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= = Home media = =
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" The Son Also Draws " and the complete first and second seasons of the series were released under the title Family Guy Volume One ; this standard four @-@ disc DVD box set debuted in Region 1 on April 15 , 2003 , three months before the premiere of the third season . Distributed by 20th Century Fox Television , it included several DVD extras such as episode commentaries , behind @-@ the @-@ scenes footage , and online promo spots . The same episodes , without the special features , were released in Region 2 on November 12 , 2001 and in Region 4 on October 20 , 2003 .
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= Protomycena =
| 7d2adcd86f0ab245d330315095860cd4 | 17,843 |
Protomycena is an extinct monotypic genus of gilled fungus in the family Mycenaceae , of order Agaricales . At present it contains the single species Protomycena electra , known from a single specimen collected in an amber mine in the Cordillera Septentrional area of the Dominican Republic . The fruit body of the fungus has a convex cap that is 5 mm ( 0 @.@ 2 in ) in diameter , with distantly spaced gills on the underside . The curved stipe is smooth and cylindrical , measuring 0 @.@ 75 mm ( 0 @.@ 030 in ) thick by 10 mm ( 0 @.@ 39 in ) long , and lacks a ring . It resembles extant ( currently living ) species of the genus Mycena . Protomycena is one of only five known agaric fungus species known in the fossil record and the second to be described from Dominican amber .
| 6f1d0650da5afd79529aaa398635dc74 | 17,845 |
= = Discovery and classification = =
| 60ab5f6caee52740f468cc0edacceebf | 17,847 |
The genus is known only from the holotype specimen , a single fruit body ( mushroom ) currently residing in the private collection owned by Ettore Morone of Turin , Italy . The specimen was collected in one of the amber mines in the Cordillera Septentrional area of the island of Hispaniola , in the Dominican Republic . The amber is believed to date from the Miocene Burdigalian stage , about 20 to 16 million years before the present . It was first studied by a group of researchers consisting of David Hibbett and Michael Donoghue from Harvard University , with David Grimaldi of the American Museum of Natural History . Hibbett and colleagues published their 1997 type description in the American Journal of Botany . The generic name Protomycena is derived from a combination of the Latin proto meaning " first " , and " Mycena " , a modern genus that it resembles . The specific epithet electra was coined by the authors from the Latin for " amber " , in reference to the mode of preservation .
| 3214a7f9a3aa9b51ee23a6f7e00832ed | 17,849 |
When it was reported , Protomycena electra was the third species of fossil agaric fungus to be described . The two species Coprinites dominicana and Aureofungus yaniguaensis are also known from the amber mines of the Dominican Republic , while the fourth species Archaeomarasmius leggeti is from the older , Cretaceous age New Jersey Amber . With the 2007 publication of a fifth extinct agaric species , Palaeoagaracites antiquus , the minimum age for the Agaricales order was pushed back to the Albian ( approximately 100 Ma ) .
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= = Description = =
| 7096d9cc91723f919ab4f5acdab6bccb | 17,852 |
The holotype of Protomycena is a single fruit body without any associated structures , preserved in a piece of clear light yellow polished amber approximately 4 @.@ 5 – 2 @.@ 5 cm ( 1 @.@ 77 – 0 @.@ 98 in ) wide . The pileus is 5 mm ( 0 @.@ 2 in ) in diameter and has a convex shape , sporting a raised central region ( an umbo ) . The pale flesh appears yellowish in the amber , and is smooth and glossy , changing to striate and slightly translucent towards the margin . The pileus margin is striated and slightly flared . The gills on the underside of the pileus are broadly attached ( adnate ) to the top of the stipe , and distantly spaced — between six and eight gills extend completely from the pileus margin to the stipe . These full @-@ length gills are anastomosed with lamellulae ( short gills which do not reach the edge of the stipe from the pileus margin ) of varying lengths . The pileus is centered on the curved stipe , which is smooth and cylindrical , measuring 0 @.@ 75 mm ( 0 @.@ 030 in ) thick by 10 mm ( 0 @.@ 39 in ) long . The stipe lacks a ring and rhizoids . The mushroom is preserved with a small liquid and gas @-@ filled bubble , possibly originating from the mushroom itself , which indicates the amber to be very solid and well @-@ sealed .
| c95bdcccb41ee7aa9430d05867dd3e99 | 17,854 |
In Hibbett and colleagues ' 1997 publication , Protomycena was placed in the subfamily Myceneae , which at the time was considered part of the Tricholomataceae family ; Mycena is currently classified in the Mycenaceae family . The placement was based solely on the visible structures , or macromorphology of the fruit body . Many of the features which are typically used to classify species into fungal families and subfamilies are based on microscopic features not visible or preserved in the amber specimen . Consequently , the assignment to Mycena is provisional ( the authors also note certain similarities with extant members of Marasmius ) , and the describing authors leave open the option of treating the genus placement as incertae sedis ( uncertain placement ) within the Agaricales . Protomycena is distinct from other amber @-@ preserved mushroom taxa such as Coprinites , in the grooved surface of its pileus and its anastomosing gills .
