Plot.

Bart and Milhouse torment a tourist named Howell Huser (a parody of television personality Huell Howser), who is then chased out of town by bullies Dolph, Jimbo, and Kearney. Huser is later revealed to be a media personality, and he appears on a network's morning television show warning tourists against visiting Springfield, causing the Springfield tourism business to collapse. Mayor Quimby holds an emergency meeting at the town hall to solve the problem, and after many senseless suggestions, Lisa suggests that Springfield legalize same-sex marriage to entice visitors to their town. All of Springfield happily agrees with Lisa's idea, and the town makes a commercial that is broadcast throughout America, convincing hundreds of homosexual couples to come to Springfield. However, Reverend Lovejoy insists that the Bible forbids same-sex marriage and refuses to marry any gay couples. Homer, upong learning that ministers are paid $200 per couple, abandons his own opposition to the process and becomes a minister himself with help from the online "e-Piscopal" Church, whereupon he marries every gay couple in town.  Meanwhile, at the Simpson family's home, Patty comes out as a lesbian, saying that she is in love with a pro golfer named Veronica and asking Homer to marry them. While Homer accepts Patty's sexuality (briefly improving their relationship), an uncomfortable Marge reprimands her for having not told their family and insists that Patty marry a man. Patty is angered and calls Marge out for being a hypocrite in acting liberal about the issues, pointing out that she can not accept their family's sexuality for what it is. Before the wedding, Marge accidentally discovers Veronica is actually male. She decides to keep quiet about it since Patty will be marrying a man. During the ceremony, however, Marge is so moved by Patty's heartfelt declaration of love for Veronica that she reveals Veronica's true gender. "Veronica" explains that as the straight Leslie Robin Swisher, he posed as a woman to get onto the LPGA golf tour. He then asks Patty if she will still marry him, but she declines. Afterwards, Marge reconciles with Patty after telling her that she has learned a lesson and has accepted the fact that Patty is a lesbian. In a meta-reference to the show's tendency to episodically return to "status quo ante", Lisa notes that this is the end of Homer's wedding business, and Bart asks, "Why?"  Patty and her other sister, Selma, then go to leave a bag at the airport unattended, as a way to meet security personnel they can date.

Production.

"There's Something About Marrying" was written by co-executive producer J. Stewart Burns and directed by Nancy Kruse as part of the sixteenth season of "The Simpsons". Work on the episode started in March 2004, after the 2004 San Francisco same-sex weddings, a period during February 2004 when the city was issuing marriage licenses to same-sex couples. This served as the "Simpsons" staff's inspiration for "There's Something About Marrying". The plot point where Springfield tries to increase tourism by marketing towards the LGBT community also had a basis in reality. An example is Fort Lauderdale, which became a popular tourist destination for gays and lesbians in the mid-2000s. Executive producer Al Jean said they were interested in doing the episode because they could explore the various characters' different positions on gay marriage while remaining neutral. "Lisa thinks it's good for civil rights. The reverend of the local Protestant church is opposed to it. Other people think tourists will come to town. Mayor Quimby wants the money. We don't take a position as much as explore everybody's positions," he commented.  Matt Groening, the creator of "The Simpsons", stated that the staff wanted to out Patty as gay because portraying her as a "love-starved spinster [...] seemed old" on the show. There had previously been hints about Patty's orientation. For example, in the season thirteen episode "Jaws Wired Shut" she is part of the Springfield Gay Pride Parade's "stayin' in the closet" float, though only her voice was heard and she was not seen.

Themes and analysis.

The episode's plotline revolves around homosexuality—the third time for "The Simpsons". The first was season eight's "Homer's Phobia", and the second was "Three Gays of the Condo" from season fourteen, both of which won Primetime Emmy Awards for Outstanding Animated Program. This time it centered on the right for homosexuals to get married and the coming-out of a character. In the episode, Homer is shown as being tolerant with homosexuality, whereas in "Homer's Phobia" he is portrayed as being strongly homophobic. In that episode, the Simpson family gets a new friend that Homer dissociates himself from after finding out that he is gay. He also fears that the friend will have a negative influence on Bart and decides to ensure Bart's heterosexuality by taking him to do manly things such as hunting. As James Delingpole of "The Daily Telegraph" writes, it was first after "Homer's Phobia" that Homer began to be portrayed as enlightened about homosexuality. Marge, on the other hand, who had previously been portrayed as supportive of gay people on the show, is seen as disapproving of her sister's sexual orientation.  According to the publications "Zeek: A Jewish Journal of Thought and Culture" and "Value War: Public Opinion and the Politics of Gay Rights", it was the controversial lesbian outing of the main character (played by Ellen DeGeneres) in the sitcom "Ellen" in 1997 that paved the way for Patty's coming-out in this episode, as well as for many other gay characters on other television shows. In his book "Queers in American Popular Culture", Jim Elledge noted that unlike many episodes of "The Simpsons" that go through a situation and then everything returns to normal during the ending, this one does not. He commented that the staff of the show could have made Patty heterosexual again at the end of the episode and leave it how it was before by having her marry Leslie. Instead, they ended it in a way that could potentially be experienced as distasteful to the heteronormative audience by having Patty exclaim "Hell no! I like girls!" to Leslie's marriage proposal. The author also noted that it is possible the "Simpsons" staff chose Patty to come out as gay instead of a male character because lesbians were "traditionally considered more acceptable" on television. She did, however, not "adhere to the eroticized male lesbian fantasy or fit into the loveable, asexual guise of the comedy lesbian" that had previously been seen on shows such as "Ellen". Instead, Patty is "rude, crude, and not ashamed of declaring her sexual preferences", and this could make her unpalatable to some viewers according to Elledge.  Around the episode's original broadcast in early 2005, the same-sex marriage question was one of the hottest political issues in America. It had been an especially hot topic during the then-recent presidential election in the United States. Marty Kaplan, a professor at Annenberg School for Communication and radio host on Air America Radio, commented that the episode is telling "those who demonize homosexuality, or what [these people] call the homosexual agenda," anything from "lighten up" to "get out of town". This was not the first time that an episode of the show had brought up a current issue. Writing in an article about "There's Something About Marrying" for "The New York Times", Sharon Waxman said that "as television's longest-running situation comedy, "The Simpsons" is no stranger to hot-button social, religious and political issues, mocking wardrobe malfunctions, Hollywood liberals and born-again Christians, among other targets."

Speculation, publicity and broadcast.

"There's Something About Marrying" was originally broadcast on February 20, 2005 in the United States. It was reported a long time in advance of the episode's airing that a major character would come out as gay during the episode. At the Comic-Con convention in July 2004, Al Jean revealed: "We have a show where, to raise money, Springfield legalizes gay marriage. Homer becomes a minister by going on the internet and filling out a form. A long-time character comes out of the closet, but I'm not saying who." This led to much media speculation and publicity in the press for the episode. The last such "mystery Simpsons storyline", as BBC News called it, occurred with the "Alone Again, Natura-Diddily" episode in which it was announced prior to the broadcast that a character would be killed in the episode, leading to weeks of speculation before the revelation that it was Maude Flanders.  There was a widespread debate among fans of the series as to who the character coming out of the closet would be, also similar to how they years earlier debated who shot the character Mr. Burns. Matt Groening joked at the Comic-Con convention that "it's Homer". Many fans correctly guessed that it would be one of Homer's sisters-in-law, either Patty or Selma, while others believed it to be Waylon Smithers. It had for a long time been hinted on the show that the Smithers character was gay and in love with his boss Mr. Burns. However, as "The Baltimore Sun" writes, it would have been unlikely for Smithers to be the outed character because it would not have been a surprise to fans, and his love for his heterosexual boss would prevent him from marrying another person. Patty was suspected by fans and the press because she had not often been seen dating men on the show. The tabloid newspaper "The Sun" revealed already in September 2004 that the character who would come out was Patty, though this was regarded as a rumor and Jean would not confirm it. Bookmakers in the United States and the United Kingdom took bets on which character would be uncovered as homosexual, and if there would be a kiss featured in the episode—BetUS laid odds at four to five that it was Patty, while Smithers had four to one odds and Ned Flanders fifteen to one odds. A kiss was given odds of seven to five. BetUS said gamblers made more than 900 bets on the coming-out on their website. According to "The Baltimore Sun", another betting site named PaddyPower.com "stopped taking wagers because so much money was being placed on [Patty]." Jean told "The Advocate" that he thought it was "an insane thing for someone to take bets on a result that can be determined by other people", referring to the "Simpsons" staff, "and could be changed by them at the last minute."  The episode was heavily promoted and hyped, with some sources calling it "much anticipated" and "long-awaited". In addition to the publicity about the coming-out of a character, "There's Something About Marrying" was discussed a lot in the media before its airing because of its gay marriage theme. The entertainment website MovieWeb predicted in October 2004 that the episode would become controversial when it aired because of the large children audience and "also because it comes at a time when many states are seeking to ban same-sex wedding ceremonies." According to Knight Ridder, "some conservative groups [...] growled in advance over the episode", but most pre-broadcast publicity was directed at the outing. Mark Pinsky, on the other hand, wrote in his book "The Gospel According to The Simpsons" that when the announcement that an episode of the show would focus on gay marriage was made, "it stoked a debate that few issues and few television shows could." Before its original airing, Pinsky was interviewed about the episode on ABC's "World News Tonight", CNN, BBC Radio, and more, as the author of a book on religion in "The Simpsons".  The Fox network, which airs "The Simpsons", chose to begin the episode with a Parental Advisory warning stating that it "contains discussions of same-sex marriage" and that "parental discretion is advised." This was a first for the show, which had not received parental advisories before even when dealing with themes such as drug use, gambling addictions, theft, crime, and violence. A warning similar to the one displayed at the beginning of this episode was used in front of the gay-themed "The Puppy Episode" of the "Ellen" series. The buzz "There's Something About Marrying" had received attracted a lot of viewers to its broadcast, and therefore the Fox network chose to air it during the ratings sweeps. The episode was watched by 10.5 million people in the United States, making it the highest-rated episode of the sixteenth season of "The Simpsons". It was up by two million from the season's average rating.

