fonction du l'enfant ; Question sociale)
 * XXIV. Là-haut
 * XXV. Les Montagnes (Désintéressement)
 * XXVI. Le Temple
 * XXVII. À L'Homme
 * XXVIII. Abîme

Last Series
The New Series had been advertised with the following message: « Le complément de la Légende des siècles sera prochainement publié, à moins que la fin de l'auteur n'arrive avant la fin du livre. » ("The conclusion to the Legend will be published shortly, provided that it is not preceded by the conclusion to the author.")

On 9 June 1883 the fifth and last tome of La Légende des Siècles was published with the subtitle série complémentaire (see 1883 in poetry). Critics who claimed that the "anticlericalism" and "glibness" were evidence of the bitterness of age were mistaken: in fact, Hugo's cerebral edema of June 1878 had already essentially put an end to his work as a writer, and most of the contents dated from long before. It is probable, but not certain, that he had intended to write new poems.

For example, La Vision de Dante (written in 1853) was initially intended for Châtiments, and Les Quatre Jours d'Elciis (written in 1857) was bumped forward from both the First and the New Series, the prologue dating from perhaps 1880. This assemblage of poems with little narrative drive, alternating dark and bright visions, gives the impression of a contemplative and intemporal epilogue, very different from what came before.

Contents

 * Je ne me sentais plus vivant
 * I. Les Grandes Lois
 * II. Voix basses dans les ténèbres
 * III. Je me penchai
 * IV. Mansétude des anciens juges
 * V. L'Échafaud
 * VI. Inferi
 * VII. Les quatre jours d'Elciis
 * VIII. Les paysans au bord de la mer
 * IX. Les esprits
 * X. Le Bey outragé
 * XI. La chanson des doreurs de proues
 * XII. Ténèbres
 * XIII. L'Amour
 * XIV. Rupture avec ce qui amoindrit
 * XV. Les paroles de mon oncle
 * XVI. Victorieux ou mort
 * XVII. Le cercle des tyrans
 * XVIII. Paroles de Géant
 * XIX. Quand le Cid
 * XX. La vision de Dante
 * XXI. Dieu fait les questions
 * XXII. Océan
 * XXIII. Ô Dieu, dont l'œuvre va plus loin que notre rêve

Collected edition
In September 1883, several months after the appearance of the Last Series, a "complete" edition was issued in which the three series are mixed together and reorganised according to a more or less chronological plan.

No one is entirely sure how close this comes to Hugo's original vision. It is not impossible that Hugo, physically and intellectually enfeebled, and greatly affected by the death of Juliette Drouet, allowed himself to be overly influenced by friends and by the executors of his estate. The rearrangement, which tries to make things easier for the reader by alternating long and short poems, and poems with different moods, has the effect of erasing the internal logic; in particular, the references to current affairs that are found in the New Series are dispersed. Additionally, it introduces bizarreries of chronology: Greek mythology is depicted after Jesus Christ, and El Cid appears before Muhammad. Finally, it often gives the reader the erroneous impression that this final fusion was what Hugo originally intended, as though the original appearance in "series" were a historical accident. Nevertheless, most modern editions adopt this arrangement for the sake of simplicity.

Contents

 * Préface
 * La vision d'où est sorti ce livre
 * I. La Terre
 * II. D'Ève à Jésus (Le sacre de la femme ; La conscience ; Puissance égale bonté ; Les lions ; Le temple ; Booz endormi ; Dieu invisible au philosophe ; Première rencontre du Christ avec le tombeau)
 * III. Suprématie
 * IV. Entre géants et dieux (Le géant, aux dieux ; Paroles de géant ; Les temps paniques ; Le titan)
 * V. La ville disparue
 * VI. Après les dieux, les rois (I : Inscription ; Cassandre ; Les trois cents ; Le détroit de l'Euripe ; La chanson de Sophocle à Salamine ; Les bannis ; Aide offerte à Majorien ; II : L'hydre ; Quand le Cid fut entré ; Le romancero du Cid ; Le roi de Perse ; Les deux mendiants ; Montfaucon ; Les reîtres ; Le comte Félibien)
 * VII. Entre lions et rois (Quelqu'un met le holà)
 * VIII. Décadence de Rome (Au lion d'Androclès)
 * IX. L'Islam (L'an neuf de l'Hégire ; Mahomet ; Le cèdre)
 * X. Le Cycle Héroïque Chrétien (Le parricide ; Le mariage de Roland ; Aymerillot ; Bivar ; Le jour des rois)
 * XI. Le Cid exilé
 * XII. Les Sept merveilles du monde
 * XIII. L'Epopée du ver
 * XIV. Le Poëte au ver de terre
 * XV. Les Chevaliers Errants (La terre a vu jadis ; Le petit roi de Galice ; Eviradnus)
 * XVI. Les Trônes d'Orient (Zim-Zizimi ; 1453 ; Sultan Mourad ; Le Bey outragé ; La chanson des doreurs de proues)
 * XVII. Avertissements et châtiments (Le travail des captifs ; Homo duplex ; Verset du Koran ; L'aigle du casque)
 * XVIII. L'Italie – Ratbert
 * XIX. Welf, Castellan d'Osbor
 * XX. Les quatre jours d'Elciis
 * XXI. Le Cycle pyrénéen (Gaïffer-Jorge, duc d'Aquitaine ; Masferrer ; La paternité) ;
 * XXII. Seizième siècle — Renaissance Paganisme (Le Satyre)
 * XXIII. Je me penchai
 * XXIV. Clarté d'âmes
 * XXV. Les chutes (Fleuves et poëtes)
 * XXVI. La Rose de l'Infante
 * XXVII. L'Inquisition (Les raisons du Momotombo)
 * XXVIII. La Chanson des Aventuriers de la Mer
 * XXIX. Mansétude des anciens juges
 * XXX. L'Échafaud
 * XXXI. Dix-septième siècle, Les Mercenaires (Le régiment du baron Madruce)
 * XXXII. Inferi
 * XXXIII. Le cercle des tyrans
 * XXXIV. Ténèbres
 * XXXV. Là-haut
 * XXXVI. Le Groupe des Idylles
 * XXXVII. Les paysans au bord de la mer
 * XXXVIII. Les esprits
 * XXXIX. L'Amour
 * XL. Les Montagnes (Désintéressement)
 * XLI. Océan
 * XLII. À L'Homme
 * XLIII. Le Temple
 * XLIV. Tout le passé et tout l'avenir
 * XLV. Changement d'horizon
 * XLVI. La Comète
 * XLVII. Un poëte est un monde
 * XLVIII. Le retour de l'Empereur
 * XLIX. Le Temps présent (La Vérité, lumière effrayée ; Tout était vision ; Jean Chouan ; Après la bataille ; Les paroles de mon oncle ; Le cimetière d'Eylau ; 1851 – choix entre deux passants ; Écrit en exil ; La colère du bronze ; France et âme ; Dénoncé à celui qui chassa les vendeurs ; Les enterrements civils ; Victorieux ou mort ; Le prisonnier ; Après les fourches caudines ; Paroles dans l'épreuve)
 * L. L'Élégie des fléaux
 * LI. Voix basses dans les ténèbres
 * LII. Les pauvres gens ;
 * LIII. Le crapaud ;
 * LIV. La vision de Dante ;
 * LV. Les grandes Lois (+ Je ne me sentais plus vivant ; Dieu fait les questions)
 * LVI. Rupture avec ce qui amoindrit • LVII. Les Petits (Guerre civile ; Petit Paul ; Fonction du l'enfant ; Question sociale)
 * LVIII. Vingtième siècle (Pleine mer — Plein ciel)
 * LIX. Ô Dieu, dont l'œuvre va plus loin que notre rêve
 * LX. Hors des temps (La trompette du jugement)
 * LXI. Abîme

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

title: La Légende des siècles


text:
Toilers of the Sea

Toilers of the Sea (Les Travailleurs de la mer) is a novel by Victor Hugo published in 1866. The book is dedicated to the island of Guernsey, where Hugo spent 15 years in exile. Hugo uses the setting of a small island community to transmute seemingly mundane events into drama of the highest calibre. Les Travailleurs de la Mer is set just after the Napoleonic Wars and deals with the impact of the Industrial Revolution upon the island.

The story concerns a Guernseyman named Gilliatt, a social outcast who falls in love with Deruchette, the niece of a local shipowner, Mess Lethierry. When Lethierry's ship is wrecked on the double Douvres, a perilous reef, Deruchette promises to marry whoever can salvage the ship's steam engine. (The cliff of the double Douvres is not the same as the well-known and also dangerous Roches Douvres, which today has a lighthouse – Hugo himself draws attention to this in the work.) Gilliatt eagerly volunteers, and the story follows his physical trials and tribulations (which include a battle with an octopus), as well as the undeserved opprobrium of his neighbours.