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= Art in Medieval Scotland =
| 18ddfde41f386f585c9e432f8b846f49 | 17,858 |
Art in Medieval Scotland includes all forms of artistic production within the modern borders of Scotland , between the fifth century and the adoption of the Renaissance in the early sixteenth century . In the early Middle Ages , there were distinct material cultures evident in the different federations and kingdoms within what is now Scotland . Pictish art was the only uniquely Scottish Medieval style ; it can be seen in the extensive survival of carved stones , particularly in the north and east of the country , which hold a variety of recurring images and patterns . It can also be seen in elaborate metal work that largely survives in buried hoards . Irish @-@ Scots art from the kingdom of Dál Riata suggests that it was one of the places , as a crossroads between cultures , where the Insular style developed .
| 3439f32f001f7ac111f4c30e1da7fb68 | 17,860 |
Insular art is the name given to the common style that developed in Britain and Ireland from the eighth century and which became highly influential in continental Europe and contributed to the development of Romanesque and Gothic styles . It can be seen in elaborate jewellery , often making extensive use of semi @-@ precious stones , in the heavily carved high crosses found particularly in the Highlands and Islands , but distributed across the country and particularly in the highly decorated illustrated manuscripts such as the Book of Kells , which may have been begun , or wholly created at the monastic centre of Iona .
| 3a052a29a9db9a2977323772e09b6042 | 17,861 |
Scotland adopted the Romanesque style relatively late and retained and revived elements of its style after the Gothic style had become dominant from the thirteenth century . Much of the best Scottish artwork of the High and Late Middle Ages was either religious in nature or realised in metal and woodwork , and has not survived the impact of time and the Reformation . However , examples of sculpture are extant as part of church architecture , including evidence of elaborate church interiors . From the thirteenth century there are relatively large numbers of monumental effigies . Native craftsmanship can be seen in a variety of items . Visual illustration can be seen in the illumination of charters and occasional survivals of church paintings . Surviving copies of individual portraits are relatively crude , but more impressive are the works or artists commissioned from the continent , particularly the Netherlands .
| 75e20f8c89dfeeba34611deadef1c68d | 17,862 |
= = Early Middle Ages = =
| 37bb03ae2d800b5a1fd34975e9dc12ed | 17,864 |
= = = Pictish stones = = =
| 24d199bf0fa2316db2ed3451c8f3a0c7 | 17,867 |
About 250 Pictish stones survive and have been assigned by scholars to three classes . Class I stones are those thought to date to the period up to the seventh century and are the most numerous group . The stones are largely unshaped and include incised symbols of animals such as fish and the Pictish beast , everyday objects such as mirrors , combs and tuning forks and abstract symbols defined by names including V @-@ rod , double disc and Z @-@ rod . They are found between from the Firth of Forth to Shetland . The greatest concentrations are in Sutherland , around modern Inverness and Aberdeen . Good examples include the Dunrobin ( Sutherland ) and Aberlemno stones ( Angus ) .
| 7fdded0661c9239ee9910bee9f715d97 | 17,869 |
Class II stones are carefully shaped slabs dating after the arrival of Christianity in the eighth and ninth centuries , with a cross on one face and a wide range of symbols on the reverse . In smaller numbers than Class I stones , they predominate in southern Pictland , in Perth , Angus and Fife . Good examples include Glamis 2 , which contains a finely executed Celtic cross on the main face with two opposing male figures , a centaur , cauldron , deer head and a triple disc symbol and Cossans , Angus , which shows a high @-@ prowed Pictish boat with oarsmen and a figure facing forward in the prow . Class III stones are thought to overlap chronologically with Class II stones . Most are elaborately shaped and incised cross @-@ slabs , some with figurative scenes , but lacking idiomatic Pictish symbols . They are widely distributed but predominate in the southern Pictish areas .