Reception.

"There's Something About Marrying" featured the first appearance of an animated same-sex marriage on network television. Television columnist Ray Richmond wrote that the episode was a cultural milestone for "The Simpsons" and that the "issue [of gay marriage] was mainstream to some degree, but now that [the staff has] deigned it worthy of the show it is interwoven into the popular culture. "The Simpsons" bestowed upon something a pop culture status it never had before, simply by being ripe for a joke." John Kenneth White, author of the book "Barack Obama's America", similarly called "There's Something About Marrying" a cultural barrier breaker. The episode, dealing with "one of the most divisive issues in American society" according to "The New York Times", became a subject of controversy after its broadcast. The authors of "The Marriage and Family Experience" called it "one of the more controversial episodes of a frequently controversial cartoon." Several conservative groups and American Christian conservatives thought it was promoting same-sex marriage. Parents Television Council president L. Brent Bozell III criticized "There's Something About Marrying" for bringing up the issue. Even though he had not seen the episode himself, he commented that "at a time when the public mood is overwhelmingly against gay marriage, any show that promotes gay marriage is deliberately bucking the public mood." A researcher for the American Family Association, named Ed Vitagliano, claimed the presentation of same-sex marriage in the episode was "very one-sided". He said that this episode proved "Hollywood's blatant pro-homosexual bias" because despite "The Simpsons" being "generally kind of a wacky animated program" it was not neutral on the issue. Bozell also worried about the influence the episode would have on children, despite the parental discretion advisory at the beginning, commenting: "You've got a show watched by millions of children. Do children need to have gay marriage thrust in their faces as an issue? Why can't we just entertain them?" Similarly, Vitagliano said that many children watch "The Simpsons" and Hollywood "will pull out all the stops to promote same-sex marriage — and children will be influenced by it."  Mark Washburn of Knight Ridder wrote that at the time of the episode's broadcast, most Americans were accustomed to seeing homosexual characters on television. He said this is why Patty's coming-out did not become as controversial as the episode's examination of the same-sex marriage issue, which was more sensitive in the country then. The controversy became so big that local news programs in certain cities aired segments about it. In response to the claims that this episode was supporting gay marriage, Al Jean replied that "we don't really take any positions for or against anything, we just like to examine all sides of an issue and I think that anyone who would get their political wisdom from a cartoon might be sadly mistaken." Likewise, Mark Pinsky writes in "The Gospel According to The Simpsons" that once the episode ended, it was hard to tell what stance on same-sex marriage the writers had and that "both sides of the controversy had their say, voiced by various "Simpsons" characters". Jean has also cited the episode in defense to critics who say "The Simpsons" has lost its relevance and edginess in later years. In his book "", John Ortved responded to this, commenting that despite the controversies the episode was "in fact a long-winded and lame exploration of the topic."  "There's Something About Marrying" was met with positive reception as well, particularly from gay rights groups. The Gay & Lesbian Alliance Against Defamation (GLAAD) was welcoming of the episode, calling it "a ray of light". GLAAD executive director Joan Garry enjoyed seeing Marge's transformation, from having ambivalent feelings for her sister to then supporting her. He commented that "when Marge learns that Patty's about to marry someone who isn't really a lesbian, she comes to realize that what her sister really deserves is to be in love with and married to a person who's right for her. If millions of "Simpsons" viewers came away from last night's episode with that little bit of moral truth, it was time well spent." AfterEllen.com's David Kennerley approved of the willingness of a "hit network TV show in prime time, watched by children and adults" to "serve up such a politically charged issue". Rick Garcia, an activist of the gay rights group Equality Illinois, said to the "Chicago Tribune" that the episode would likely affect society in a positive way because of the iconic status of the show which "shape[s] our attitudes". Unlike many of the conservative groups, Kennerley noted that "in the show's tradition of equal-opportunity lampooning, the message is not all pro-gay. Irksome lesbian stereotypes abound, and Nelson the bully suggests they 'legalize gay funerals.' And naturally, Reverend Lovejoy shutters his church to the same-sex sinners." According to "Simpsons" writer Mike Reiss, the episode also had supporters among conservative groups. He told "Encore" magazine that "gay people came out very much in favor of it and were happy with the episode, but arch conservatives and right-wing Christians loved the episode, too, because they seemed to think we were making fun of gay people. We really had it both ways."  Kennerley further wrote that "based on this episode, [...] "The Simpsons" is in top form. It still reigns as the funniest, brashest, fastest-paced half-hour you'll see on television." Bill Gibron of PopMatters also thought the episode was funny, commenting that it "explored the often-cited'slippery slope' of allowing matrimony to be defined outside the parameters of a man and a woman—with hilarious results." In regards to the revelation that Patty was gay, "The A.V. Club" wrote that it "wasn't particularly earth-shattering" but that Marge's initial reaction provided a good twist to the episode. J. Stewart Burns received a Writers Guild of America Award nomination in the animation category for his work on "There's Something About Marrying", although he lost the award to another "Simpsons" writer.

"There's Something About Marrying" is the tenth episode of the sixteenth season of "The Simpsons". In the episode, Springfield legalizes same-sex marriage to increase tourism. After becoming a minister, Homer starts to wed people to make money. Meanwhile, Marge's sister Patty comes out as a lesbian and reveals that she is going to marry a woman named Veronica. Marge originally disapproves of this, making Patty frustrated. When Marge accidentally discovers that Veronica is a man cross-dressed as a woman, she decides to keep quiet about it knowing that Patty will be marrying a man. However, at the ceremony, she is so moved by Patty's vow that she is forced to reveal Veronica's secret. After the ceremony is abruptly cancelled, Marge tells Patty that she now accepts her sexuality.

Mariage à tout prix (France) ou Le mariage a un je-ne-sais-quoi (Québec) ("") est le de la saison 16 de la série télévisée d'animation "Les Simpson".


Characters.

"The English"

Synopsis.

The play begins with the funeral of Henry V, who has died unexpectedly in his prime. As his brothers, the Dukes of Bedford and Gloucester, and his uncle, the Duke of Exeter, lament his passing and express doubt as to whether his son (the as yet uncrowned heir apparent Henry VI) is capable of running the country in such tumultuous times, word arrives of military setbacks in France. A rebellion, led by the Dauphin Charles, is gaining momentum, and several major towns have already been lost. Additionally, Lord Talbot, Constable of France, has been captured. Realising a critical time is at hand, Bedford immediately prepares himself to head to France and take command of the army, Gloucester remains in charge in England, and Exeter sets out to prepare young Henry for his forthcoming coronation.  Meanwhile, in Orléans, the English army is laying siege to Charles' forces. Inside the city, the Bastard of Orléans approaches Charles and tells him of a young woman who claims to have seen visions and knows how to defeat the English. Charles summons the woman, Joan la Pucelle (i.e. Joan of Arc). To test her resolve, he challenges her to single combat. Upon her victory, he immediately places her in command of the army. Outside the city, the newly arrived Bedford negotiates the release of Talbot, but immediately, Joan launches an attack. The French forces win, forcing the English back, but Talbot and Bedford engineer a sneak attack on the city, and gain a foothold within the walls, causing the French leaders to flee.  Back in England, a petty quarrel between Richard Plantagenet and the Duke of Somerset has expanded to involve the whole court. Richard and Somerset ask their fellow nobles to pledge allegiance to one of them, and as such the lords select either red or white roses to indicate the side they are on. Richard then goes to see his uncle, Edmund Mortimer, imprisoned in the Tower of London. Mortimer tells Richard the history of their family's conflict with the king's family—how

Sources.

Shakespeare's primary source for "1 Henry VI" was Edward Hall's "The Union of the Two Noble and Illustre Families of Lancaster and York" (1548). Also, as with most of Shakespeare's chronicle histories, Raphael Holinshed's "Chronicles of England, Scotland and Ireland" (1577; 2nd edition 1587) was also consulted. Holinshed based much of his Wars of the Roses information in the "Chronicles" on Hall's information in "Union of the Two Noble and Illustre Families", even to the point of reproducing large portions of it verbatim. However, there are enough differences between Hall and Holinshed to establish that Shakespeare must have consulted both of them.  For example, Shakespeare must have used Hall for the scene where Gloucester is attempting to gain access to the Tower, and Woodville tells him that the order not to admit anyone came from Winchester. Dismayed, Gloucester refers to Winchester as "that haughty prelate,/Whom Henry, our late sovereign, ne're could brook" (1.3.23–24). Only in Hall is there any indication that Henry V had a problem with Winchester. In Holinshed, there is nothing to suggest any disagreement or conflict between them. Another example of Shakespeare's use of Hall is found when Sir Thomas Gargrave is injured by the artillery strike at Orléans (1.5). In the play, he dies immediately, and the rest of the scene focuses on the death of the more senior soldier Salisbury. Likewise, in Hall, Gargrave dies immediately after the attack. In Holinshed, however, Gargrave takes two days to die (as he did in reality). The semi-comic scene where the French leaders are forced to flee

Date and text.

Date.

The most important evidence for dating "1 Henry VI" is the "Diary of Philip Henslowe", which records a performance of a play by Lord Strange's Men called "Harey Vj" (i.e. "Henry VI") on 3 March 1592 at the Rose Theatre in Southwark. Henslowe refers to the play as "ne" (which most critics take to mean "new", although it could be an abbreviation for the Newington Butts theatre, which Henslow may have owned) and mentions that it had fifteen performances and earned £3.16s.8d, meaning it was extremely successful. "Harey Vj" is usually accepted as being "1 Henry VI" for a couple of reasons. Firstly, it is unlikely to have been either "2 Henry VI" or "3 Henry VI", as they were published in 1594 and 1595, respectively, with the titles under which they would have originally been performed, so as to ensure higher sales. As neither of them appear under the title "Harey Vj", the play seen by Henslowe is unlikely to be either of them. Additionally, as Gary Taylor points out, Henslowe tended to identify sequels, but not first parts, to which he referred by the general title. As such, ""Harey Vj" could not be a "Part Two" or "Part Three" but could easily be a "Part One"." The only other option is that "Harey Vj" is a now lost play.  That "Harey Vj" is "not" a lost play, however, seems to be confirmed by a reference

Text.