Plot summary
A woman arrives in Guernsey, with her son Gilliat, and buys a house said to be haunted. The boy grows up, the woman dies. Gilliat becomes a good fisherman and sailor. People believe him to be a wizard.

In Guernsey also lives Mess Lethierry – a former sailor and owner of the first steamship of the island, the Durande – with his niece Deruchette. One day, near Christmas, when going to church, she sees Gilliat on the road behind her and writes his name in the snow. He sees this and becomes obsessed with her gesture. In time he falls in love with her and goes to play the bagpipes near her house.

Sieur Clubin, the trusted captain of Durande, sets up a plan to sink the ship on the Hanois reef and flee with a ship of Spanish smugglers, Tamaulipas. He gets in touch with Rantaine, a swindler who had stolen a large sum of money from Mess Lethierry many years ago. Clubin takes the money from Rantaine at gunpoint.

In thick fog, Clubin sails for the Hanois reef from where he can easily swim to the shore, meet the smugglers, and disappear, giving the appearance of having drowned. Because of the fog he has mistakenly arrived at the Douvres reef, which is still halfway between Guernsey and France. Left alone on the ship, he is terrified, but he sees a cutter and leaps into the water to catch it. At that moment he is grabbed by the leg and is pulled down to the bottom.

Everybody in Guernsey finds out about the shipwreck. Mess Lethierry is desperate to get the Durande's engine back. His niece declares she will marry the rescuer of the engine, and Mess Lethierry swears she will marry no other. Gilliat immediately takes up the mission, enduring hunger, thirst, and cold trying to free the engine from the wreck. In a battle with an octopus, he finds the skeleton of Clubin and the stolen money on the bottom of the sea.

Eventually he succeeds in returning the engine to Lethierry, who is very pleased and ready to honour his promise. Gilliat appears in front of the people as the rescuer but he declines to marry Deruchette because he had seen her accepting a marriage proposal made by Ebenezer Caudry, the young Anglican priest recently arrived on the island. He arranges their hurried wedding and helps them run away on the sailing ship Cashmere. In the end, with all his dreams shattered, Gilliat decides to wait for the tide sitting on the Gild Holm'Ur chair (a rock in the sea) and drowns as he watches the Cashmere disappear on the horizon.

Characters

 * Gilliatt: a fisherman
 * Mess Lethierry: owner of the ship Durande, the island's first steam ship
 * Déruchette: Mess Lethierry's young niece
 * Sieur Clubin: captain of the Durande
 * Ebenezer Caudray: young Anglican priest, recently arrived on the island

Influence
The novel is credited with introducing the Guernésiais word for octopus (pieuvre) into the French language (standard French for octopus is poulpe).

Inspiration
In the 2010s, locals conducted research on the circumstances under which the novel originated, using Hugo's unpublished notes as well. They found that the Douvre double rock did not exist, but its model image did: it was modeled by Hugo on the so-called Les Autelets on the island of Sark (and the coast). And the fight with the octopus was inspired by a real polyp attack that took place here.

Dedication
The following dedication appears at the front of the book:

 * Je dédie ce livre au rocher d'hospitalité et de liberté, à ce coin de vieille terre normande où vit le noble petit peuple de la mer, à l'île de Guernesey, sévère et douce, mon asile actuel, mon tombeau probable.

 * (I dedicate this book to the rock of hospitality and liberty, to that portion of old Norman ground inhabited by the noble little nation of the sea, to the island of Guernsey, severe yet kind, my present asylum, my probable tomb.)

Publishing history
The novel was first published in Brussels in 1866 (Hugo was in exile from France). An English translation quickly appeared in New York later that year, under the title The Toilers of the Sea. A UK edition followed in 1887, with Ward Lock publishing Sir G Campbell's translation under the title Workers of the Sea followed by an 1896 Routledge edition under the title Toilers of the Sea.

Hugo had originally intended his essay L'Archipel de la Manche (The Archipelago of the [English] Channel) as an introduction to this novel, although it was not published until 1883, and the two have only been published together in the 20th century.

In 2002, Modern Library published an edition with a new translation by James Hogarth, which bills itself as "the first unabridged English edition of the novel".

Film adaptations
There have been at least five film adaptations of the novel, including:

 * Toilers of the Sea (1914 film) – director unknown (silent)
 * Toilers of the Sea (1915 film) – director unknown (silent)
 * Toilers of the Sea (1923 film) – director Roy William Neill (silent)
 * Toilers of the Sea (1936 film) – director Selwyn Jepson
 * Sea Devils (1953 film) – director Raoul Walsh

title: Toilers of the Sea


text:
Talk:Lavon Affair

Operatives
I think "operatives" is downplaying the acts of the perpetrators, they were terrorists. They intentionally attacked civilian targets. 85.148.244.121 (talk) 05:45, 2 January 2020 (UTC)

What the perpetrators have done corresponds exactly with the core definition of terrorism. Here even those are euphemized as "operatives" who were convicted for their terror by a court. They are even belittled as "spies" ("Israel publicly honored the surviving spies on March 30, 2005"), although it is obvious that their job was not to spy; the labeling by the partisan jewish source is adopted here verbatim! This is certainly not in line with NPOV. --Querstrebe (talk) 20:36, 9 September 2023 (UTC)

Extended-confirmed-protected edit request on 19 October 2023
Hi. Informative article about the Lavon Affair. Just finished re-reading "The Spymasters of Israel" by Stewart Steven, where the Lavon Affair is described blow-by-blow. A citation could be added to show the inefficacy of official Israeli denial. ^ Asnarb (talk) 00:23, 19 October 2023 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate. Liu1126 (talk) 13:01, 19 October 2023 (UTC)

Who are the egyptians?
It says: "Avri Elad allegedly informed the Egyptians, resulting in the Egyptian intelligence agency following a suspect to his target, the Rio Theatre, where a fire engine was standing by."

Who are the egyptians here? Does Elad inform egyptian police or the egyptian jews and the police intercepted the information?

Would be nice with som clearence.

greetings. Herr X (talk) 22:33, 14 November 2023 (UTC)

title: Talk:Lavon Affair


text:
The Man Who Laughs

The Man Who Laughs (also published under the title By Order of the King from its subtitle in French) is a novel by Victor Hugo, originally published in April 1869 under the French title L'Homme qui rit. It takes place in England beginning in 1690 and extends into the early 18th century reign of Queen Anne. It depicts England's royalty and aristocracy of the time as cruel and power-hungry. Hugo intended parallels with the France of Louis-Philippe and the Régence.

The novel concerns the life of a young nobleman, also known as Gwynplaine, disfigured as a child (on the orders of the king), who travels with his protector and companion, the vagabond philosopher Ursus, and Dea, the baby girl he rescues during a storm. The novel is famous for Gwynplaine's mutilated face, stuck in a permanent laugh. The book has inspired many artists, dramatists and film-makers.

Background
Hugo wrote The Man Who Laughs over a period of 15 months while he was living in the Channel Islands, having been exiled from his native France because of the controversial political content of his previous novels. Hugo's working title for this book was By Order of the King, but a friend suggested The Man Who Laughs. Despite an initially negative reception upon publication, The Man Who Laughs is argued to be one of Hugo's greatest works.

In his speech to the Lords, Gwynplaine asserts:

"Je suis un symbole. Ô tout-puissants imbéciles que vous êtes, ouvrez les yeux. J’incarne Tout. Je représente l’humanité telle que ses maîtres l’ont faite. I am a symbol. Oh, you all-powerful fools, open your eyes. I represent all. I embody humanity as its masters have made it."

Making a parallel between the mutilation of one man and of human experience, Hugo touches on a recurrent theme in his work "la misère", and criticizes both the nobility which in boredom resorts to violence and oppression and the passivity of the people, who submit to it and prefer laughter to struggle.

A few of Hugo's drawings can be linked with the book and its themes. For instance, the lighthouses of Eddystone and the Casquets in Book II, Chapter XI in the first part, where the author contrasts three types of beacon or lighthouse ('Le phare des Casquets' and 'Le phare d'Eddystone' – both 1866. Hugo also drew 'Le Lever ou la Duchesse Josiane' in quill and brown ink, for Book VII, Chapter IV (Satan) in part 2.

Plot
The novel is divided into two parts: La mer et la nuit (The sea and the night) and Par ordre du roi (On the king's command).