| f1aa9c759f70461ce88cd212ffe5393b | 17,870 |
= = = Pictish metalwork = = =
| 8525ad2a78cac30cf276294c837da86f | 17,872 |
Items of metalwork have been found throughout Pictland . The earlier Picts appear to have had a considerable amount of silver available , probably from raiding further south , or the payment of subsidies to keep them from doing so . The very large hoard of late Roman hacksilver found at Traprain Law may have originated in either way . The largest hoard of early Pictish metalwork was found in 1819 at Norrie 's Law in Fife , but unfortunately much was dispersed and melted down . Over ten heavy silver chains , some over 0 @.@ 5 metres ( 1 @.@ 6 ft ) long , have been found from this period ; the double @-@ linked Whitecleuch Chain is one of only two that have a penannular ring , with symbol decoration including enamel , which shows how these were probably used as " choker " necklaces . The St Ninian 's Isle Treasure of 28 silver and silver @-@ gilt objects , contains perhaps the best collection of late Pictish forms , from the Christian period , when Pictish metalwork style , as with stone @-@ carving , gradually merged with Insular , Anglo @-@ Saxon and Viking styles .
| b7846716b95a37d01bea5937fdb14c38 | 17,874 |
= = = Irish @-@ Scots art = = =
| 9e7c6e3dfa14b1148d9f4baf0ad90f0a | 17,876 |
Thomas Charles @-@ Edwards has suggested that the kingdom of Dál Riata was a cross @-@ roads between the artistic styles of the Picts and those of Ireland , with which the Scots settlers in what is now Argyll kept close contacts . This can be seen in representations found in excavations of the fortress of Dunadd , which combine Pictish and Irish elements . This included extensive evidence for the production of high status jewellery and moulds from the seventh century that indicate the production of pieces similar to the Hunterston brooch , found in Ayrshire , which may have been made in Dál Riata , but with elements that suggest Irish origins . These and other finds , including a trumpet spiral decorated hanging bowl disc and a stamped animal decoration ( or pressblech ) , perhaps from a bucket or drinking horn , indicate the ways in which Dál Riata was one of the locations where the Insular style was developed . In the eighth and ninth centuries the Pictish elite adopted true penannular brooches with lobed terminals from Ireland . Some older Irish pseudo @-@ penannular brooches were adapted to the Pictish style , for example the Breadalbane Brooch ( British Museum ) . The eighth century Monymusk Reliquary has elements of Pictish and Irish style .
| 99dcf705b7e27e4d6a689205d7d6376b | 17,878 |
= = = Early Anglo @-@ Saxon art = = =
| 08616cb6bbb61f02fb2dcb585facc3c1 | 17,880 |
Early examples of Anglo @-@ Saxon art are largely metalwork , particularly bracelets , clasps and jewellery , that has survived in pagan burials and in exceptional items such as the intricately carved whalebone Franks Casket , thought to have been produced in Northumbria in the early eighth century , which combines pagan , classical and Christian motifs . There is only one known pagan burial in Scotland , at Dalmeny Midlothian , which contains a necklace of beads similar to those found in mid @-@ seventh @-@ century southern England . Other isolated finds include a gold object from Dalmeny , shaped like a truncated pyramid , with filigree and garnet , similar to sword harness mounts found at Sutton Hoo . There is also a bun @-@ shaped loom from Yetholm , Roxburghshire and a ring with an Anglian runic inscription . From eastern Scotland there is a seventh @-@ century sword pommel from Culbin Sands , Moray and the Burghead drinking horn mount . After Christianisation in the seventh century artistic styles in Northumbria , which then reached to the Firth of Forth , interacted with those in Ireland and what is now Scotland to become part of the common style historians have identified as Insular or Hiberno @-@ Saxon .
| be02a15c4b5de95e23c50c44f98697e7 | 17,882 |
= = = Insular art = = =
| e08aa1343a971cda6b757640b62dc288 | 17,884 |
Insular art , or Hiberno @-@ Saxon art , is the name given to the common style produced in Scotland , Britain and Anglo @-@ Saxon England from the seventh century , with the combining of Celtic and Anglo @-@ Saxon forms . Surviving examples of Insular art are found in metalwork , carving , but mainly in illuminated manuscripts . In manuscripts surfaces are highly decorated with intricate patterning , with no attempt to give an impression of depth , volume or recession . The best examples include the Book of Kells , which may have been wholly or partly created in Iona , and the Book of Durrow , which may be from Ireland or Northumbria . Carpet pages are a characteristic feature of Insular manuscripts , although historiated initials ( an Insular invention ) , canon tables and figurative miniatures , especially Evangelist portraits , are also common . The finest era of the style was brought to an end by the disruption to monastic centres and aristocratic life of the Viking raids in the late eighth century .