The text of the play was not published until the 1623 "First Folio", under the title "The first part of Henry the Sixt".  When it came to be called

Analysis and criticism.

Critical history.

Some critics argue that the "Henry VI" trilogy were the first plays based on recent English history, and, as such, they deserve an elevated position in the canon and a more central role in Shakespearean criticism. According to F. P. Wilson, for example, "There is no certain evidence that any dramatist before the defeat of the Spanish Armada in 1588 dared to put upon the public stage a play based upon English history [...] so far as we know, Shakespeare was the first." However, not all critics agree with Wilson here. For example, Michael Taylor argues that there were at least thirty-nine history plays prior to 1592, including the two-part Christopher Marlowe play "Tamburlaine" (1587), Thomas Lodge's "The Wounds of Civil War" (1588), the anonymous "The Troublesome Reign of King John" (1588), "Edmund Ironside" (1590 – also anonymous), Robert Green's "Selimus" (1591) and another anonymous play, "The True Tragedy of Richard III" (1591). Paola Pugliatti however argues that the case may be somewhere between Wilson and Taylor's argument: "Shakespeare may not have been the first to bring English history before the audience of a public playhouse, but he was certainly the first to treat it in the manner of a mature historian rather than in the manner of a worshipper of historical, political and religious myth."  Another issue often discussed amongst critics is the quality of the play. Along with "3 Henry VI", "1 Henry VI" has traditionally been seen as one of Shakespeare's weakest works, with critics often citing the amount of violence as indicative of Shakespeare's artistic immaturity and inability to handle his chronicle sources, especially when compared to the more nuanced and far less violent second historical tetralogy ("Richard II", "1 Henry IV", "2 Henry IV" and "Henry V"). For example, critics such as E. M. W. Tillyard, Irving Ribner and A. P. Rossiter have all claimed that the play violates neoclassical

Language.

The very functioning of language itself is literally a theme in the play, with particular emphasis placed on its ability to represent by means of signs (semiosis), the power of language to sway, the aggressive potential of language, the failure of language to adequately describe reality and the manipulation of language so as to hide the truth.  The persuasive power of language is first alluded to by Charles, who tells Joan after she has assured him she can end the siege of Orléans, "Thou hast astonished me with thy high terms" (1.2.93). This sense is repeated when the Countess of Auvergne is wondering about Talbot and says to her servant, "Great is the rumour of this dreadful knight,/And his achievements of no less account./Fain would mine eyes be witness with mine ears,/To give their censure of these rare reports" (2.3.7–10). Like Charles, Auvergne has been astonished with the 'high terms' bestowed on Talbot, and now she wishes to see if the report and the reality conflate. Later in the play, the persuasive power of language becomes important for Joan, as she uses it as a subterfuge to sneak into Rouen, telling her men, "Be wary how you place your words;/Talk

Themes.

Death of chivalry.

A fundamental theme in the play is the death of chivalry, "the decline of England's empire over France and the accompanying decay of the ideas of feudalism that had sustained the order of the realm." This is specifically manifested in the character of Talbot, the symbol of a dying breed of men honourably and selflessly devoted to the good of England, whose methods and style of leadership represent the last dying remnants of a now outmoded, feudal gallantry. As such, Michael Taylor refers to him as "the representative of a chivalry that was fast decaying," whilst Michael Hattaway sees him as "a figure for the nostalgia that suffuses the play, a dream of simple chivalric "virtus" like that enacted every year at Elizabeth's Accession Day tilts, a dream of true empire. He is designed to appeal to a popular audience, and his death scene where he calls for troops who do not appear is yet another demonstration of the destructiveness of aristocratic factionalism."  One of the clearest examples of Talbot's adherence to the codes

Patriotism.

Hand-in-hand with the examination of chivalry with which the play engages is an examination of patriotism. Indeed, some critics argue that patriotism provided the impetus for the play in the first place. England defeated the Spanish Armada in 1588, leading to a short-lived period of international confidence and patriotic pride—but by 1590, the national mood was one of despondency, and as such, "1 Henry VI" may have been commissioned to help dispel this mood: "The patriotic emotions to which this play shamelessly appeals resonate at an especially fragile time politically speaking. Frightening memories of the 1588 Spanish Armada, or of the Babington Plot of 1586, which led to the execution of Mary, Queen of Scots; concerns over a noticeably declining and still unmarried Queen Elizabeth; worries over Catholic recusancy; fear of military involvement in Europe, and, just as disquietingly, in Ireland, combine to make a patriotic response a matter of some urgency. [The play] is a bracing attempt to stiffen the sinews of the English in a time of danger and deceit."  Evidence of this is seen throughout. For example, the English seem vastly outnumbered in every battle, yet they never give up, and often they prove victorious.

Saintly vs. demonic.

Demons, spirits, witches, saints and God are all mentioned on numerous occasions within the play, often relating directly to Joan, who is presented as "a fascinating mixture of saint, witch, naïve girl, clever woman, audacious warrior and sensual tart." The English continually refer to her as a witch and a whore, the French as a saint and a saviour, and the play itself seems to waver between these two poles: "Joan first appears in a state of beatitude, patient, serene, the "Divinest creature" of Charles' adoration, the object of the Virgin Mary's miraculous intercession, chosen by her to rescue France, and so made beautiful, courageous and wise [...] on the other hand, and virtually at the same time, she's clearly an early combination of the demonic, the Machiavellian, and the Marlovian."  Joan is introduced into the play by the Bastard, who, even before anyone has seen or met her, says, "A holy maid hither with me I bring" (1.2.51). Later, after Joan has helped the French lift the siege of Orléans, Charles declares, "No longer on Saint Denis will we cry, but Joan la Pucelle shall be France's saint" (1.7.28–30). Similarly, when Joan reveals her plan to turn Burgundy against the English, Alençon declares, "We'll set thy statue in some holy place/And have thee reverenced like a blessed saint" (3.3.14–15).  On the other hand, however, the English see her as a demon. Prior to her combat with Talbot, he exclaims, "Devil or devil's dam, I'll conjure thee./Blood will I draw on thee – thou art a witch –/And straightway give thy soul to him thou serv'st" (1.6.5–7). Then, after the fight, he says, "My thoughts are whirl'd like a potter's wheel./I know not where I am nor what I do./A witch, by fear, not force, like Hannibal,/Drives back our troops and conquers as she lists" (1.6.19–22). Upon arriving in France, Bedford condemns Charles for aligning himself with Joan: "How much he wrongs his fame,/Despairing of his own arms' fortitude,/To join with witches and the help of hell" (2.1.16–18). Talbot responds to this with, "Well, let them practice and converse with spirits./God is our fortress" (2.1.25–26). Later, Talbot refers to her as "Pucelle, that witch, that damn'd sorceress" (3.2.37) and "Foul fiend of France, and hag of all despite" (3.2.51), declaring "I speak not to that railing Hecate" (3.2.64). Prior to executing her, York also calls her a "Fell banning hag" (5.2.42).  Joan herself addresses this issue as she is about to be executed: First let me tell you whom you have condemned: Not me begotten of a shepherd swain, But issued from the progeny of kings; Virtuous and holy, chosen from above By inspiration of celestial grace To work exceeding miracles on earth. I never had to do with wicked spirits; But you, that are polluted with your lusts, Stained with the guiltless blood of

Performance.

After the original 1592 performances, the complete text of "1 Henry VI" seems to have been rarely acted. The first definite performance after Shakespeare's day was on 13 March 1738 at Covent Garden, in what seems to have been a stand-alone performance, as there is no record of a performance of either "2 Henry VI" or "3 Henry VI". The next certain performance in England didn't occur until 1906, when F.R. Benson presented the play at the Shakespeare Memorial Theatre in a production of Shakespeare's two tetralogies, performed over eight nights. As far as can be ascertained, this was not only the first performance of the octology, but was also the first definite performance of both the tetralogy and the trilogy. Benson himself played Henry and his wife, Constance Benson, played Margaret.  In 1953, Douglas Seale directed a production of "1 Henry VI" at the Birmingham Repertory Theatre, following successful productions of "2 Henry VI" in 1951 and "3 Henry VI" in 1952. All three plays starred Paul Daneman as Henry and Rosalind Boxall as Margaret, with "1 Henry VI" featuring Derek Godfrey as Talbot and Judi Dench as Joan.  A 1977 production at the Royal Shakespeare Theatre made much of its unedited status. Terry Hands presented all three "Henry VI" plays with Alan Howard as Henry and Helen Mirren as Margaret. Though the production had only moderate box office success, critics lauded it for Alan Howard's unique portrayal of Henry. Howard adopted historical details concerning the real Henry's madness into his performance, presenting the character as constantly on the brink of a mental and emotional breakdown. Possibly as a reaction to a recent adaptation of the trilogy under the general title "Wars of the Roses", which was strongly political – Hands attempted to ensure his own production was entirely apolitical. ""Wars of the Roses" was a study in power politics: its central image was the conference table, and Warwick, the scheming king-maker, was the central figure. But that's not Shakespeare. Shakespeare goes far beyond politics. Politics is a very shallow science." Aside from Howard and Mirren, the production starred David Swift as Talbot and Charlotte Cornwell as Joan.  Under the direction of Michael Boyd the play was presented at the Swan Theatre in Stratford in 2000, with David Oyelowo as Henry and Keith Bartlett as Talbot. Both Margaret and Joan were played by Fiona Bell (as Joan is burned, Bell symbolically rose from the ashes as Margaret). The play was presented with the five other history plays to form a complete eight-part history cycle under the general title "" (the first time the Royal Shakespeare Company (RSC) had ever attempted to stage the eight plays as one sequence). "This England: The Histories" was revived in 2006, as part of the "Complete Works" festival at the Courtyard Theatre, with the "Henry VI" plays again directed by Boyd, and starring

Adaptations.