In late 17th-century England, a homeless boy named Gwynplaine rescues an infant girl during a snowstorm, her mother having frozen to death. They meet an itinerant carnival vendor who calls himself Ursus, and his pet wolf, Homo (whose name is a pun on the Latin saying "Homo homini lupus"). Gwynplaine's mouth has been mutilated into a perpetual grin; Ursus is initially horrified, then moved to pity, and he takes them in. 15 years later, Gwynplaine has grown into a strong young man, attractive except for his distorted visage. The girl, now named Dea, is blind, and has grown into a beautiful and innocent young woman. By touching his face, Dea concludes that Gwynplaine is perpetually happy. They fall in love. Ursus and his surrogate children earn a meagre living in the fairs of southern England. Gwynplaine keeps the lower half of his face concealed. In each town, Gwynplaine gives a stage performance in which the crowds are provoked to laughter when Gwynplaine reveals his grotesque face.

The spoiled and jaded Duchess Josiana, the illegitimate daughter of King James II, is bored by the dull routine of court. Her fiancé, David Dirry-Moir, to whom she has been engaged since infancy, tells Josiana that the only cure for her boredom is Gwynplaine. She attends one of Gwynplaine's performances, and is aroused by the combination of his virile grace and his facial deformity. Gwynplaine is aroused by Josiana's physical beauty and haughty demeanor. Later, an agent of the royal court, Barkilphedro, who wishes to humiliate and destroy Josiana by compelling her to marry the 'clown' Gwynplaine, arrives at the caravan and compels Gwynplaine to follow him. Gwynplaine is ushered to a dungeon in London, where a physician named Hardquannone is being tortured to death. Hardquannone recognizes Gwynplaine, and identifies him as the boy whose abduction and disfigurement Hardquannone arranged 23 years earlier. A flashback relates the doctor's story.

During the reign of the despotic King James II, in 1685–1688, one of the King's enemies was Lord Linnaeus Clancharlie, Marquis of Corleone, who had fled to Switzerland. Upon the lord's death, the King arranged the abduction of his two-year-old son and legitimate heir, Fermain. The King sold Fermain to a band of wanderers called "Comprachicos", criminals who mutilate and disfigure children, and then force them to beg for alms or be exhibited as carnival freaks.

Confirming the story is a message in a bottle recently brought to Queen Anne. The message is the final confession from the Comprachicos, written in the certainty that their ship was about to founder in a storm. It explains how they renamed the boy "Gwynplaine", and abandoned him in a snowstorm before setting to sea. David Dirry-Moir is the illegitimate son of Lord Linnaeus. Now that Fermain is known to be alive, the inheritance promised to David on the condition of his marriage to Josiana will instead go to Fermain.

Gwynplaine is arrested and Barkilphedro lies to Ursus that Gwynplaine is dead. The frail Dea becomes ill with grief. The authorities condemn them to exile for illegally using a wolf in their shows.

Josiana has Gwynplaine secretly brought to her so that she may seduce him. She is interrupted by the delivery of a pronouncement from the Queen, informing Josiana that David has been disinherited, and the Duchess is now commanded to marry Gwynplaine. Josiana rejects Gwynplaine as a lover, but dutifully agrees to marry him.

Gwynplaine is instated as Lord Fermain Clancharlie, Marquis of Corleone, and permitted to sit in the House of Lords. When he addresses the peerage with a fiery speech against the gross inequality of the age, the other lords are provoked to laughter by Gwynplaine's clownish grin. David defends him and challenges a dozen Lords to duels, but he also challenges Gwynplaine whose speech had inadvertently condemned David's mother, who abandoned David's father to become the mistress of Charles II.

Gwynplaine renounces his peerage and travels to find Ursus and Dea. He is nearly driven to suicide when he is unable to find them. Learning that they are to be deported, he locates their ship and reunites with them. Dea is ecstatic, but abruptly dies due to complications brought on by an already weak heart and her loss of Gwynplaine. Ursus faints. Gwynplaine, as though in a trance, walks across the deck while speaking to the dead Dea, and throws himself overboard. When Ursus recovers, he finds Homo sitting at the ship's rail, howling at the sea.

Criticism
Hugo's romantic novel The Man Who Laughs places its narrative in 17th-century England, where the relationships between the bourgeoisie and aristocracy are complicated by continual distancing from the lower class. According to Algernon Charles Swinburne, "it is a book to be rightly read, not by the lamplight of realism, but by the sunlight of his imagination reflected upon ours." Hugo's protagonist, Gwynplaine (a physically transgressive figure, something of a monster), transgresses these societal spheres by being reinstated from the lower class into the aristocracy—a movement which enabled Hugo to critique construction of social identity based upon class status. Stallybrass and White's "The Sewer, the Gaze and the Contaminating Touch" addresses several of the class theories regarding narrative figures transgressing class boundaries. Gwynplaine specifically can be seen to be the supreme embodiment of Stallybrass and White's "rat" analysis, meaning Hugo's protagonist is, in essence, a sliding signifier.

Film
Film adaptations of The Man Who Laughs include:
 * The Man Who Laughs (1909 film), made in France by the Pathé film company and produced by Albert Capellani. No copies of this film are known to survive.
 * Das grinsende Gesicht (The Grinning Face) (1921), an Austrian (German language) 1921 silent film produced by Olympic Films, directed by Julius Herzka, with Franz Höbling in the leading role as Gwynplaine. This low-budget film is faithful to the novel, but simplifies and condenses the plot.
 * The Man Who Laughs (1928), an American silent film directed by Paul Leni and starring Conrad Veidt, Mary Philbin and Olga Baclanova. Veidt's appearance as Gwynplaine is cited as a key influence on the character design of the DC Comics villain The Joker, the nemesis of Batman. The film is also the namesake of an alternate version of Batman called The Batman Who Laughs.
 * The Man Who Laughs (1966) (L'uomo che ride), an Italian-French film, also in an English dubbed version titled He Who Laughs, made in Italy and directed by Sergio Corbucci. This version features elaborate colour photography, but a very low production budget. The main action is shifted to Italy and moved backwards in time, with the deformed protagonist meeting Lucrezia Borgia instead of Queen Anne. In this version, Gwynplaine is renamed Angelo (played by Jean Sorel). His disfigurement is represented as a single broad slash across his mouth, crude yet convincing. The story (which is attributed, in the movie credits, to the director, producer and others involved in making the film, but not to Victor Hugo) is a swashbuckler pitting the disfigured acrobat against the henchmen of the Borgias. At the end, Dea (actress Lina Sini) miraculously acquires her eyesight and Angelo undergoes surgery that completely reverses his disfigurement and renders him perfectly handsome.
 * L'Homme qui rit (1971), a TV movie directed by Jean Kerchbron made and distributed in 1971. It is an adaptation of the novel in three episodes, starring Xavier Depraz as Ursus, Philippe Clay as Barkilphedro, Philippe Bouclet as the adult Gwynplaine and Delphine Desyeux as the adult Dea. Music was by Jean Wiéner.
 * The Man Who Laughs (2012). This French movie features Gérard Depardieu as Ursus, Christa Théret as Dea and Marc-André Grondin as Gwynplaine.

Theatre

 * Clair de Lune, a stage play written by Blanche Oelrichs (under her male pseudonym Michael Strange), which ran for 64 performances on Broadway from April to June 1921. Oelrichs's husband at this time was the actor John Barrymore, who agreed to play Gwynplaine and persuaded his sister Ethel Barrymore to portray Queen Anne.
 * In 2005, The Stolen Chair Theatre Company recreated the story as a "silent film for the stage". This drew equally from Hugo's novel, the 1927 Hollywood silent film, and from the creative minds of Stolen Chair. Stolen Chair's collectively created adaptation was staged as a live silent film, with stylized movement, original musical accompaniment, and projected intertitles. Gwynplaine was played by Jon Campbell and the cast included. It played in New York, was published in the book Playing with Canons and was revived in 2013 by the same company.
 * In 2006, the story was adapted into a musical by Alexandr Tyumencev (composer) and Tatyana Ziryanova (Russian lyrics), entitled 'The Man Who Laughs' ('Человек, который смеётся'). It was performed by the Seventh Morning Musical Theatre, opening November 6, 2006.
 * In 2013, another musical version in Hampton Roads, VA featured a blend of Jewish, Gypsy and Russian song styles.
 * In 2016, a musical adaptation titled The Grinning Man opened at the Bristol Old Vic, followed by a transfer to the Trafalgar Studios in London's West End from December 2017.
 * In 2018, a musical adaptation written by Frank Wildhorn debuted in South Korea and starred Park Hyo Shin, EXO's Suho, and Kang-hyun Park. It won three awards including the Best Musical in the 2019 Korean Musical Awards. It was revived in 2020 with Suho (who won an award for his performance as Gwynplaine) and Kang-hyun Park returning to the title role, and joined by Super Junior's Kyuhyun.