| 36525984a58d46ecab61c7fe5f4c02d1 | 17,886 |
Christianity discouraged the burial of grave goods so the majority of examples of insular metalwork that survive from the Christian period have been found in archaeological contexts that suggest they were rapidly hidden , lost or abandoned . There are a few exceptions , notably portable shrines ( " cumdachs " ) for books or relics , several of which have been continuously owned , mostly by churches on the Continent — though the Monymusk Reliquary has always been in Scotland . The highest quality survivals are either secular jewellery , the largest and most elaborate pieces probably for male wearers , tableware or altarware . The finest church pieces were probably made by secular workshops , often attached to a royal household , though other pieces were made by monastic workshops . There are a number of large brooches , each of their designs is wholly individual in detail , and the workmanship is varied . Many elements of the designs can be directly related to elements used in manuscripts . Surviving stones used in decoration are semi @-@ precious ones , with amber and rock crystal among the commonest , and some garnets . Coloured glass , enamel and millefiori glass , probably imported , are also used . None of the major insular manuscripts , like the Book of Kells , have preserved their elaborate jewelled metal covers , but documentary evidence indicates that these were as spectacular as the few remaining continental examples .
| 31888992a85515b85dbb08f69c26d53f | 17,887 |
The most significant survivals in sculpture are in High crosses , large free @-@ standing stone crosses , usually carved in relief with patterns , biblical iconography and occasionally inscriptions . The tradition may have begun in Ireland or Anglo @-@ Saxon England and then spread to Scotland . They are found throughout the British Isles and often feature a stone ring around the intersection , forming a Celtic cross , apparently an innovation of Celtic Christianity , that may have begun at Iona . Distribution in Scotland is heaviest in the Highlands and Islands and they can be dated to the period c . 750 to 1150 . All the surviving crosses are of stone , but there are indications that large numbers of wooden crosses may also have existed . In Scotland biblical iconography is less common than in Ireland , but the subject of King David is relatively frequently depicted . In the east the influence of Pictish sculpture can be seen , in areas of Viking occupation and settlement , crosses for the tenth to the twelfth centuries have distinctive Scandinavian patterns , often mixed with native styles . Important examples dated to the eighth century include St Martin 's Cross on Iona , the Kildalton Cross from the Hebrides and the Anglo @-@ Saxon Ruthwell Cross . Through the Hiberno @-@ Scottish mission to the continent , insular art was highly influential on subsequent European Medieval art , especially the decorative elements of Romanesque and Gothic styles .
| 3fc933111d2bfd59e86cf0d17a761bbd | 17,888 |
= = = Viking age art = = =
| 3a43c3d451c8116e0ddff96ce646c160 | 17,890 |
Viking art avoided naturalism , favouring stylised animal motifs to create its ornamental patterns . Ribbon @-@ interlace was important and plant motifs became fashionable in the tenth and eleventh centuries . Most Scottish artefacts come from 130 " pagan " burials in the north and west from the mid @-@ ninth to the mid @-@ tenth centuries . These include jewellery , weapons and occasional elaborate high status items . Amongst the most impressive of these is the Scar boat burial , on Orkney , which contained an elaborate sword , quiver with arrows , a brooch , bone comb , gaming pieces and the Scar Dragon Plaque , made from whalebone , most of which were probably made in Scandinavia . From the west , another boat burial at Kiloron Bay in Colonsay revealed a sword , shield , iron cauldron and enamelled scales , which may be Celtic in origin . A combination of Viking and Celtic styles can be see in a penannular brooch from Pierowall in Orkney , which has a Pictish @-@ style looped pin . It is about two inches in diameter , with traces of gilding , and probably housed a piece of amber surrounded by interweaving ribbons . After the conversion to Christianity , from the tenth to the twelfth centuries , stone crosses and cross @-@ slabs in Viking occupied areas of the Highlands and Islands were carved with successive styles of Viking ornament . They were frequently mixed with native interlace and animal patterns . Examples include the eleventh @-@ century cross @-@ slab from Dóid Mhàiri on the island of Islay , where the plant motifs on either side of the cross @-@ shaft are based upon the Ringerike style of Viking art . The most famous artistic find from modern Scotland , the Lewis Chessmen , from Uig , were probably made in Trondheim in Norway , but contain some decoration that may have been influenced by Celtic patterns .
| c37a6c498582ef98cf997b16b36e0b33 | 17,892 |
= = Late Middle Ages = =
| 84849b52dbeb2f50993cea5c2d11202d | 17,894 |
= = = Architecture and sculpture = = =
| c9ec0616a90bfd56b230b24930205c07 | 17,897 |
Architectural evidence suggests that , while the Romanesque style peaked in much of Europe in the later eleventh and early twelfth century , it was still reaching Scotland in the second half of the twelfth century and was revived in the late fifteenth century , perhaps as a reaction to the English perpendicular style that had come to dominate . Much of the best Scottish artwork of the High and Late Middle Ages was either religious in nature or realised in metal and woodwork and has not survived the impact of time and the Reformation . However , examples of sculpture are extant as part of church architecture , a small number of significant crafted items have also survived and , for the end of the period , there is evidence of painting , particularly the extensive commissioning of works in the Low Countries and France .