Theatrical.

Evidence for the first adaptation of "1 Henry VI" is not found until 1817, when Edmund Kean appeared in J.H. Merivale's "Richard Duke of York; or the Contention of York and Lancaster" at Drury Lane, which used material from all three "Henry VI" plays, but removed everything not directly related to York; the play ended with his death, which occurs in Act 1, Scene 4 of "3 Henry VI". Material used from "1 Henry VI" includes the Temple Garden scene, the Mortimer scene and the introduction of Margaret.  Following Merivale's example, Robert Atkins adapted all three plays into a single piece for a performance at The Old Vic in 1923 as part of the celebrations for the tercentenary of the "First Folio". Guy Martineau played Henry, Esther Whitehouse played Margaret, Ernest Meads played Talbot and Jane Bacon played Joan. The success of the 1951–53 Douglas Seale stand-alone productions of each of the individual plays in Birmingham prompted him to present the three plays together at the Old Vic in 1957 under the general title "The Wars of the Roses". Barry Jackson adapted the text, altering the trilogy into a two-part play. "1 Henry VI" and "2 Henry VI" were combined (with almost all of "1 Henry VI" eliminated) and "3 Henry VI" was edited. Seale again directed, with Paul Daneman again appearing as Henry, alongside Barbara Jefford as Margaret. The roles of both Talbot and Joan were removed, and "1 Henry VI" was reduced to three scenes – the funeral of Henry V, the Temple Garden scene and the introduction of Margaret.  The production usually credited with establishing the reputation of the play in the modern theatre is John Barton and Peter Hall's 1963/1964 RSC production of the tetralogy, adapted

Film.

The only cinematic adaptation of the play came in the 1973 horror comedy film "Theatre of Blood", directed by Douglas Hickox. Vincent Price stars in the film as Edward Lionheart, (self)regarded as the finest Shakespearean actor of all time. When he fails to be awarded the prestigious Critic's

Television.

The first television adaptation of the play was in 1960 when the BBC produced a serial entitled "An Age of Kings". The show comprised fifteen sixty- and seventy-five-minute episodes that adapted all eight of Shakespeare's sequential history plays. Directed by Michael Hayes and produced by Peter Dews, with a script by Eric Crozier, the production featured Terry Scully as Henry, Mary Morris as Margaret and Eileen Atkins as Joan. The ninth episode, under the title, presented a heavily abridged version of "1 Henry VI". With the episode only running one hour, obviously a great deal of text was removed ("1 Henry VI" was the only play in the octology to be screened in one episode, as opposed to split over two). Perhaps the most significant cuts were the complete removal of the character of Talbot, and the excision of all battle scenes in France.  In 1965, BBC 1 broadcast all three plays from John Barton and Peter Hall's "The Wars of the Roses" trilogy ("Henry VI", "The Rise of Edward IV" and "Richard III") with David Warner as Henry and Peggy Ashcroft as Margaret. Directed for television by Robin Midgley and Michael Hayes, the plays were presented as more than simply filmed theatre, with the core idea being "to recreate theatre production in televisual terms – not merely to observe it, but to get to the heart of it." Filming was done on the RSC stage, but not during actual performances, thus allowing cameras to get close to the actors, and cameramen with hand-held cameras to shoot battle scenes. Additionally, camera platforms were created around the theatre. In all, twelve cameras were used, allowing the final product to be edited more like a film than a piece of static filmed theatre. Filming was done following the 1964 run of the plays at Stratford-upon-Avon, and took place over an eight-week period, with fifty-two BBC staff working alongside eighty-four RSC staff to bring the project to fruition. In 1966,

Radio.

In 1923, extracts from all three "Henry VI" plays were broadcast on BBC Radio, performed by the Cardiff Station Repertory Company as the third episode of a series of programs showcasing Shakespeare's plays, entitled "Shakespeare Night". In 1947, BBC Third Programme aired a one-hundred-and-fifty-minute adaptation of the trilogy as part of their "Shakespeare's Historical Plays" series, a six-part adaptation of the eight sequential history plays, with linked casting. Adapted by Maurice Roy Ridley, "King Henry VI" starred John Byron as Henry and Gladys Young as Margaret. Almost the entirety of "1 Henry VI" was cut, with everything related to the conflict in France being removed. In 1952, Third Programme aired an adaptation of the tetralogy by Peter Watts and John Dover Wilson under the general name "The Wars of the Roses". The tetralogy was adapted into a trilogy but in an unusual way. "1 Henry VI" was simply removed, so the trilogy contained only "2 Henry VI", "3 Henry VI" and "Richard III". The adaptation starred Valentine Dyall as Henry and Sonia Dresdel as Margaret.

Manga.

Aya Kanno's Japanese manga comic "Requiem of the Rose King"

References.

Citations.

All references to "Henry VI, Part 1", unless otherwise specified, are taken from the

Henry VI, Part 1, often referred to as 1 Henry VI, is a history play by William Shakespeare—possibly in collaboration with Christopher Marlowe and Thomas Nashe—believed to have been written in 1591. It is set during the lifetime of King Henry VI of England.

La première partie de Henri VI est un drame historique de William Shakespeare, rédigé selon les historiens entre 1588 et 1590 ou en 1591. C'est la première partie du cycle de trois pièces qui compose la Trilogie de Shakespeare sur Henri VI, qui aurait été écrite après les deux autres parties.


Background.

In 1154, Nur ad-Din Zangi achieved his goal of seizing Damascus and welding Syria into a Zengid empire. Instead of confronting a group of Muslim emirates and being able to play them off against one another, the Crusader states (Kingdom of Jerusalem, County of Tripoli and Principality of Antioch) faced a unified threat to their existence.  Each year, the Damascenes pastured large flocks in the area of Banias on the Franks' territory, whose permission they had secured. In February 1157, Baldwin unwisely attacked them, seizing the animals to pay his kingdom's debts. This act of aggression violated a truce. Infuriated, Nur ad-Din immediately began launching raids on the Franks in the vicinity.

Battle.

Nur ad-Din laid siege to the fortified town of Banias at the foot of Mount Hermon. In June, King Baldwin III of Jerusalem assembled a Frankish army and marched to the relief of Banias and its Knights Hospitaller defenders. While Baldwin and his knights camped near Lake Huleh in the upper Jordan River valley, they were surprised and defeated by forces under Nur ad-Din. The chronicler William of Tyre noted that "no watch was kept in the Latin camp." Historian R. C. Smail writes that the setback was caused by Baldwin's "carelessness and lack of normal precaution when in the neighborhood of the enemy." Baldwin and his surviving soldiers took refuge in the nearby castle at Safad. Losses were considerable. Ibn al-Qalanisi wrote of many Crusader prisoners and severed heads being presented in a victorious celebration in Damascus.  Beyond the heavy casualties suffered in the combat, few consequences attended the Christian defeat. Banias remained a Latin territory until 1164. Nur ad-Din fell ill soon after his victory, and in his absence, Baldwin mounted a campaign in northern Syria. The Franks failed in a siege of Shaizar but recovered the castle of Harim for the Principality of Antioch in the winter of 1157. This set the stage for Nur ad-Din's crushing victory over the Crusaders at the Battle of Harim in 1164. But the next conflict would be the Battle of al-Buqaia in 1163.

In the Battle of Lake Huleh in June 1157, a Crusader army led by King Baldwin III of Jerusalem was ambushed and badly defeated by Nur ad-Din Zangi, the emir of Aleppo and Damascus. While the king and some fighting men escaped to a nearby castle, a large number were killed or made prisoner. The Latin Kingdom of Jerusalem escaped worse damage when their adversary became ill and was unable to follow up his victory. The Hula Valley is located in the northeast part of modern-day Israel. At the time of the battle, the area belonged to the Kingdom of Jerusalem.

La bataille du gué de Jacob ou bataille du lac Méron a lieu le. Elle voit la défaite de 80 Templiers dont le grand-maître Bertrand de Blanquefort est fait prisonnier par Nur ad-Din.


Medical uses.

Clobazam is used for epilepsy. It is unclear if there are any benefits to clobazam over other seizure medications for children with Rolandic epilepsy or other epileptic syndromes.  As of 2005, clobazam is approved in Canada for add-on use in tonic-clonic, complex partial, and myoclonic seizures. Clobazam is approved for adjunctive therapy in complex partial seizures certain types of status epilepticus, specifically the mycolonic, myoclonic-absent, simple partial, complex partial, and tonic varieties, and non-status absence seizures. It is also approved for treatment of anxiety.  In India, clobazam is approved for use as an adjunctive therapy in epilepsy and in acute and chronic anxiety. In Japan, clobazam is approved for adjunctive therapy in treatment-resistant epilepsy featuring complex partial seizures. In New Zealand, clobazam is marketed as Frisium In the United Kingdom clobazam (Frisium) is approved for short-term (2–4 weeks) relief of acute anxiety in patients who have not responded to other drugs, with or without insomnia and without uncontrolled clinical depression. It was not approved in the US until October 25, 2011, when it was approved for the adjunctive treatment of seizures associated with Lennox-Gastaut Syndrome in patients 2 years of age or older.  It is also approved for adjunctive therapy for epilepsy in patients who have not responded to first-line drugs and in children who are refractory to first-line drugs. It is not recommended for use in children between the ages of six months and three years, unless there is a compelling need. In addition to epilepsy and severe anxiety, clobazam is also approved as a short-term (2–4 weeks) adjunctive agent in schizophrenia and other psychotic disorders to manage anxiety or agitation.  Clobazam is also available as an oral suspension in the UK, under the trade name of Tapclob.  Clobazam is sometimes used for refractory epilepsies. However, long-term prophylactic treatment of epilepsy may have considerable drawbacks, most importantly decreased antiepileptic effects due to tolerance which may render long-term therapy less effective. Other antiepileptic drugs may therefore be preferred for the long-term management of epilepsy. Furthermore, benzodiazepines may have the drawback, particularly after long-term use, of causing rebound seizures upon abrupt or over-rapid discontinuation of therapy forming part of the benzodiazepine withdrawal syndrome.