Opera

 * In 2023, Canadian composer Airat Ichmouratov, composed an opera, The Man Who Laughs, to a libretto in French by poet Bertrand Laverdure, adapted from an eponymous novel. Commissioned by Festival Classica, it was premiered on May 31, 2023, in Montreal, Canada

Comics

 * In May 1950, the Gilberton publishing company produced a comic-book adaptation of The Man Who Laughs as part of their prestigious Classics Illustrated series. This adaptation featured artwork by Alex Blum, much of it closely resembling the 1928 film (including the anachronistic Ferris wheel). The character of Gwynplaine is drawn as a handsome young man, quite normal except for two prominent creases at the sides of his mouth. As this comic book was intended for juvenile readers, there may have been an intentional editorial decision to minimise the appearance of Gwynplaine's disfigurement. A revised Classics Illustrated edition, with a more faithful script by Alfred Sundel, and a painted cover and new interior art by Norman Nodel, was issued in the spring of 1962. Nodel's artwork showed a Gwynplaine far more disfigured than the character's appearance in either the 1928 film or the 1950 Classics Illustrated edition.
 * Another 1950s version, by Claude-Henri Juillard, was published in the Ce soir newspaper.
 * A comic book version was produced by Spanish artist Fernando de Felipe in 1992, published by S. I. Artists and republished by Heavy Metal in 1994. This adaptation was intended for a mature audience and places more emphasis on the horrific elements of the story. De Felipe simplified and took some liberties with Hugo's storyline. His rendering emphasized the grotesque in Hugo and excluded the elements of the sublime that were equally important in the original.
 * From 2003 to 2011 an adaptation created by Jean David Morvan (scenario) and Nicolas Delestret (drawings) was published in four volumes by Éditions Delcourt.
 * A comic book version of the story was published by Self Made Hero in 2013, featuring writer David Hine and artist Mark Stafford.

Parody
Mark Twain wrote a parody of L'Homme qui Rit which attempted to offer parallels between Gwynplaine and Andrew Johnson.

title: The Man Who Laughs


text:
Bug-Jargal

Bug-Jargal is a novel by the French writer Victor Hugo. First published in 1826, it is a reworked version of an earlier short story of the same name published in the Hugo brothers' magazine Le Conservateur littéraire in 1820. The novel follows a friendship between the enslaved African prince of the title and a French military officer named Leopold D'Auverney during the tumultuous early years of the Haitian Revolution.

Hugo later claimed that the story was to have been part of a collaborative work called Contes sous la Tente (Tales under a Tent), and that he had written it in 1818 (at the age of sixteen) in two weeks; the manuscript is however dated April 1819.

Several translations into English exist. The first, a modified version with the title The Slave-King, was published in 1833. The only modern translation is by Chris Bongie and was published in 2004.

Plot
The story of Bug-Jargal begins several weeks before the Haitian Revolution, when Toussaint Louverture fights the colonial regime. D'Auverney, the nephew of a landed aristocrat with many slaves, is betrothed to Marie, his cousin. A slave, Pierrot, falls in love with Marie, but can not do anything because of the obvious racial and cultural barriers between them. However, Pierrot does save Marie from a crocodile, but soon finds himself thrown in prison for trying to protect another slave from his owner's wrath. D'Auverney befriends him, and not long before the Haitian Revolution, Pierrot warns the lovers to flee the island. They stay despite the warning, and the day of the wedding the slave revolution begins, and the white landowners see the rapid and violent dissolution of their society. Pierrot saves Marie from a slave attack and whisks her away, but D'Auverney, thinking that Pierrot had kidnapped his new wife for his own desires, wanders into a dark grotto. He is taken prisoner by the infamously violent slave leader Biassou. In the grotto the freed slaves force their captured white prisoners to kill each other in order to preserve their own skins. Pierrot luckily comes to the rescue of D'Auverney, who learns that Pierrot is really Bug-Jargal, the mystical leader of the slaves. Pierrot leads him to his wife, and dies protecting his friends.

title: Bug-Jargal


text:
Ninety-Three

Ninety-Three (Quatrevingt-treize) is the last novel by the French writer Victor Hugo. Published in 1874, three years after the bloody upheaval of the Paris Commune that resulted out of popular reaction to Napoleon III's failure to win the Franco-Prussian War, the novel concerns the Revolt in the Vendée and Chouannerie – the counter-revolutionary uprisings in 1793 during the French Revolution. It is divided into three parts, but not chronologically; each part tells a different story, offering a different view of historical general events. The action mainly takes place in Brittany and in Paris.

Plot
The year is 1793. In the former Duchy of Brittany during the Royalist insurrection of the Chouannerie, a troop of "Blues" (soldiers of the French Revolutionary Army) encounter in the bocage Michelle Fléchard, a peasant woman, and her three young children, who are fleeing from the conflict. She explains that her husband and parents have been killed in the peasant revolt that started the insurrection. The troop's commander, Sergeant Radoub, convinces them to look after the family.

Meanwhile, at sea, a group of "Whites" (Royalist emigres) are preparing to land the Marquis de Lantenac (a thinly fictionalized combination of real Chouannerie leaders Charles Armand Tuffin, marquis de la Rouërie and Vincent de Tinténiac), a Breton aristocrat and former officer in the French Royal Army whose command experience could transform the fortunes of the rebellion. While at sea, a sailor fails to properly secure his cannon, which rolls out of control and damages the ship. When the same sailor risks his life to secure the cannon and save their ship, Lantenac awards the man a medal for his bravery and then executes him (without trial) for failing in his duty. Their corvette is spotted by ships of the Republic. Lantenac slips away in a boat with one supporter, Halmalo the brother of the executed sailor. The corvette distracts the Republican ships by provoking a naval battle the damaged ship cannot win. The corvette is destroyed, but Lantenac lands safely in Brittany and sends Halmalo ahead as a messenger.

Lantenac is hunted by the Blues, but is protected by a local beggar, to whom he gave alms in the past. He meets up with his supporters, and they immediately launch an attack on the Blues. Part of the troop with the family is captured. Lantenac orders them all to be shot, including Michelle. He takes the children with him as hostages. The beggar finds the bodies, and discovers that Michelle is still alive. He nurses her back to health.

Lantenac's leadership and methods turn the Breton uprising into a major threat to the First French Republic. In Paris, Danton, Robespierre and Marat argue about the threat, while also sniping at each other. They promulgate a decree that all rebels and anyone who helps them will be executed. Cimourdain, a committed revolutionary and former Roman Catholic priest, is deputed to carry out their orders in Brittany. He is also told to keep an eye on Gauvain, the commander of the Republican troops there, who is related to Lantenac and thought to be too lenient to rebels. Unknown to the revolutionary leaders, Cimourdain was Gauvain's childhood tutor, and thinks of him as a son.

Lantenac has taken control of Dol-de-Bretagne, in order to secure a landing place for British troops to be sent to support the Royalists. Gauvain launches a surprise attack and uses deception to dislodge and disperse them. Forced to retreat, Lantenac is constantly kept from reaching the coast by Gauvain. With British troops and supplies unavailable, Lantenac's supporters melt away. Eventually he and a last few followers are trapped in his castle.

Meanwhile, Michelle has recovered and goes in search of her children. She wanders aimlessly, but eventually hears that they are being held hostage in Lantenac's castle. At the castle Sergeant Radoub, fighting with the besiegers, spots the children. He persuades Gauvain to let him lead an assault. He manages to break through the defences and kill several rebels, but with Halmalo's aid, Lantenac and a few survivors escape through a secret passage after setting fire to the building. As the fire takes hold, Michelle arrives, and sees that her children are trapped. Her hysterical cries of despair are heard by Lantenac. Struck with guilt, he returns to the castle through the passage and rescues the children, helped by Radoub. He then gives himself up.

Gauvain knows that Cimourdain will guillotine Lantenac after a show trial. He visits him in prison, where Lantenac expresses his vision of French culture ordered by social hierarchy, deference, and duty. Gauvain insists that humane values transcend tradition. To prove it, he allows Lantenac to escape and then gives himself up to the revolutionary tribunal that was convened to try him. Gauvain's forgiveness and Lantenac's courageous act at the siege both contrast with the execution of the sailor at the beginning of the novel. Gauvain is then tried for treason. The tribunal comprises Cimourdain, Radoub and Gauvain's deputy, Guéchamp. Radoub votes to acquit, but the others vote to condemn Gauvain to be executed, with Cimourdain casting the deciding vote. Visited by Cimourdain in prison, Gauvain outlines his own vision of a future society with minimal government, no taxes, technological progress and sexual equality. The following morning he is executed by guillotine. At the same moment, Cimourdain shoots himself.