| 98c0eca85218d39be4ed99d7cca85749 | 17,899 |
The interiors of churches were often more elaborate before the Reformation , with highly decorated sacrament houses , like the ones surviving at Deskford and Kinkell . The carvings at Rosslyn Chapel , created in the mid @-@ fifteenth century , elaborately depicting the progression of the seven deadly sins , are considered some of the finest in the Gothic style . Monumental effigies began to appear in churches from the thirteenth century and they were usually fully coloured and gilded . Many were founders and patrons of churches and chapels , including members of the clergy , knights and often their wives . In contrast to England , where the fashion for stone @-@ carved monuments gave way to brass etchings , they continued to be produced until the end of the Medieval period , with the largest group dating from the fifteenth century , including the very elaborate Douglas tombs in the town of Douglas . Sometimes the best continental artists were employed , as for Robert I 's elaborate tomb in Dunfermline Abbey , which was made in his lifetime by the Parisian sculptor Thomas of Chartres , but of which only fragments now survive . The greatest group of surviving sculpture from this period are from the West Highlands , beginning in the fourteenth century on Iona under the patronage of the Lordship of the Isles and continuing until the Reformation . Common motifs were ships , swords , harps and Romanesque vine leaf tracery with Celtic elements .
| 84537067014d3cce70cf10c071426438 | 17,900 |
= = = Decorative arts = = =
| a534af1ca19a24205361870ddbf5cb02 | 17,902 |
Survivals from late Medieval church fittings and objects in Scotland are exceptionally rare even compared to those from comparable areas like England or Norway , probably because of the thoroughness of their destruction in the Scottish Reformation . The Scottish elite and church now participated in a culture stretching across Europe , and many objects that do survive are imported , such as Limoges enamels . It is often difficult to decide the country of creation of others , as work in international styles was produced in Scotland , along with pieces retaining more distinctive local styles .
| 18b02a4b776c06ac6cdc320ce174b24d | 17,904 |
Two secular small chests with carved whalebone panels and metal fittings illustrate some aspects of the Scottish arts . The Eglington and Fife Caskets are very similar and were probably made by the same workshop around 1500 , as boxes for valuables such as jewellery or documents . The overall form of the caskets follows French examples , and the locks and metal bands are decorated in Gothic style with " simple decorations of fleurons and debased egg and dart " while the whalebone panels are carved in relief with a late form of Insular interwoven strapwork characteristic of late Medieval West Scotland .
| d3e0782ebaa418217105a890144090f3 | 17,905 |
Key examples of native craftsmanship on items include the Bute mazer , the earliest surviving drinking cup of its type , made of maple @-@ wood and with elaborate silver @-@ gilt ornamentation , dated to around 1320 . The Savernake Horn was probably made for the earl of Moray in the fourteenth century and looted by the English in the mid @-@ sixteenth century . A few significant reliquaries survive from West Scotland , examples of the habit of the Celtic church of treating the possessions rather than the bones of saints as relics . As in Irish examples these were partly reworked and elaborated at intervals over a long period . These are St Fillan 's Crozier and its " Coigreach " or reliquary , between them with elements from each century from the eleventh to the fifteenth , the Guthrie Bell Shrine , Iona , twelfth to fifteenth century , and the Kilmichael Glassary Bell Shrine , Argyll , mid @-@ twelfth century . The Skye Chess piece is a single elaborate piece in carved walrus ivory , with two warriors carrying heraldic shields in a framework of openwork vegetation . It is thought to be Scottish , of the mid @-@ thirteenth century , with aspects similar to both English and Norwegian pieces .
| 0458d16dda7fedf13fd83ecd2d3c0b02 | 17,906 |
One of the largest groups of surviving works of art are the seal matrices that appear to have entered Scottish usage with feudalism in the reign of David I , beginning at the royal court and among his Anglo @-@ Norman vassals and then by about 1250 they began to spread to the Gaelicised areas of the country . They would be made compulsory for barons of the king in a statute of 1401 and seal matrices show very high standards of skill and artistry . Examples of items that were probably the work of continental artists include the delicate hanging lamp in St. John 's Kirk in Perth , the vestments and hangings in Holyrood and the Medieval maces of the Universities of St Andrews and Glasgow .