Contraindications.

Clobazam should be used with great care in patients with the following disorders:  Benzodiazepines require special precaution if used in the elderly, during pregnancy, in children, alcohol or drug-dependent individuals and individuals with comorbid psychiatric disorders.

Side effects.

Common.

Common side effects include fever, lethargy, sleepiness, drooling, and constipation.

Warnings and Precautions.

In December 2013 the FDA added warnings to the label for clobazam, that it can cause serious skin reactions, Stevens–Johnson syndrome, and toxic epidermal necrolysis, especially in the first eight weeks of treatment.

Overdose.

Overdose and intoxication with benzodiazepines, including clobazam, may lead to CNS depression, associated with drowsiness, confusion, and lethargy, possibly progressing to ataxia, respiratory depression, hypotension, and coma or death. The risk of a fatal outcome is increased in cases of combined poisoning with other CNS depressants, including alcohol.

Abuse potential and addiction.

Classic (non-anxioselective) benzodiazepines in animal studies have been shown to increase reward seeking behaviours which may suggest an increased risk of addictive behavioural patterns. Clobazam abuse has been reported in some countries, according to a 1983 World Health Organisation report.

Dependence and withdrawal.

In humans, tolerance to the anticonvulsant effects of clobazam may occur and withdrawal seizures may occur during abrupt or overrapid withdrawal.  Clobazam as with other benzodiazepine drugs can lead to physical dependence, addiction, and what is known as the benzodiazepine withdrawal syndrome. Withdrawal from clobazam or other benzodiazepines after regular use often leads to withdrawal symptoms which are similar to those seen during alcohol and barbiturate withdrawal. The higher the dosage and the longer the drug is taken, the greater the risk of experiencing unpleasant withdrawal symptoms. Benzodiazepine treatment should only be discontinued via a slow and gradual dose reduction regimen.

Pharmacology.

Clobazam is predominantly a positive allosteric modulator at the GABAA receptor with some speculated additional activity at sodium channels and voltage-sensitive calcium channels.  Like other 1,5-benzodiazepines (For example, arfendazam, lofendazam, or CP-1414S), the active metabolite "N"-desmethyl-clobazam has less affinity for the α subunit of the GABAA receptor compared to the 1,4-benzodiazepines. It has higher affinity for α containing receptors, where it has positive modulatory activity.  In a double-blind placebo-controlled trial published in 1990 comparing it to clonazepam, 10 mg of clobazam was shown to be less sedative than either 0.5 mg or 1 mg of clonazepam.  The α subtype of the GABA receptor, was shown to be responsible for the sedative effects of diazepam by McKernan et al. in 2000, who also showed that its anxiolytic and anticonvulsant properties could still be seen in mice whose α receptors were insensitive to diazepam.  In 1996, Nakamura et al. reported that clobazam and its active metabolite, "N"-desmethylclobazam (norclobazam), work by enhancing GABA-activated chloride currents at GABA-receptor-coupled Cl channels. It was also reported that these effects were inhibited by the GABA antagonist flumazenil, and that clobazam acts more efficiently in GABA-deficient brain tissue.

Metabolism.

Clobazam has two major metabolites: "N"-desmethyl-clobazam and "4"-hydroxyclobazam, the former of which is active. The demethylation is facilitated by CYP2C19, CYP3A4, and CYP2B6 and the "4"-hydroxyclobazam by CYP2C18 and CYP2C19.

Chemistry.

Clobazam is a 1,5-benzodiazepine, meaning that its diazepine ring has nitrogen atoms at the 1 and 5 positions (instead of the usual 1 and 4).  It is not soluble in water and is available in oral form only.

History.

Clobazam was discovered at the Maestretti Research Laboratories in Milan and was first published in 1969; Maestretti was acquired by Roussel Uclaf which became part of Sanofi.

Clobazam (marketed under the brand names Frisium, Urbanyl, Onfi, and Tapclob) is a benzodiazepine class medication that was patented in 1968. Clobazam was first synthesized in 1966 and first published in 1969. Clobazam was originally marketed as an anxioselective anxiolytic since 1970 and an anticonvulsant since 1984. The primary drug-development goal was to provide greater anxiolytic, anti-obsessive efficacy with fewer benzodiazepine-related side effects.

La clobazam est une substance chimique de la famille des benzodiazépines (BZD) notamment commercialisée sous les noms d'Urbanyl et de Frisium, ainsi que sous forme de médicament générique. Comme toutes les molécules de cette famille, elle possède des propriétés anticonvulsivantes, anxiolytiques ou hypnotiques, et myorelaxantes, mais elle est surtout utilisée comme anticonvulsivant. Il s'agit d'une benzodiazépine particulière puisque c'est une 1,5-benzodiazépine et non une 1,4-benzodiazépine, comme les, ce qui signifie que son noyau diazépine a un atome d'azote en positions 1 et 5 (au lieu de l'habituel 1 et 4).


Biography.

His parents, Emmanuel Théodose de La Tour d'Auvergne (1668–1730) and Marie Armande Victoire de La Trémoille (1677–1717) were married in 1696 and Charles Godefroy was the youngest of seven children born to the couple.  His mother died in 1717 and his father married again. In total Charles Godefroy would have three half siblings from his fathers other three marriages. As the youngest son, he was not expected to succeed to the Duchy of Bouillon which had been in his families hands since 1594.  His siblings included Armande (1697–1717), Princess of Epinoy (wife of Louis de Melun) his other full sister Marie Hortense Victoire (1704–1741) married Charles Armand René de La Trémoille. His younger half sister Anne Marie Louise married Charles de Rohan, famous general and friend of Louis XV. His youngest sibling, Marie Sophie Charlotte (1729–1763) married the Prince of Craon.  His older brothers Godefroy Maurice (1702–1705) and Frédéric Maurice (1702–1723) died before their father did. His father eventually died in April 1730 and Charles Godefroy then became the sovereign Duke of Bouillon, a small principality in present-day Belgium.  He married his brother's widow, Maria Karolina Sobieska, the granddaughter of John III Sobieski, in 1723. She was the older sister of Clementina Sobieski, wife of James Francis Edward Stuart. They had two children, a son and a daughter. Their only daughter, Marie Louise Henriette Jeanne de La Tour d'Auvergne, was a famous adventuress, guillotined in 1793.  He started an affair with his step mother, the notably attractive Louise Henriette Françoise de Lorraine in around 1744. He was a year older than she.

Charles Godefroy de La Tour d'Auvergne (16 July 1706 – 24 October 1771) was a French nobleman and member of the powerful House of La Tour d'Auvergne.

Charles-Godefroy de La Tour d'Auvergne, né le à Paris et décédé le au château de Montalet (Issou), fut duc de Bouillon de 1730 à 1771.


Context.

Isidore of Seville was born around 560 in Spain, under the unstable rule of the Visigoths after the collapse of the Roman Empire in the West. His older brother, Leander, the abbot of a Seville monastery, supervised Isidore's education, probably in the school attached to his monastery. Leander was a powerful priest, a friend of Pope Gregory, and eventually he became bishop of Seville. Leander also made friends with the Visigothic king's sons, Hermenigild and Reccared. In 586, Reccared became king, and in 587 under Leander's religious direction he became a Catholic, controlling the choice of bishops. Reccared died in 601, not long after appointing Isidore as bishop of Seville.  Isidore helped to unify the kingdom through Christianity and education, eradicating the Arian heresy which had been widespread, and led National Councils at Toledo and Seville. Isidore had a close friendship with king Sisebut, who came to the throne in 612, and with another Seville churchman, Braulio, who later became bishop of Saragossa.  Isidore was widely read, mainly in Latin with a little Greek and Hebrew. He was familiar with the works of both the church fathers and pagan writers such as Martial, Tertullian and Pliny the Elder, this last the author of the major encyclopaedia then in existence, the "Natural History". The classical encyclopedists had already introduced alphabetic ordering of topics, and a literary rather than observational approach to knowledge: Isidore followed those traditions. Isidore became well known in his lifetime as a scholar. He started to put together a collection of his knowledge, the "Etymologies", in about 600, and continued to write until about 625.

Overview.

"Etymologiae" presents in abbreviated form much of that part of the learning of antiquity that Christians thought worth preserving. Etymologies, often very far-fetched, form the subject of just one of the encyclopedia's twenty books (Book X), but perceived linguistic similarities permeate the work. An idea of the quality of Isidore's etymological knowledge is given by Peter Jones: "Now we know most of his derivations are total nonsense (eg, he derives baculus, 'walking-stick', from Bacchus, god of drink, because you need one to walk straight after sinking a few)".  Isidore's vast encyclopedia of ancient learning includes subjects from theology to furniture, and provided a rich source of classical lore and learning for medieval writers. In his works including the "Etymologiae", Isidore quotes from around 475 works from over 200 authors. Bishop Braulio, to whom Isidore dedicated it and sent it for correction, divided it into its twenty books.  An analysis by Jacques André of Book XII shows it contains 58 quotations from named authors and 293 borrowed but uncited usages: 79 from Solinus; 61 from Servius; 45 from Pliny the Elder. Isidore takes care to name classical and Christian scholars whose material he uses, especially, in descending order of frequency, Aristotle (15 references), Jerome (10 times), Cato (9 times), Plato (8 times), Pliny, Donatus, Eusebius, Augustine, Suetonius, and Josephus. He mentions as prolific authors the pagan Varro and the Christians Origen and Augustine. But his translator Stephen Barney notes as remarkable that he never actually names the compilers of the encyclopedias that he used "at second or third hand", Aulus Gellius, Nonius Marcellus, Lactantius, Macrobius, and Martianus Capella. Barney further notes as "most striking" that Isidore never mentions three out of his four principal sources (the one he does name being Pliny): Cassiodorus, Servius and Solinus. Conversely, he names Pythagoras eight times, even though Pythagoras wrote no books. The "Etymologies" are thus "complacently derivative".  In book II, dealing with dialectic and rhetoric, Isidore is heavily indebted to translations from the Greek by Boethius, and in book III, he is similarly in debt to Cassiodorus, who provided the gist of Isidore's treatment of arithmetic. Caelius Aurelianus contributes generously to the part of book IV dealing with medicine. Isidore's view of Roman law in book V is viewed through the lens of the Visigothic compendiary called the "Breviary of Alaric", which was based on the Code of Theodosius, which Isidore never saw. Through Isidore's condensed paraphrase a third-hand memory of Roman law passed to the Early Middle Ages. Lactantius is the author most extensively quoted in book XI, concerning man. Books XII, XIII and XIV are largely based on Pliny the Elder's "Natural History" and Solinus, whereas the lost "Prata" of Suetonius, which can be partly pieced together from what is quoted in "Etymologiae", seems to have inspired the general plan of the work, as well as many of its details.  Isidore's Latin, replete with nonstandard Vulgar Latin, stands at the cusp of Latin and the local Romance language of Hispania. According to the prefatory letters, the work was composed at the urging of his friend Braulio, Bishop of Saragossa, to whom Isidore, at the end of his life, sent his "codex inemendatus" ("unedited book"), which seems to have begun circulating before Braulio was able to revise and issue it with a dedication to the late Visigothic King Sisebut.