Writing and reception
While Hugo clearly favours the revolutionaries in several comments by the omniscient narrator, neither side is depicted as opportunistic, mercenary or cynical. Republicans and Royalists are depicted as idealistic, high-minded, completely devoted to their antagonistic causes and ready to perform cruel and ruthless acts perceived as necessary in the ongoing titanic struggle. Hugo was criticised for portraying the Bretons as "savages" and as speaking "a dead language".

Joseph Stalin read Ninety-Three as a young seminarian in Georgia and the character of Cimourdain, a former priest, "made a deep impression" on him.

Herbert Butterfield expressed admiration for Ninety-Three in his essay The Historical Novel (1924), describing the book as "a striking example of the epic of national freedom".

Ayn Rand greatly praised this book (and Hugo's writing in general), acknowledged it as a source of inspiration, and even wrote an introduction to one of its English-language editions which was later reprinted with edits as an essay in The Romantic Manifesto. Its influence can be especially discernible in the passages describing the Russian Civil War in Rand's We the Living—where, uncharacteristically for this staunchly anti-Communist writer, "Reds" as well as "Whites" are recognized for the sincerity of their convictions and presented as courageous and heroic.

title: Ninety-Three


text:
Glenfinnan Viaduct

The Glenfinnan Viaduct is a railway viaduct on the West Highland Line in Glenfinnan, Inverness-shire, Scotland, built from 1897 to 1901. Located at the top of Loch Shiel in the West Scottish Highlands, the viaduct overlooks the Glenfinnan Monument and the waters of Loch Shiel.

Construction
The Glenfinnan Viaduct, however, was complete enough by October 1898 to be used to transport materials across the valley. It was built at a cost of £18,904.

A long-established legend attached to the Glenfinnan Viaduct was that a horse had fallen into one of the piers during construction in 1898 or 1899. In 1987, Professor Roland Paxton failed to find evidence of a horse at Glenfinnan using a borescope inserted into boreholes in the only two piers large enough to accommodate a horse. In 1997, on the basis of local hearsay, he investigated the Loch nan Uamh Viaduct by the same method but found the piers to be full of rubble. Using scanning technology in 2001, the remains of the horse and cart were found at Loch nan Uamh, within the large central pylon.

Design
The viaduct is built from mass concrete, and has 21 semicircular spans of 50 ft. It is the longest concrete railway bridge in Scotland at 416 yds, and crosses the River Finnan at a height of 100 ft. The West Highland Line it carries is single track, and the viaduct is 18 ft wide between the parapets. The viaduct is built on a curve of 792 ft.

The concrete used in the Glenfinnan Viaduct is mass concrete, which unlike reinforced concrete does not contain any metal reinforcement. It is formed by pouring concrete, typically using fine aggregate, into formwork, resulting in a material very strong in compression but weak in tension.

Services
The West Highland Line connects Fort William and Mallaig, and was a crucial artery for the local fishing industry and the Highland economy in general, which suffered enormously after the Highland Clearances of the 1800s.

The line is used by passenger trains operated by ScotRail between Glasgow Queen Street and Mallaig, with Class 153 and Class 156 diesel multiple units. In the summer, West Coast Railways operates The Jacobite steam train along the line. It is a popular tourist event in the area, and the viaduct is one of the major attractions of the line. The Royal Scotsman also operates on the line.

Depiction
Glenfinnan Viaduct has been used as a location in several films and television series, including Ring of Bright Water, Charlotte Gray, Monarch of the Glen, Stone of Destiny, The Crown, and four of the Harry Potter films. After its appearance in Harry Potter, British Transport Police had to warn fans not to walk on the viaduct after a handful of near misses with trains had occurred. It is also featured in the 2018 video game Forza Horizon 4.

The Glenfinnan Viaduct features on some Scottish banknotes. The 2007 series of notes issued by the Bank of Scotland depicts different bridges in Scotland as examples of Scottish engineering, and the £10 note features the Glenfinnan Viaduct.

title: Glenfinnan Viaduct


text:
The Last Day of a Condemned Man

The Last Day of a Condemned Man (Le Dernier Jour d'un Condamné) is a novella by Victor Hugo first published in 1829. It recounts the thoughts of a man condemned to die. Victor Hugo wrote this novel to express his feelings that the death penalty should be abolished.

Genesis
Victor Hugo saw several times the spectacle of the guillotine and was angered at the spectacle that society can make of it. It was the day after crossing the "Place de l'Hotel de Ville" where an executioner was greasing the guillotine in anticipation of a scheduled execution that Hugo began writing The Last Day of a Condemned Man. He finished very quickly.undefined The book was published in February 1829 by Charles Gosselin without the author's name. Three years later, on 15 March 1832, Hugo completed his story with a long preface and his signature.

Plot summary
A man has been condemned to death by the guillotine in 19th-century France. In Bicêtre, the sentenced man writes down his thoughts, feelings and fears while awaiting his execution. His writing traces his change in psyche vis-a-vis the world outside the prison cell throughout his imprisonment, and describes his life in prison, everything from what his cell looks like to the personality of the prison priest. He does not betray his name or what he has done to the reader, though he vaguely hints that he has killed someone; just a nameless, faceless, irrelevant victim.

The novella also contains a blueprint of Jean Valjean, the hero of Hugo's Les Miserables. As the Condemned is waiting to be executed he meets another condemned man who recounts his life story. The man tells him that he was originally sent to prison for stealing a loaf of bread to save his sister's family. This is the same backstory that Hugo gives for Jean Valjean.

At another point he tries to escape by conning a superstitious guard to give him his clothes. The guard almost does until common sense gets the better of him and he declines exchanging clothes with the Condemned.

On the day that the Condemned is to be executed he sees his three-year-old daughter for the last time, but she no longer recognizes him, and she tells him that her father is dead.

The novel ends just after he briefly but desperately begs for pardon and curses the people of his time, the people he hears outside, screaming impatiently for the spectacle of his decapitation.

Influence
Hugo's text was translated twice into English in 1840. The first translation was published by George William MacArthur Reynolds, author of penny blood novel The Mysteries of London (1844–48), as The Last Day of a Condemned. The second translation in 1840 was completed by Sir P. H. Fleetwood, titled The Last Days of a Condemned. Fleetwood also added his own preface to the book, outlining why it was important that British anti-capital punishment campaigners ought to read it, whereas Reynolds did not add any substantive new material but reprinted Hugo's preface and provided a few footnotes which he signed as 'Trans.'

Though The Last Day of a Condemned Man is lesser known than some of Hugo's other works, the novel had the distinction of being praised as "absolutely the most real and truthful of everything that Hugo wrote” by Fyodor Dostoevsky, who referenced it in both his letters and his novel, The Idiot. Notably, Dostoyevsky had suffered the psychological insight of himself being condemned to death and suffered a mock execution after reprieved. Furthermore, Dostoevsky pays tribute to the novel in the format of The Meek One, citing Hugo's novel as a means of justifying the "fantastic" idea of writing down a person's thoughts at a moment of distress.

Hugo's novel has been made into an opera with music by David Alagna, libretto by David, Roberto, and Frederico Alagna, and starring Roberto Alagna and Adina Aaron

title: The Last Day of a Condemned Man


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E.N.G.

E.N.G. is a Canadian television drama, following the staff of a fictional Toronto television news station. The show aired on CTV from 1989 to 1994. The series ran for 96 episodes, produced by the Alliance Entertainment Corporation.

Plot
"E.N.G." stands for electronic news-gathering. The show is led by Anne Hildebrandt (Sara Botsford), the senior executive producer of the news broadcasts on fictional Toronto television station, CTLS channel 10. Hildebrandt is bright, assertive and also having a clandestine affair with star cameraman Jake Antonelli (Mark Humphrey). Jake is younger and married to Martha with two children; after Jake and Martha divorce, son Jeff lives with Jake, while their daughter lives with her mother.

Mike Fennell (Art Hindle) is the station's newly-appointed news director, taking a position Anne had been expecting to receive. Mike aims to improve ratings of the newscasts and his coverage philosophy is in obvious conflict with Anne's. Anne and Mike find common ground and later become romantically involved. Mike has a troubled teenage daughter named Carrie from his previous marriage; Carrie lives in Vancouver.