| 2aa0714f821a9db270879b61dcac2c9a | 17,907 |
= = = Illumination and painting = = =
| 83aa3b01fdcd5a46a5e54c2e92d9235e | 17,909 |
Manuscript illumination continued into the late Middle Ages , moving from elaborate gospels to charters , like that confirming the rights of Kelso Abbey from 1159 . Very little painting from Scottish churches survives . There is only one surviving Doom painting in Scotland , at Guthrie near Arbroath , which may have been painted by the same artist as the elaborate crucifixion and other paintings at Foulis Easter , eighteen miles away . As in England , the monarchy may have had model portraits of royalty used for copies and reproductions , but the versions of native royal portraits that survive are generally crude by continental standards . Much more impressive are the works or artists imported from the continent , particularly the Netherlands , generally considered the centre of painting in the Northern Renaissance . The products of these connections included a fine portrait of William Elphinstone , Bishop of Aberdeen ( 1488 – 1514 ) ; the images of St Catherine and St John brought to Dunkeld ; Hugo van Der Goes 's altarpiece for the Trinity College Church in Edinburgh , commissioned by James III , and the work after which the Flemish Master of James IV of Scotland is named . There are also a relatively large number of elaborate devotional books from the late fifteenth and early sixteenth centuries , usually produced in the Low Countries and France for Scottish patrons , including the prayer book commissioned by Robert Blackadder , Bishop of Glasgow , between 1484 and 1492 and the Flemish illustrated book of hours , known as the Hours of James IV of Scotland , given by James IV to Margaret Tudor and described as " perhaps the finest medieval manuscript to have been commissioned for Scottish use " .
| 6d795ba46ec4805b921d2c0dda7cf1ca | 17,911 |
= Humpty Dumpty =
| df0ea6f8ad6e3cd2b66f6c7980b456d0 | 17,914 |
Humpty Dumpty is a character in an English nursery rhyme , probably originally a riddle and one of the best known in the English @-@ speaking world . He is typically portrayed as an anthropomorphic egg , though he is not explicitly described so . The first recorded versions of the rhyme date from late eighteenth @-@ century England and the tune from 1870 in James William Elliott 's National Nursery Rhymes and Nursery Songs . Its origins are obscure and several theories have been advanced to suggest original meanings .
| 36ef2f4f3b8584ffe646966c4e0660be | 17,916 |
The character of Humpty Dumpty was popularised in the United States by actor George L. Fox ( 1825 – 77 ) . As a character and literary allusion , he has appeared or been referred to in a large number of works of literature and popular culture , particularly Lewis Carroll 's Through the Looking @-@ Glass ( 1872 ) . The rhyme is listed in the Roud Folk Song Index as No. 13026 .
| 5e44791eb8b0a5df61e8a0c544fe7161 | 17,917 |
= = Lyrics and melody = =
| b4d6e088cc4eb9d96c915bc706fce6f7 | 17,919 |
The rhyme is one of the best known and most popular in the English language . The most common modern text is :
| 0df19904d554f947691ad10a9053bbad | 17,921 |
It is a single quatrain with external rhymes that follow the pattern of AABB and with a trochaic metre , which is common in nursery rhymes . The melody commonly associated with the rhyme was first recorded by composer and nursery rhyme collector James William Elliott in his National Nursery Rhymes and Nursery Songs ( London , 1870 ) . The Roud Folk Song Index catalogues folk songs and their variations by number , and classifies this song as 13026 .
| b09ce655c45043bc93148de788cfdb2b | 17,922 |
= = Origins = =
| 8f469ef2591335e9339d17f61a3f4c42 | 17,924 |
The earliest known version was published in Samuel Arnold 's Juvenile Amusements in 1797 with the lyrics :
| 669a6b82dede9e8d78f96c9c9749b9d5 | 17,926 |
A manuscript addition to a copy of Mother Goose 's Melody published in 1803 has the modern version with a different last line : " Could not set Humpty Dumpty up again " . It was published in 1810 in a version of Gammer Gurton 's Garland as :
| ccebe196aa33c2164dcb67f8f9eb193a | 17,927 |
In 1842 , James Orchard Halliwell published a collected version as :
| 81a8155a1d177d8f92ce9a8c4deaefe8 | 17,928 |
According to the Oxford English Dictionary , the term " humpty dumpty " referred to a drink of brandy boiled with ale in the seventeenth century . The riddle probably exploited , for misdirection , the fact that " humpty dumpty " was also eighteenth @-@ century reduplicative slang for a short and clumsy person . The riddle may depend upon the assumption that a clumsy person falling off a wall might not be irreparably damaged , whereas an egg would be . The rhyme is no longer posed as a riddle , since the answer is now so well known . Similar riddles have been recorded by folklorists in other languages , such as " Boule Boule " in French , " Lille Trille " in Swedish and Norwegian , and " Runtzelken @-@ Puntzelken " or " Humpelken @-@ Pumpelken " in different parts of Germany — although none is as widely known as Humpty Dumpty is in English .