Contents.

"The Etymologies" organizes knowledge, mainly drawn from the classics, into twenty books:  In Book I, Isidore begins with a lengthy section on the first of three subjects in the mediaeval Trivium, considered at the time the core of essential knowledge, grammar. He covers the letters of the alphabet, parts of speech, accents, punctuation and other marks, shorthand and abbreviations, writing in cipher and sign language, types of mistake and histories. He derives the word for letters ("littera") from the Latin words for "to read" ("legere") and 'road' ("iter"), "as if the term were "legitera"", arguing that letters offer a road for people who read.  Book II completes the mediaeval Trivium with coverage of rhetoric and dialectic. Isidore describes what rhetoric is, kinds of argument, maxims, elocution, ways of speaking, and figures of speech. On dialectic, he discusses philosophy, syllogisms, and definitions. He equates the Greek term syllogism with the Latin term argumentation ("argumentatio"), which he derives from the Latin for "clear mind" ("arguta mens").  Book III covers the mediaeval Quadrivium, the four subjects that supplemented the Trivium being mathematics, geometry, music, and astronomy. He argues that there are infinitely many numbers, as you can always add one (or any other number) to whatever number you think is the limit. He attributes geometry to Ancient Egypt, arguing that because the River Nile flooded and covered the land with mud, geometry was needed to mark out people's land "with lines and measures". Isidore distinguishes astronomy from astrology and covers the world, the sky and the celestial sphere, the zodiac, the sun, moon, stars, Milky Way, and planets, and the names of the stars. He derives the curved ("curvus") vault of the heavens from the Latin word for "upside-down" ("conversus"). He explains eclipses of the sun as the moon coming between the earth and the sun and eclipses of the moon as happening when it runs into the shadow of the earth. He condemns the Roman naming of the planets after their gods: Jupiter, Saturn, Mars, Venus, and Mercury.  Book IV covers medicine, including the four humours, diseases, remedies and medical instruments. He derives the word medicine from the Latin for "moderation" ("modus"), and "sciatica" ("sciasis") from the affected part of the body, the hip (Greek ἰσχία "ischia").  Book V covers law and chronology. Isidore distinguishes natural, civil, international, military and public law among others. He discusses the purpose of law, legal cases, witnesses, offences and penalties. On chronology, Isidore covers periods of time such as days, weeks, and months, solstices and equinoxes, seasons, special years such as Olympiads and Jubilees, generations and ages.  In Book VI, Isidore describes ecclesiastical books and offices starting with the Old and New Testaments, the authors and names of the holy books, libraries and translators, authors, writing materials including tablets, papyrus and parchment, books, scribes, and Christian festivals.  Book VII describes the basic scheme concerning God, angels and saints, in other words the hierarchies of heaven and earth, from patriarchs, prophets and apostles down the scale through people named in the gospels to martyrs, clergymen, monks and ordinary Christians.  Book VIII covers religion in the shape of the Roman Catholic Church, the Jews and heretical sects, philosophers (pagans) including poets, sibyls and magi, and the pagan gods.  Book IX covers languages, peoples, kingdoms, cities and titles.  Book X is a word-list of nouns and adjectives, together with supposed etymologies for them. For example, the letter 'D' begins with the word for master ("Dominus"), as he is the head of a household ("Domus"); the adjective docile ("docilis") is derived by Isidore from the verb for "to teach" ("docere"), because docile people are able to learn; and the word for abominable ("Nefarius") is explained as being not worth the grain called spelt ("Far").  Book XI covers human beings, portents and transformations. Isidore derives human beings ("homo") from the Latin for soil ("humus"), as in Genesis 2:7 it says that man is made from the soil. Urine ("urina") gets its name either from the fact that it can burn ("urere") the skin or, Isidore hedges, that it is from the kidneys ("renes"). "Femina", meaning woman, comes from "femora/femina" meaning thighs, as this part of the body shows she is not a man. The Latin for buttocks is "clunis" as they are near the large intestine or colon ("colum").  Book XII covers animals, including small animals, snakes, worms, fish, birds and other beasts that fly. Isidore's treatment is as usual full of conjectural etymology, so a horse is called "equus" because when in a team of four horses they are balanced ("aequare"). The spider ("aranea") is so called from the air ("aer") that feeds it. The electric ray ("torpedo") is called that because it numbs ("torpescere", like "torpid") anyone who touches it.  Book XIII describes the physical world, atoms, classical elements, the sky, clouds, thunder and lightning, rainbows, winds, and waters including the sea, the Mediterranean, bays, tides, lakes, rivers and floods. The sky is called "caelum" as it has stars stamped on to it, like a decorated pot ("caelatus"). Clouds are called "nubes" as they veil ("obnubere") the sky, just as brides ("nupta") wear veils for their weddings. The wind is called "ventus" in Latin as it is angry and violent ("vehemens", "violentus"). There are many kinds of water: some water "is salty, some alkaline, some with alum, some sulfuric, some tarry, and some containing a cure for illnesses." There are waters that cure eye injuries, or make voices melodious, or cause madness, or cure infertility. The water of the Styx causes immediate death.  Book XIV covers geography, describing the Earth, islands, promontories, mountains and caves. The earth is divided into three parts, Asia occupying half the globe, and Europe and Africa each occupying a quarter. Europe is separated from Africa by the Mediterranean, reaching in from the Ocean that flows all around the land. Isidore writes that the "orbis" of the earth, translated by Barney as "globe", "derives its name from the roundness of the circle, because it resembles a wheel; hence a small wheel is called a'small disk' ("orbiculus")". Barney notes that "orbis" "refers to the 'circle' of lands around the Mediterranean, and hence to the total known extent of land." Isidore illustrated the "Etymologies" with a circular T-O map which also gave a vague impression of a flat disc-shaped Earth, though authors disagree about Isidore's beliefs on the matter.  Book XV covers cities and buildings including public buildings, houses, storehouses and workshops, parts of buildings, tents, fields and roads.  Book XVI covers metals and rocks, starting with dust and earth, and moving on to gemstones of different colours, glass and mines. Metals include gold, silver, copper, iron, lead and electrum. Weights and measures end the book. Games with boards and dice are described.  Book XVII describes agriculture including grains, legumes, vines, trees, aromatic herbs and vegetables.  Book XVIII covers the terms of war, games and jurisprudence. Isidore describes standards, trumpets, weapons including swords, spears, arrows, slings, battering rams, and armour including shields, breastplates and helmets. Athletic games include running and jumping, throwing and wrestling. Circus games are described, with chariot racing, horse racing and vaulting. In the theatre, comedy, tragedy, mime and dance are covered. In the amphitheatre, Isidore covers those who fight with nets, nooses and other weapons.  Book XIX covers ships including boats, sails, ropes and nets; forges and tools; building, including walls, decorations, ceilings, mosaics, statues, and building tools; and clothes, including types of dress, cloaks, bedding, tools, rings, belts and shoes. The word "net" ("rete"), is derived from retaining ("retinere") fish, or perhaps, writes Isidore, from the ropes ("restis") they are attached to.  Book XX completes Isidore's encyclopaedia, describing food and drink and vessels for these, storage and cooking vessels; furnishings including beds and chairs; vehicles, farm and garden tools and equipment for horses.

Reception.

Medieval to Renaissance.

Isidore was widely influential throughout the Middle Ages, feeding directly into word lists and encyclopaedias by Papias, Huguccio, Bartholomaeus Anglicus and Vincent of Beauvais, as well as being used everywhere in the form of small snippets. His influence also pertained to early medieval riddle collections such as the Bern Riddles or the "Aenigmata" of Aldhelm. He was cited by Dante Alighieri, quoted by Geoffrey Chaucer, and his name was mentioned by the poets Boccaccio, Petrarch and John Gower among others. Dante went so far as to place Isidore in Paradise in the final part of his "Divine Comedy", "Paradiso" (10.130–131).  Through the Middle Ages "Etymologiae" was the textbook most in use, regarded so highly as a repository of classical learning that, in a great measure, it superseded the use of the individual works of the classics themselves, full texts of which were no longer copied and thus were lost. It was one of the most popular compendia in medieval libraries.

Modern.