Other members of the CTLS staff include Jane Oliver, the station's weathercaster; Seth Miller, who worries about being pushed into retirement due to his age; Kyle Copeland, the station's general manager who sometimes clashes with both Anne and Mike; Bobbi Katz, another camera person; J.C. Callahan, the station's alcoholic and cranky assignment editor, who later is left requiring a wheelchair by an accident; Marge Atherton, the station's video editor, who is very motherly and offers co-workers advice, and a compassionate shoulder to lean on; Dan Watson, a smarmy senior reporter who occasionally puts his foot in his mouth. Janice Roberts, a news researcher, joins channel 10 the same day Mike does. Janice later commits suicide after becoming too emotionally involved in a story. Bruce Foreman is a devious and scheming assistant assignment editor; Eric "Mac" MacFarlane is the newscast's openly-gay floor manager; Terri Morgan, a scheming reporter who tends to be very cut-throat. Victor Garber has a recurring role as tycoon Adam Hirsch, who owned CTLS during the final three seasons.

At the end of the series, Anne and Mike try to balance their personal and professional lives, when it is revealed that CTLS is going from a hard news format to a lifestyles format. Mike receives a new job offer in Japan, and invites Anne to go with him. After making peace with Jake, who urged her to have a life with Mike, Anne decides to accept his offer, although she would not be permitted to work, by Japanese law. In the final episode, "The Cutting Edge", Clarke Roberts (Janice's brother) dares Anne to get back in the trenches and help him with a hard news story. She does, finding how much she loves the excitement. She is offered a job at another news station, by the station owner (Simon MacCorkindale). After talking to Mike, they decide they want different things. Mike goes to Japan to begin his new job. Anne is last seen standing outside the building where her new job, as station manager will begin.

Main cast

 * Anne Hildebrandt — Sara Botsford
 * Jake Antonelli — Mark Humphrey
 * Mike Fennell — Art Hindle
 * Eric MacFarlane — Jonathan Welsh
 * J.C. Callahan — Neil Dainard
 * Dan Watson — Karl Pruner
 * Terri Morgan — Cynthia Belliveau
 * Seth Miller — James Millington
 * Bobbi Katz — Mary Beth Rubens
 * Kyle Copeland — George R. Robertson
 * Jane Oliver — Sherry Miller
 * Marge Atherton — Theresa Tova
 * Clarke Roberts — Clark Johnson
 * Janice Roberts — Rachael Crawford
 * Kelly Longstreet — Lisa LaCroix
 * Adam Hirsch — Victor Garber
 * Benajir Kafshi; Madhuri Bhatia

Reception
Jim Leach argues that E.N.G. attempted to "negotiate between the traditions of Canadian television and formulas of the popular American programs that dominate CITV's schedule." He says that the series was often compared with the Canadian Broadcasting Company's Street Legal, covering the "personal and professional entanglements" of a law office". Both of these show were in turn compared to Hill Street Blues and LA Law. Unlike much of Canadian drama which had been produced by public networks, Leach reflects that "the success of E.N.G. raised hopes that the private networks would offer more support to Canadian producers."

The show, according to Leach, followed a tradition of documentary realism and social responsibility. However, he argues, the formula owes more to "melodramatic structures" of daytime soap operas rather than the "Canadian suspicion of 'crisis structures'".

The show won ten Gemini Awards, including best dramatic programming series. Broadcast historian Michael Nolan observes that the show was "critically acclaimed" yet "lost money every time it was aired, an illustration of how expensive the genre of Canadian dramatic programming was to produce in an increasingly fragmented television market."

International broadcasts
E.N.G. was also screened in the United Kingdom on Channel 4, which aired the first four seasons but chose not to present the fifth and final season. In the United States, the show aired in syndication. It also aired on Lifetime in the United States during the 1990-91 season, originally in the 7 PM (EST) slot, but due to poor ratings, was moved to late nights after only several weeks. In Spain the series aired on Antena 3TV dubbed into Spanish and with the title "E.N.G. Reporteros" in a weekday 530pm slot. The channel screened a great number of episodes but never completed the entire run. The series has never been repeated on Spanish TV. In Macedonia it aired on the national MRT. In South Africa it aired on the SABC2 channel.

title: E.N.G.


text: User talk:70.56.95.227

title: User talk:70.56.95.227


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Samphire

Samphire is a name given to a number of succulent salt-tolerant plants (halophytes) that tend to be associated with water bodies.
 * Rock samphire (Crithmum maritimum) is a coastal species with white flowers that grows in Ireland, the United Kingdom and the Isle of Man. This is probably the species mentioned by Shakespeare in King Lear.
 * Golden samphire (Limbarda crithmoides) is a coastal species with yellow flowers that grows across Eurasia.
 * Several species in the genus Salicornia, known as "marsh samphire" in Britain.
 * Blutaparon vermiculare, Central America, southeastern North America
 * Tecticornia, Australia
 * Sarcocornia, cosmopolitan

Following the construction of the Channel Tunnel, the nature reserve created on new land near Folkestone made from excavated rock was named "Samphire Hoe".

Etymology
Originally "sampiere", a corruption of the French "Saint Pierre" (Saint Peter), samphire was named after the patron saint of fishermen because all of the original plants with its name grow in rocky salt-sprayed regions along the sea coast of northern Europe or in its coastal marsh areas. It is sometimes called rock samphire or seafennel. In North Wales, especially along the River Dee's marshes, it has long been known as sampkin.

Uses
Marsh samphire ashes were used to make soap and glass (hence its other old name in English, "glasswort") as it is a source of sodium carbonate, also known as soda ash. In the 14th century glassmakers located their workshops near regions where this plant grew, since it was so closely linked to their trade. Many samphires are edible. In England the leaves were gathered early in the year and pickled or eaten in salads with oil and vinegar. Marsh samphire (Salicornia bigelovii) was investigated as a potential biodiesel source that can be grown in coastal areas where conventional crops cannot be grown.

Rock samphire is another kind of samphire, also called sea fennel. It is mentioned by Shakespeare in King Lear:

"Half-way down Hangs one that gathers samphire; dreadful trade!"

This refers to the dangers involved in collecting rock samphire on sea cliffs.

Aboriginal Australians have long used samphire as bush tucker, due to its abundance, flavour, and nutritional value. It is high in Vitamin A and a good source of calcium and iron. Other Australians have recently discovered the potential of the species as a food plant and it has begun to appear on restaurant menus across the country.

A variety of rock samphire known as Paccasasso del Conero, or sea fennel, is well known in Italy along the Adriatic coast. This variety is typically used in local recipes such as a mortadella and paccasasso sandwich, pasta with mussels and paccasassi, or in fresh salad.

title: Samphire


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Talk:Samphire

Unclear which of the forms of Samphire
I have moved these sections here as its not clear which of the forms of Samphire they are describing. Lumos3 18:21, 16 July 2007 (UTC)

 * Medicinal uses
 * "Samphire" is known for its digestive and anti-flatulent properties. Culpepper wrote in the 17th century that samphire was useful in curing ailments relating to "ill digestions and obstructions," while being "very pleasant to taste and stomach." It also contains diuretic and depurative properties and is rich in iodine, phosphorus, calcium, silica, zinc, manganese and vitamins A, C and D. When pickled, it was often taken along by sailors on ocean voyages to combat scurvy.

 * Culinary uses
 * The crisp, salty, fleshy tender stalks of young "samphire", gathered in May or June, can be eaten raw, plain or with a vinaigrette, alone or in a salad with other ingredients. As the season progresses samphire becomes a bit bitter and it is better to blanch it. Just a few minutes in boiling water will remove its bitterness and excess salt. Sometimes called "poor man's asparagus," it is delicious when boiled and served on its own or sautéed in a pan with butter, garlic and parsley as an accompaniment to fish, red or white meats or poultry. It's also delicious made into soup with twice its weight in half-cooked potato, a little butter and pepper. Pickled samphire is excellent with cold fish and meats, charcuterie or raclette. It can also be used to flavor mustard, mayonnaise or vinegar.

Gathering Samphire from the Wild
I thought these references useful but am unsure if they belong in the article.

http://uktv.co.uk/food/ingredient/aid/509472

UK TV > Good Food Channel >

Samphire

There are two main types of samphire - marsh and rock - you can enjoy it at its prime from June to September.

Marsh samphire - Resembling miniature cacti, marsh samphire is sometimes sold in reputable fishmongers, but by far the best way to get hold of these hardy plants is to pick-your-own at low tide. Take along a pair of wellington boots - it's a muddy, but rewarding job. One of the best places to forage for samphire is on the Norfolk coast.