| 9a5327aa62a83d957a843674063273a3 | 17,929 |
= = Meaning = =
| 5c61d598d54b0e76de70df33a882ccca | 17,931 |
The rhyme does not explicitly state that the subject is an egg , possibly because it may have been originally posed as a riddle . There are also various theories of an original " Humpty Dumpty " . One , advanced by Katherine Elwes Thomas in 1930 and adopted by Robert Ripley , posits that Humpty Dumpty is King Richard III of England , depicted as humpbacked in Tudor histories and particularly in Shakespeare 's play , and who was defeated , despite his armies , at Bosworth Field in 1485 .
| b0f5bd1e42d6c75f7b8ac65a2a6e495d | 17,933 |
Professor David Daube suggested in The Oxford Magazine of 16 February 1956 that Humpty Dumpty was a " tortoise " siege engine , an armoured frame , used unsuccessfully to approach the walls of the Parliamentary held city of Gloucester in 1643 during the Siege of Gloucester in the English Civil War . This was on the basis of a contemporary account of the attack , but without evidence that the rhyme was connected . The theory was part of an anonymous series of articles on the origin of nursery rhymes and was widely acclaimed in academia , but it was derided by others as " ingenuity for ingenuity 's sake " and declared to be a spoof . The link was nevertheless popularised by a children 's opera All the King 's Men by Richard Rodney Bennett , first performed in 1969 .
| 45ca5525a8e2186f7626ac9462263ed8 | 17,934 |
From 1996 , the website of the Colchester tourist board attributed the origin of the rhyme to a cannon recorded as used from the church of St Mary @-@ at @-@ the @-@ Wall by the Royalist defenders in the siege of 1648 . In 1648 , Colchester was a walled town with a castle and several churches and was protected by the city wall . The story given was that a large cannon , which the website claimed was colloquially called Humpty Dumpty , was strategically placed on the wall . A shot from a Parliamentary cannon succeeded in damaging the wall beneath Humpty Dumpty which caused the cannon to tumble to the ground . The Royalists ( or Cavaliers , " all the King 's men " ) attempted to raise Humpty Dumpty on to another part of the wall , but the cannon was so heavy that " All the King 's horses and all the King 's men couldn 't put Humpty together again " . Author Albert Jack claimed in his 2008 book Pop Goes the Weasel : The Secret Meanings of Nursery Rhymes that there were two other verses supporting this claim . Elsewhere , he claimed to have found them in an " old dusty library , [ in ] an even older book " , but did not state what the book was or where it was found . It has been pointed out that the two additional verses are not in the style of the seventeenth century or of the existing rhyme , and that they do not fit with the earliest printed versions of the rhyme , which do not mention horses and men .
| 37440bd12f35c23fdce43929a43c2979 | 17,935 |
= = In Through the Looking @-@ Glass = =
| 1eddfff0d14064fb8eb61f23c564b2ad | 17,937 |
Humpty appears in Lewis Carroll 's Through the Looking @-@ Glass ( 1872 ) , where he discusses semantics and pragmatics with Alice .
| 83889dae96d46cf8fc3b116fad31ac1c | 17,939 |
" I don 't know what you mean by ' glory , ' " Alice said .
| 0f7fd4ca8f68e3d2ef4496b16f950734 | 17,940 |
Humpty Dumpty smiled contemptuously . " Of course you don 't — till I tell you . I meant ' there 's a nice knock @-@ down argument for you ! ' "
| 34555e23cdc648d752715d7e2d1fb386 | 17,941 |
" But ' glory ' doesn 't mean ' a nice knock @-@ down argument ' , " Alice objected .
| 029b7e591953827eb76218d010e1e66a | 17,942 |
" When I use a word , " Humpty Dumpty said , in rather a scornful tone , " it means just what I choose it to mean — neither more nor less . "
| c51e86dd5b94b7d2045a277a63da6f95 | 17,943 |
" The question is , " said Alice , " whether you can make words mean so many different things . "
| bf0364f46692ce63f50f823c2b6d0ec4 | 17,944 |
" The question is , " said Humpty Dumpty , " which is to be master — that 's all . "
| 853ede99482dd63c9a29bd24b92756ae | 17,945 |
Alice was too much puzzled to say anything , so after a minute Humpty Dumpty began again . " They 've a temper , some of them — particularly verbs , they 're the proudest — adjectives you can do anything with , but not verbs — however , I can manage the whole lot ! Impenetrability ! That 's what I say ! "
| eaebba11cbb1d8a125662ba0d332082a | 17,946 |
This passage was used in Britain by Lord Atkin in his dissenting judgement in the seminal case Liversidge v. Anderson ( 1942 ) , where he protested about the distortion of a statute by the majority of the House of Lords . It also became a popular citation in United States legal opinions , appearing in 250 judicial decisions in the Westlaw database as of 19 April 2008 , including two Supreme Court cases ( TVA v. Hill and Zschernig v. Miller ) .