"An editor's enthusiasm is soon chilled by the discovery that Isidore's book is really a mosaic of pieces borrowed from previous writers, sacred and profane, often their 'ipsa verba' without alteration," Wallace Lindsay noted in 1911, having recently edited Isidore for the Clarendon Press, with the further observation, however, that a portion of the texts quoted have otherwise been lost: the "Prata" of Suetonius, for instance, can only be reconstructed from Isidore's excerpts.  In the view of John T. Hamilton, writing in "The Classical Tradition" in 2010, "Our knowledge of ancient and early medieval thought owes an enormous amount to this encyclopedia, a reflective catalogue of received wisdom, which the authors of the only complete translation into English introduce as "arguably the most influential book, after the Bible, in the learned world of the Latin West for nearly a thousand years" These days, of course, Isidore and his "Etymologies" are anything but household names... but the Vatican has named Isidore the patron saint of the Internet, which is likely to make his work slightly better known.  Ralph Hexter, also writing in "The Classical Tradition", comments on "Isidore's largest and massively influential work... on which he was still at work at the time of his death... his own architecture for the whole is relatively clear (if somewhat arbitrary)... At the deepest level Isidore's encyclopedia is rooted in the dream that language can capture the universe and that if we but parse it correctly, it can lead us to the proper understanding of God's creation. His word derivations are not based on principles of historical linguistics but follow their own logic... Isidore is the master of bricolage... His reductions and compilations did indeed transmit ancient learning, but Isidore, who often relied on scholia and earlier compilations, is often simplistic scientifically and philosophically, especially compared to.. figures such as Ambrose and Augustine." Peter Jones, writing in the "Daily Telegraph", compares "The Etymologies" to the Internet:

Manuscripts and printed editions.

Almost 1000 manuscript copies of "Etymologiae" have survived. The earliest is held at the St. Gall Abbey library, Switzerland, in the "Codex Sangallensis": it is a 9th-century copy of books XI to XX. The 13th-century "Codex Gigas", the largest extant medieval manuscript, now held in the National Library of Sweden, contains a copy of the "Etymologiae".  In 1472 at Augsburg, "Etymologiae" became one of the first books to be printed, quickly followed by ten more editions by 1500. Juan de Grial produced the first scholarly edition in Madrid in 1599. Faustino Arevalo included it as two of the 17 volumes of his "Opera omnia" in Rome (1797–1803). Rudolph Beer produced a facsimile edition of the Toledo manuscript of the "Etymologies" in 1909. Wallace Lindsay edited the first modern critical edition in 1911. Jacques Fontaine and Manuel C. Diaz y Diaz have between 1981 and 1995 supervised the production of the first five volumes of the "Etymologies" in the Belle Lettres series "Auteurs Latins du Moyen Age", with extensive footnotes.

Etymologiae (Latin for "The Etymologies"), also known as the Origines ("Origins") and usually abbreviated Orig., is an etymological encyclopedia compiled by Isidore of Seville (c. 560–636) towards the end of his life. Isidore was encouraged to write the book by his friend Braulio, Bishop of Saragossa. "The Etymologies" summarized and organized a wealth of knowledge from hundreds of classical sources; three of its books are derived largely from Pliny the Elder's "Natural History". Isidore acknowledges Pliny, but not his other principal sources, namely Cassiodorus, Servius and Solinus. The work contains whatever Isidore, an influential Christian bishop, thought worth keeping. Its subject matter is extremely diverse, ranging from grammar and rhetoric to the earth and the cosmos, buildings, metals, war, ships, humans, animals, medicine, law, religions and the hierarchies of angels and saints.

Etymologiarum libri viginti communément appelée "Etymologiae" ou "Origines" est une encyclopédie qu'Isidore de Séville (560-636) a rédigée vers la fin de sa vie. L'ouvrage compte 20 livres et 448 chapitres (soit environ mots). Extrêmement populaire durant tout le Moyen Âge, avec plus de manuscrits conservés, il sera encore réédité à la Renaissance, où l'on compte plus de dix éditions entre 1470 et 1580.


Use.

The Philidor occurred in one of the most famous games ever played, "The Opera Game" played in 1858 between the American chess master Paul Morphy and two strong amateurs, the German noble Duke Karl of Brunswick and the French aristocrat Count Isouard. The game continued 3.d4 Bg4, a deviation from modern standard lines. The Philidor Defence declined in popularity as became more developed, and it had almost completely vanished from top-tier chess by World War I. , there are no top players who employ the Philidor with any regularity, although Étienne Bacrot and Liviu-Dieter Nisipeanu have occasionally experimented with it. Its popularity in master play has increased slightly over the last 20 years, however.

Main line: 3.d4.

With 3.d4 White immediately challenges Black in the. Black has several options.

3...exd4.

The most common Black response is 3...exd4 which relieves the central tension, although it gives up the centre. After 4. Nxd4 Nf6 5. Nc3, Black normally continues...Be7 and...0-0 (the Antoshin Variation) and achieves a strong defensive position. A sample line is: 4. Nxd4 Nf6 5. Nc3 Be7 6. Bc4 0-0 7. 0-0 c5, and the position is equal.  In this line Black can also fianchetto his bishop to g7, although this is uncommon. Bent Larsen tried this in a few games, including a draw against Mikhail Tal in 1969.  Instead of 4. Nxd4, White can play 4. Qxd4, as Paul Morphy favoured, intending 4... Nc6 5. Bb5 Bd7 6. Bxc6 Bxc6 7. Nc3 Nf6 8. Bg5 followed by 0-0-0. This line was played in many 19th-century games.

Hanham Variation.

The other main option for Black is to maintain the central tension and adopt a setup with...Nd7,...Be7, and...c6. This plan is named the Hanham Variation (after the American chess master James Moore Hanham) and was favoured by Aron Nimzowitsch. A common line is: 3... Nf6 4. Nc3 Nbd7 5. Bc4 Be7 6. 0-0 (6.Ng5 is an interesting alternative: after 6...0-0 7.Bxf7+ Rxf7 8.Ne6 Qe8 9.Nxc7 Qd8 10.Nxa8, White is up, but Black can develop a strong initiative after, for example, 10...b5 11.Nxb5 Qa5+) 6... 0-0 7. a4 (to prevent...b5) (see diagram).  Grandmaster Larry Kaufman notes that the Hanham Variation aims to maintain Black's pawn on e5, analogously to closed lines of the Ruy Lopez, and opines that "it would be quite popular and on a par with the major defences to 1.e4, except for the annoying detail that Black can't actually reach the Hanham position by force."  As an alternative to 4.Nc3 in response to Black's 3...Nf6, according to both Kaufman and Grandmaster Christian Bauer, White retains some advantage with: 4. dxe5! Nxe4 5. Qd5! (the Rellstab Variation; 5.Nbd2 is the Sokolsky Variation) 5... Nc5 6. Bg5 Be7 Qxd6 8. Nc3.

Alternative move order.

Black sometimes tries 3... Nd7 intending 4.Nc3 Ngf6, reaching the Hanham Variation. But then 4. Bc4! is awkward for Black to meet, since 4...Ngf6 loses to 5.Ng5, and 4...Be7 loses a pawn to 5.dxe5 Nxe5 (5...dxe5 6.Qd5! wins) 6.Nxe5 dxe5 7.Qh5! So 4... c6 is best for Black, but leaves White with the advantage of the bishop pair after 5. 0-0 Be7 6. dxe5 dxe5 (6...Nxe5 loses a pawn to 7.Nxe5 dxe5 8.Qh5) 7. Ng5! Bxg5 8. Qh5! Qe7 and now 9.Bxg5 or 9.Qxg5.

Black experiments to reach the Hanham Variation.

In recent years, Black has experimented with other move orders in an attempt to reach the Hanham Variation while avoiding 3...Nf6 4.dxe5! and 3...Nd7 4.Bc4!

Philidor Countergambit: 3...f5.

A more aggressive approach for Black after 3.d4 is 3...f5 (see diagram), Philidor's original intention and recommendation. In the 19th century, 3...f5 was also played by Paul Morphy. The move can lead to more than the other lines, but is often considered dubious. Others maintain that 3...f5 is a valid idea. Grandmaster Tony Kosten considers the move respectable in his monograph on the opening. The move was also played by David Bronstein and by Teimour Radjabov.  After 3...f5 White has several ways to proceed:

3...Bg4?!

Inferior is 3...Bg4, in light of 4. dxe5 Bxf3 (Black cannot recapture since 4...dxe5? 5. Qxd8+ Kxd8 6. Nxe5 wins a clean pawn; or, Black can gambit a pawn with 4...Nd7, the Albin Variation) 5. Qxf3 (or White can obtain an endgame advantage with 5.gxf3 dxe5 6.Qxd8+ Kxd8 7.f4 Maróczy) 5... dxe5 6. Bc4 giving White the advantage of the in an open position as well as a large advantage. Black cannot block the attack on the f7-pawn with the "natural" 6...Nf6? because White wins a pawn with 7.Qb3. (This was played in the famous "Opera Game", where Paul Morphy as White refrained from taking the b7-pawn and retained a strong after 7...Qe7 8.Nc3.) Black does better with 6...Qf6 7.Qb3 Bc5 8.0-0 Bb6 9.a4 a5 10.Nc3 Ne7 11.Be3 Nd7 12.Rad1 +/−, or 6...Qd7!? (Maróczy).

References.

Bibliography

The Philidor Defence is a chess opening characterised by the moves: The opening is named after the famous 18th-century player François-André Danican Philidor, who advocated it as an alternative to the common 2...Nc6. His original idea was to challenge White's centre by the pawn thrust...f7–f5.

La défense Philidor est une ouverture au jeu d'échecs qui est obtenue (dans son ordre de coups traditionnel) par les coups 1.e4 e5 2.Cf3 d6.


Music video.

The music video was released on the band's MySpace page on February 28. The band announced that the video was shot near Toronto, Ontario. It starts off with Deryck Whibley playing an acoustic guitar as shots show around the house he is playing in. There are many shots of pictures and people (including one of the Shriners). Each of these people has different uses for pictures and photos (e.g. the old man uses his pictures to remember his old days in the army and the young couple use them to take photos of themselves together). There is then shots of Deryck, Cone, and Steve Jocz playing in a room where they play the chorus of the song; they then use this room to play the rest of the song in. We then learn more about the people and why their pictures are so important to them. More is revealed about them as the second verse goes on. Then, just before the second chorus, a framed picture with a moving image of Deryck walking is shown. As Deryck walks, the environment behind him changes rapidly showing many different places. After this, the song goes back to being acoustic for 8 bars. During this, Deryck is shown playing his acoustic guitar again. Also, the people in the house begin to freeze frame and turn into framed pictures of themselves. The song then continues and ends. The video shows the many aspects of the song.