Rock samphire - A rare plant, related to parsley and fennel. It has an earlier season than marsh samphire, and is in season during spring, rather than summer. Aficionados swear by the superior flavour, but it's hard to find, and marsh samphire with its characteristic saltiness makes a fine alternative.

Related Recipes: 19

and

http://www.abc.net.au/tv/cookandchef/txt/s1721935.htm

Australia > ABC TV > The Cook and the Chef > Recipes >

Wednesday, 23 August 2006: Episode 29,

Recipe: Pan-Fried Marron with Samphire

Ingredients: Samphire (Samphire is the salt in this dish) If summer the Samphire may not need to be blanched. If winter blanch Samphire in boiling water for 3 minutes. Get some oil really hot in pan and put Samphire in. Toss until partially caramelised.

Samphire is a native succulent. Woody at the base and with many branches it grows freely on many of Southern Australia’s salty flats. Samphire is considered best for use in summer when the fleshy leaves are bright green and aromatic. In Winter the leaves turn a reddish/ pink but as Simon discovered there is still some green to be found at the base of the plants. Simon also finds that blanching winter samphire before cooking gives him the lovely, salty taste of the sea that he’s after for his dishes.
 * NOTE:

Samphire collection for food. (courtesy Dept Environment and Heritage SA)

• Samphire is native vegetation, and is protected by legislation, for example the Native Vegetation Act in South Australia.

• Tidal samphire wetlands are an important part of the coastal ecosystem; they provide a buffer against storm surges and other major coastal events. They also provide habitat for a large number of invertebrates (insects, spiders, snails etc) which in turn provide food for birds such as the White-fronted Chat. Samphire flats are important nesting habitat for wading birds like the Black-winged Stilt.

• Ask at your local Department for Environment and Heritage office, or equivalent, before collecting samphire, to find out if any permits are required.

• Make sure that you have the owner’s permission. If you are planning to collect on public land, like roadsides, National Parks or the coastal reserve, you will need a permit.

Ningyo Majo (talk) 21:59, 26 July 2009 (UTC)

Etymolgy
'Etymology'

My little girl tried it, misheard the name calling it "Sandfire"...could it be? — Preceding unsigned comment added by Kingy112 (talk • contribs) 18:59, 31 July 2011 (UTC)

Annuals???
Pretty sure not all of these species are annuals. — Preceding unsigned comment added by 160.111.254.17 (talk) 13:52, 11 March 2013 (UTC)

External links modified
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 * Added archive https://web.archive.org/20110726063846/http://www.gcrio.org/usiji/pdf/Mexico-3%203-04.pdf to http://www.gcrio.org/usiji/pdf/Mexico-3%203-04.pdf

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title: Talk:Samphire


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The People's Almanac

The People's Almanac is a series of three books compiled in 1975, 1978 and 1981 by David Wallechinsky and his father Irving Wallace.

In 1973, Wallechinsky became fed up with almanacs that regurgitated bare facts. He had the idea for a reference book to be read for pleasure; a book that would tell the often untold true tales of history. He worked alone for 12 months before being joined by his father for a further year of research. The People's Almanac was published by Doubleday in 1975 and became a best-seller. Its success led to The People's Almanac #2 in 1978 and The People's Almanac #3 in 1981, both published by William Morrow and Company.

One of the most popular chapters was a selection of lists, which spawned The Book of Lists.

The People's Almanac books depart from conventional almanacs (such as the World Almanac) by including many entertaining facts, lists and esoteric knowledge. Special sections include ones on natural and man-made disasters, "Footnote People in World History," biographies of fictional characters (such as Superman), past predictions by psychics—both correct and incorrect, and predictions for the years 1975 and on. Odd and unexplained happenings (such as the Devil's Footprints) are also discussed, though authoritative references are generally not given.

title: The People's Almanac


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Canyon Lake (Arizona)

Canyon Lake is one of four reservoirs that were formed by the damming of the Salt River in the U.S. state of Arizona as part of the Salt River Project. It was formed by the Mormon Flat Dam, which was completed in 1925 after two years of construction. Canyon Lake, with a surface area of 950 acre, is the third and smallest of the four lakes created along the river. Two others, Apache Lake and Roosevelt Lake, are upstream. The fourth, Saguaro Lake, is downstream.

Canyon Lake lies approximately 15 mi up the Apache Trail from Apache Junction, Arizona and 51 mi east of Phoenix. It is within the Superstition Wilderness of Tonto National Forest and is a popular recreation area for the Phoenix metropolitan area. Recreation amenities include hiking trails, camping, and boating, all managed by the United States Forest Service. Canyon Lake is a popular stop along the Apache Trail (Arizona State Route 88) from Apache Junction, Arizona, passing Tortilla Flat, Arizona, before reaching Apache Lake and Roosevelt Lake behind Theodore Roosevelt Dam.

In 2022, a fish kill caused by golden algae affected 100,000 fish.

Fish species

 * Rainbow Trout
 * Largemouth Bass
 * Smallmouth Bass
 * Yellow Bass
 * Crappie
 * Sunfish
 * Catfish (Channel)
 * Walleye
 * Carp

title: Canyon Lake (Arizona)


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User talk:SPOC

I suggest you change your userpage before someone does it for you. ✏ Oven Fresh ²  03:54, 12 Feb 2005 (UTC)

Hmmm, not much a welcome is it?

Spoc, firstly, welcome to wikipedia.

However, I must point out that you should be careful of what you write. The wikipedia has a strict NPOV policy, and you do not seem to be applying this in your edits. Flight 77, for instance, did crash into the Pentagon. Statements to the contrary are examples of conspiracy theories, which are not NPOV and do not have a place in the wikipedia (well, there is a rumours and misinformation page on Sepp 11 matters). Please do look out for this in future. Otherwise, you'll find yourself clashing with other users (all too easy on this site!). BTW, I'm not a sysop, so this is not an 'official' welcome, but I thought I'd give you one anyway. Arno 05:06, 19 Feb 2005 (UTC)

title: User talk:SPOC


text: Template:Milwaukee Metropolitan Area

title: Template:Milwaukee Metropolitan Area


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The History of a Crime

The History of a Crime (Histoire d'un crime, 1877) is an essay by Victor Hugo about Napoleon III's takeover of France.

title: The History of a Crime


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List of mayors of the Halifax Regional Municipality

This is a list of mayors of the Halifax Regional Municipality. Halifax's first Mayor, Walter Fitzgerald, was elected in 1996 after the municipality was created by amalgamation. The Mayor of Halifax holds the highest office in the municipal government of Halifax. The mayor is elected at large during municipal elections, held every four years, and is the head of the Halifax Regional Council.


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User:Adam Marx Squared

Welcome to my User page. I've been a Wikipedian since summer 2004. This account is actually somewhat younger than that, however; embarrassingly, I forgot the password for my old account, which was simply Adam Marx. I added to 'Squared' rather than make Adam Marx2 or whatnot, because alphanumeric usernames irritate me.

I am currently a secondary school student in the city of Kamloops, British Columbia. I speak the following languages, in order of descending fluency: English; Japanese; French; Latin; Klingon.

title: User:Adam Marx Squared


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User:Fr.Bryan

Wiki - A great disappointment

title: User:Fr.Bryan


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User:Adiel

My name is Adiel Mittmann. I am Brazilian, I was born in 1984, and I am currently undertaking research for my master's degree. For more details, please check my home page, which is also available in Portuguese.

el:Χρήστης:Adiel-mittmann pt:Usuário:Adiel la:Usor:Adiel

title: User:Adiel


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Ziploc

Ziploc is an American brand of reusable, re-sealable sliding channel storage bags and containers originally developed and test marketed by The Dow Chemical Company in 1968 and now produced by S. C. Johnson & Son.

The plastic bags and containers come in different sizes for use with different products. The brand offers sandwich bags, snack bags and other bags for various purposes.

History

In 1951, a company called Flexigrip, Inc. was formed to develop and market a plastic zipper by the same name. This zipper was based on a set of patents, which were purchased from their inventor, Borge Madsen. The initial products for the Flexigrip and other plastic zippers (such as the sliderless zippers (toptite) that were developed by Flexigrip) were looseleaf binder inserts and flat briefcases. Thereafter, the marketing efforts were directed at packaging products in plastic zipper bags, which turned out to be the principal market for the Flexigrip, Inc. products. In 1961, Flexigrip, Inc. obtained from a Japanese company, Seisan Nippon Sha, who invented the Minigrip-type plastic zipper bag, exclusive manufacturing and selling rights for the United States, based on a series of plastic zipper Seisan patents. A company by the same name was formed to produce and market Minigrip bags. In or about 1964, Minigrip, Inc. negotiated an exclusive license for the grocery trade (supermarkets) with Dow Chemical Company for the Minigrip product. It turned out to be enormously successful.