Live performances.

"With Me" is the third single from Sum 41's 2007 studio album "Underclass Hero". The first live performance of "With Me" was on January 26, 2008 at the Daytona International Speedway in Daytona Beach, Florida. On February 4, Sum 41 announced that they had filmed the video for "With Me", and the song was later featured on Season 1, Episode 7 of "Gossip Girl". The song was featured on the commercial for the 2009 Fox series "More to Love". The song charted at 37 in the Canadian Singles Chart. With a running time of 4 minutes and 51 seconds, "With Me" was the band's longest song for nine years until it was surpassed by the 5-minute "Twisted By Design" from 2016's "13 Voices".

With Me est le deuxième single du groupe de punk rock canadien Sum 41 tiré de leur studio, "Underclass Hero" (2007). La chanson est parue le, soit près d'un an après le précédent single. La première interprétation de With Me s'est faite en direct le à la "Daytona International Speedway" en Floride. Le 4 février, Sum 41 a annoncé qu'ils avaient réalisé la vidéo de With Me. La chanson n'a pas été publiée en tant que single CD mais en tant que téléchargement numérique. La chanson a figuré sur la publicité pour l'édition 2009 de la série "More to Love" sur Fox Channel.


Early life.

Ulvhild originated from Norway. The Norse saga manuscript Fagrskinna mentions her as the daughter of the Norwegian magnate Haakon Finnsson, of the Thjotta family. The name of her mother has not been preserved to later centuries. In modern times it has been suggested that her mother was the former Norwegian and Danish queen Margaret Fredkulla, daughter of Inge I of Sweden. However, this hypothesis cannot be substantiated.

Marriages.

Young Ulvhild was firstly married to King Inge II of Sweden, in about 1116/17. They appear not to have had children. Inge was the junior of two reigning brothers. The elder brother, King Philip died in 1118 under unknown circumstances, leaving Inge as the sole ruler. The short chronicle in the Westrogothic law says that King Inge died "of an evil drink" in Östergötland. Some later sources place the assassination in Vreta Abbey. The year is not known, but it was no later than c. 1129. The writer Åke Ohlmarks has speculated that Ulvhild became acquainted with her future husband, the East Geatic magnate Sverker, and made him poison Inge.  Some time after the death of King Inge, Ulvhild moved to Denmark, rather than returning to Norway. Perhaps she did so to claim asylum: she seems to have had relatives and allies in Denmark, whereas political turbulence plagued Sweden. She married King Niels of Denmark after the death of his first queen, Margaret Fredkulla of Sweden, in c. 1130. The marriage more or less coincided with Niels's son Magnus the Strong being accepted as king in parts of Sweden. However, Ulvhild egged her stepson Magnus against his cousin and rival Canute Lavard. Canute was eventually murdered by Magnus in 1131. Civil war now broke out in Denmark, where Niels and Magnus stood against the claimant Eric Emun. Moreover, the marriage was not harmonious, and Niels was some 20–30 years older than his spouse. The chronicler Saxo Grammaticus informs us of the dramatic dissolution: "Meanwhile the Swedes, when they heard that Magnus was busy with war in Denmark, took a fellow countryman called Sverker, a man of low origins, as their king; not since they valued him that much, but since they would not stand under a foreigner. Since they were used to having one of their own at the head, they could not accept having a foreigner as chief. Niels had married Ulvhild from Norway after Margaret's death. Sverker sent errands to her and asked for her love. Shortly afterwards he clandestinely brought her from her husband and made her marry him. With this mistress whom he falsely called his wedded wife, he sired a son Charles who became king after him."  The event is not dated but must have taken place between 1132 and 1134. The curious elopement story may be explained by Ulvhild's position. Being the widow of Inge II, she represented the estates and influences of the extinct House of Stenkil. Marriage to Ulvhild legitimated the enthronement of the non-royal grandee Sverker, now when her stepson Magnus had been evicted from Sweden. As far as known, no objections (apart from the partial Saxo) were made against her third marriage or against the legitimacy of her children. On the contrary, Ulvhild is praised by clerical sources as a benefactor to the church. The Cistercians were called in on Ulvhild's initiative, and founded the abbeys of Alvastra and Nydala in 1143. Alvasta was even founded on ground which was part of Sverker's bridal gift to Ulvhild.  After at least a decade of queenship, Ulvhild died, some time between 1143 and 1150. Sverker married secondly with Rikissa of Poland, widow of Magnus, king of Gothenland, Sverker's earlier rival and opponent. This, too, was a politically motivated marriage which may have aimed to draw the last remains of Magnus's party to Sverker.

Children and family.

Ulvhild was married three times; to King Inge II of Sweden in c. 1117, to King Niels of Denmark in c. 1130, and to King Sverker I of Sweden in c. 1134. She had at least two surviving sons and two surviving daughters, all born of her third marriage with Sverker:  Some genealogies have it that Sune Sik was a younger son of King Sverker, being the father of Ingrid Ylva; it is fully possible that he was also a son of Ulvhild.

Ulvhild Håkansdotter (Swedish: "Ulfhild", English: "Wulfhild, Wolfhild"), (c. 1095–c. 1148), was twice Queen of Sweden (c. 1117–25 and c. 1134–48) and once Queen of Denmark (c. 1130–34) through her successive marriages to Inge II of Sweden, Niels of Denmark, and Sverker I of Sweden. Ulvhild had an important role in the Nordic dynastic connections of her time, but the sources are insufficient on detailed circumstances. She is mentioned as a "femme fatale" of high-medieval Scandinavia, as well as a benefactor of the Catholic Church.

Ulvhild Håkansdotter, (vers 1095-1148), (suédois: "Ulfhild", anglais: "Wulfhild, Wolfhild"), est une reine médiévale de Scandinavie qui fut deux fois reine de Suède en épousant successivement Inge II de Suède et Sverker I de Suède et entre temps reine de Danemark comme épouse du roi Niels de Danemark. Ulvhild joue de ce fait un rôle important dans les alliances dynastiques des royaumes nordiques de son époque, mais les sources sont malheureusement insuffisantes pour en apprécier totalement toutes les circonstances. Elle laisse dans l'historiographie médiévale la réputation d'être une « Femme fatale » de la Scandinavie tout étant considérée également comme une bienfaitrice de l'église catholique.


History.

The Wisconsin Territory was established by the federal government effective 3 July 1836, and existed until its eastern portion was granted statehood (as Wisconsin) in 1848. The federal government set up the Minnesota Territory in the remaining territory, effective 3 March 1849. The newly organized territorial legislature created nine counties across the territory in October of that year. One of those original counties, Pembina, had its lower portion partitioned in 1858 by the newly organized Minnesota State legislature to create Polk County. On 24 December 1896, the legislature partitioned the northern portion of Polk to create Red Lake County. Then on 23 November 1910, the northern part of Red Lake was sectioned off to create Pennington County, the penultimate Minnesota county to be created (followed by Lake of the Woods in 1922). The county was named for Edmund Pennington (1848-1926), a longtime Minnesota railroad executive, who was serving as president of the Minneapolis, St. Paul, and Sault Ste. Marie Railway when the county was formed. Thief River Falls, the area's major settlement (platted in 1887), was specified as the county seat.

Geography.

The Red Lake River flows westward into the county from Beltrami County through Pennington's central portion. Near Thief River Falls it is joined by the Thief River, flowing southward into the county from Marshall County. The combined flow exits Pennington County toward the south, then swings west- and northwestward as it moves to its confluence with the Red River near Grand Forks, North Dakota. The county terrain consists of low rolling hills, lightly wooded, with all available areas devoted to agriculture. The terrain slopes to the west and south, with its highest point near the lower east border, at 1,186' (361m) ASL. The county has a total area of, of which is land and (0.3%) is water. Pennington is one of 17 Minnesota savanna region counties with more savanna soils than either prairie or forest soils.

2000 census.

As of the 2000 United States Census, there were 13,584 people, 5,525 households, and 3,552 families in the county. The population density was 22.0/sqmi (8.50/km2). There were 6,033 housing units at an average density of 9.78.sqmi (3.78/km2). The racial makeup of the county was 97.02% White, 0.21% Black or African American, 0.82% Native American, 0.59% Asian, 0.04% Pacific Islander, 0.51% from other races, and 0.81% from two or more races. 1.24% of the population were Hispanic or Latino of any race. 49.0% were of Norwegian, 15.4% German and 7.2% Swedish ancestry.  There were 5,525 households out of which 30.60% had children under the age of 18 living with them, 51.70% were married couples living together, 9.10% had a female householder with no husband present, and 35.70% were non-families. 29.50% of all households were made up of individuals and 12.60% had someone living alone who was 65 years of age or older. The average household size was 2.38 and the average family size was 2.95.  The county population contained 24.50% under the age of 18, 10.30% from 18 to 24, 26.50% from 25 to 44, 22.90% from 45 to 64, and 15.80% who were 65 years of age or older. The median age was 38 years. For every 100 females there were 97.50 males. For every 100 females age 18 and over, there were 94.60 males.  The median income for a household in the county was $34,216, and the median income for a family was $43,936. Males had a median income of $30,771 versus $21,078 for females. The per capita income for the county was $17,346. About 7.70% of families and 11.10% of the population were below the poverty line, including 10.70% of those under age 18 and 14.80% of those age 65 or over.

Politics.

Pennington County has a fairly balanced voting record but has tended to vote Republican in recent decades. In 60% of national elections since 1980 the county selected the Republican Party candidate (as of 2016).

Pennington County is a county in the Northwestern part of the U.S. state of Minnesota. As of the 2010 United States Census, the population was 13,930. Its county seat is Thief River Falls.

Le comté de Pennington est situé dans l’État du Minnesota, aux États-Unis. Il comptait habitants en 2000. Son siège est Thief River Falls.