At that time, plastic bags were being produced in 25 countries at a line speed of 30 feet per minute, but none were being sold to consumers because they were too expensive to produce. Dow assigned one of their inventors, R. Douglas Behr, to develop a high-speed, efficient process. Having little prior experience in plastics, the task was daunting for Behr but he surpassed everyone in the world within a year. As he improved the process and increased line speeds to 60, then 90, then 150 and finally 300 feet per minute in 1972, he had to design new equipment. Some were patented and some were kept as trade secrets by Dow. Eventually, other research and production personnel, such as lab technician William Shrum and others, contributed to the process development, but Behr continued to be the leading researcher until he retired in 1993 as a senior associate scientist. At that time the research building was "Dedicated in Recognition of the Distinguished Career of R. Douglas Behr".

In 1978, Minigrip was acquired by Signode, Inc. and became a subsidiary of that company. In 1986, Signode and Dow formed a company, namely Zippak, to develop zipper bags for food products. In 1987, ITW acquired Signode, and Minigrip became a subsidiary of ITW. In 1991, ITW acquired Dow's interest in Zippak so that Zippak became a fully owned subsidiary of ITW. Zippak produces plastic zippers for the food packaging market. From the time of inception till today, Flexigrip/Minigrip/Zippak/Dow/Dow Brands have obtained over 300 patents for plastic zippers, zipper bags, and methods and machinery of producing the same. In 1997, Dow Chemical sold the rights of DowBrands, which included Ziploc, to S. C. Johnson for between $1.3 and $1.7 billion. Zip-Pak developed Polypropylene compatible zippers in 2003.

Among Ziploc and Zippak's competitors are Presto, a subsidiary of Reynolds, and Pactiv. In 1995, Hefty, one of Reynolds' holdings, came out with a sliding zipper bag.

Products
Ziploc has expanded their products to more than just sandwich bags. Ziploc products now vary from freezer bags to twist n' loc containers. They have expandable bottom bags which stand on their own. They also have big bags. These bags are used for non-food storage and are as big as 2 ft by 2.7 ft (0.61 m × 0.82 m). The zip n' steam bags are used to cook food in the microwave. The flexible totes made by Ziploc are used for non-food storage and are as big as 22 usgal. Recently, Ziploc has made an evolved line of sandwich and storage bags. All the bags in this line are made with 25% less plastic and are manufactured using wind power. The Ziploc Evolve sandwich bag was so successful that it was deemed the "Best in Show" at the 2010 Best New Product Awards in Canada.

Advertising
S. C. Johnson and Son uses written, online, interactive, and televised commercial advertising for their product Ziploc. The advertisements run in: Brazil, Germany, Thailand, The United States and many other countries. Ziploc's head of marketing is Scott Heim who handles their multimillion-dollar advertisement campaigns. In 2002, S. C. Johnson & Son launched its biggest campaign in history, a $50 million-plus campaign to launch a new line of disposable tableware/storage products to be marketed under the Ziploc brand name. S. C. Johnson tends to focus their campaigns in the direction of Television commercials. In the 2002 campaign, $35 million was devoted to a TV campaign. In 2015, they created an ad campaign with Tough Mudder to advertise towards mothers via an obstacle course.

Manufacturing
The manufacturing of Ziploc bags varies among different products. The regulation Ziploc storage and freezer bag is made from polyethylene plastic.

Competition
Ziploc faces strong competition from such competitors as Glad, Hefty, and many privately owned, generic, store brand plastic bags and containers. As Jules Rose, chairman of Sloan's Supermarkets Inc. in New York City, states: "This is a highly competitive market with a lot of players and unusually strong private label sales." In 1992, Ziploc was faced with sudden competition from the booming sales of arch-rival First Brands Corporation's Glad-Lock bag. Glad Lock bags jumped 13.1% in 12 weeks in the end of 1992, giving Glad-Lock an 18.4% share of the market compared to Ziploc's 43% share.

title: Ziploc


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Chapu

Chapu may refer to:

Geography

 * Chapu, Iran, a village in West Azerbaijan Province, Iran
 * Zhapu, formerly romanized as Chapu, a seaport in China

People

 * Henri Chapu (1833–1891), French sculptor
 * Andrés Nocioni (born 1979), Philadelphia 76ers forward nicknamed "Chapu"
 * Chapu (entertainer), stage name of Chilean entertainer Francisco Javier Puelles Gana (born 1984)

Other uses

 * Chapo (beverage), Peruvian beverage made from boiled plantain with cinnamon and clove
 * Battle of Chapu, fought between British and Chinese forces in Chapu (Zhapu), China, in 1842 during the First Opium War

title: Chapu


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Castlebridge

Castlebridge is a small town on the R741 regional road in County Wexford, Ireland, around 5 km north of Wexford Town. It is located near the River Slaney and just north of Wexford Harbour. Castlebridge is a rapidly expanding suburb of Wexford Town; its population has almost tripled in 20 years, increasing from 783 in 1996 to a population of 1,840 in 2016.

History
The namesake castle, that originally stood in the town, was dismantled to build buildings such as the Church of Ireland church, which is one of the oldest buildings in Castlebridge. The river that flows through Castlebridge is, contrary to popular belief, actually a canal that replaced the original river. It was dug out by hand to allow sailing cots that loaded up in the various docks of Castlebridge to get to Wexford Town more quickly.

Fr James Dixon, the first Catholic priest permitted to minister in Australia, was born in Castlebridge in 1758.

Guinness Book of Records
Castlebridge is the founding place of the Guinness Book of World Records. On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. He became involved in an argument over which was the fastest game bird in Europe, the golden plover or the red grouse (the former being correct). That evening at Castlebridge House, he realised that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must be numerous other questions debated nightly in pubs throughout Ireland, but there was no book in the world with which to settle arguments about records. He realised then that a book supplying the answers to this sort of question might prove popular.

In 2019, Diageo and the Pattison Group, who own the rights to the Guinness Book of Records, were described as being "really taken" with Castlebridge House, which has been left derelict, with feasibility studies now in operation by Wexford County Council amid interest by Diageo and the Pattison Group to assess the damage and plan for its eventual restoration, which, in collaboration with Diageo and the Pattison Group, is hoped to become a tourist attraction for the home of the Guinness Book of Records. This was further emphasised by the commencement of the first annual Castlebridge Record Makers Family Fun Festival in 2019, with exhibits on the history of the book and its importance to Castlebridge.

Public transport
Wexford Bus operate an hourly service, route 877 "The Bridge Loop", to/from Wexford since February 2019 Mondays to Saturdays inclusive. Bus Éireann route 379 (Wexford - Gorey via Kilmuckridge and Courtown) serves Castlebridge on Mondays and Saturdays whereas route 380 (Wexford-Crossabeg-Wexford) serves Castlebridge on Fridays.

Sport
The centre of Castlebridge contains a 60x30 foot handball alley. The handball club has produced a number of county and Irish champions and members have competed at World Championships in the United States. Nearby, opposite the Old School (now Castlebridge Community Centre), is the local soccer club, Bridge Rovers FC.

Patrick Breen, who lived in Castlebridge but was originally from Bannow in the south of the county, was the first Wexford person to become President of the Gaelic Athletic Association from 1924 until 1926. He was one of only two Wexford people who headed the Gaelic Athletic Association. He also founded the Irish Handball Council and the past pupils union of St. Peters College. He is buried in Castlebridge cemetery.

Community
Community groups situated in the area include the Castlebridge Gospel Choir, which was founded in 2003. Local businesses include the Porter House, which was named 'Pub of the Year' in 2017, which has since closed down, several fast food restaurants, a local Londis supermarket, a furniture shop, antiques store and post office.

title: Castlebridge


text:
Wikipedia:Articles for deletion/Gollywobble

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Joyous 18:25, Feb 20, 2005 (UTC)

Gollywobble
A Google search turns up 22 results, and none of them have anything to do with the Wikipedia entry. -- Cabhan 04:08, 12 Feb 2005 (UTC)

 * Delete A neologism  derived from "Collywobble." Not encyclopedic. --Wetman 04:11, 12 Feb 2005 (UTC)
 * Delete, Inter 10:23, 12 Feb 2005 (UTC)
 * Delete - not widely used enough Radiant! 10:24, 12 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.