| dea55ec35ca3c157ba599472b1e6074f | 17,947 |
It has been suggested by A. J. Larner that Carroll 's Humpty Dumpty had prosopagnosia on the basis of his description of his finding faces hard to recognise .
| cbe98677d667a16f215fce7475500178 | 17,948 |
" The face is what one goes by , generally , " Alice remarked in a thoughtful tone .
| bc6a7e7854d37a4d2a65e641f04fda43 | 17,949 |
" That 's just what I complain of , " said Humpty Dumpty . " Your face is the same as everybody has — the two eyes , — " ( marking their places in the air with his thumb ) " nose in the middle , mouth under . It 's always the same . Now if you had the two eyes on the same side of the nose , for instance — or the mouth at the top — that would be some help . "
| 6399555c3b4dcd2f143d0b19b4034a54 | 17,950 |
= = In popular culture = =
| e3f88c86dc3837edd8eda4ec57e954be | 17,952 |
Humpty Dumpty has become a highly popular nursery rhyme character . American actor George L. Fox ( 1825 – 77 ) helped to popularise the character in nineteenth @-@ century stage productions of pantomime versions , music , and rhyme . The character is also a common literary allusion , particularly to refer to a person in an insecure position , something that would be difficult to reconstruct once broken , or a short and fat person . Humpty Dumpty has been used in a large range of literary works in addition to his appearance as a character in Through the Looking @-@ Glass , including L. Frank Baum 's Mother Goose in Prose ( 1901 ) , where the rhyming riddle is devised by the daughter of the king , having witnessed Humpty 's " death " and her father 's soldiers ' efforts to save him . In Neil Gaiman 's early short story The Case of the Four and Twenty Blackbirds , the Humpty Dumpty story is turned into a film noir @-@ style hardboiled crime story , involving also Cock Robin , the Queen of Hearts , Little Bo Peep , Old Mother Hubbard , and other characters from popular nursery rhymes . Robert Rankin used Humpty Dumpty as one victim of a serial fairy @-@ tale character murderer in The Hollow Chocolate Bunnies of the Apocalypse ( 2002 ) . Jasper Fforde included Humpty Dumpty in his novels The Well of Lost Plots ( 2003 ) and The Big Over Easy ( 2005 ) , which use him respectively as a ringleader of dissatisfied nursery rhyme characters threatening to strike and as the victim of a murder .
| 1bfc819fc3d106fcbd4cc3463d819b2a | 17,954 |
The rhyme has also been used as a reference in more serious literary works , including as a recurring motif of the Fall of Man in James Joyce 's 1939 novel Finnegans Wake . Robert Penn Warren 's 1946 American novel All the King 's Men is the story of populist politician Willie Stark 's rise to the position of governor and eventual fall , based on the career of the corrupt Louisiana Senator Huey Long . It won the 1947 Pulitzer Prize and was twice made into a film All the King 's Men in 1949 and 2006 , the former winning the Academy Award for best motion picture . This was echoed in Carl Bernstein and Bob Woodward 's book All the President 's Men , about the Watergate scandal , referring to the failure of the President 's staff to repair the damage once the scandal had leaked out . It was filmed as All the President 's Men in 1976 , starring Robert Redford and Dustin Hoffman . Similarly , Humpty Dumpty is referred to in Paul Auster 's 1985 novel City of Glass , when two characters discuss him as " the purest embodiment of the human condition " and quote extensively from Through the Looking Glass .
| fa437f91f9d27c4c4ae3616a5fca1ba7 | 17,955 |
It has also been used as a common motif in popular music , including Hank Thompson 's " Humpty Dumpty Heart " ( 1948 ) , The Monkees ' " All the King 's Horses " ( 1966 ) , Aretha Franklin 's " All the King 's Horses " ( 1972 ) , Tori Amos 's " Humpty Dumpty " ( 1992 ) , and Travis 's " The Humpty Dumpty Love Song " ( 2001 ) . In jazz , Ornette Coleman and Chick Corea wrote different compositions , both titled Humpty Dumpty . ( In Corea 's case , however , it is a part of a concept album inspired by Lewis Carroll called " The Mad Hatter " , 1978 ) .
| 38e5a06e84c8fda2e4a93691ad3671e0 | 17,956 |
In the Dolly Parton song Starting Over Again , it 's all the king 's horses and all the king 's men who can 't put the divorced couple back together again . In an extra verse in one version of ABBA 's On and On and On , Humpty Dumpty is mentioned as being afraid of falling off the wall .
| 1e0136c0c1a2ff66a02d612a663e97b4 | 17,957 |
= = In science = =
| 1cbb751fe253160104586f9980b4bc31 | 17,959 |
Humpty Dumpty has been used to demonstrate the second law of thermodynamics . The law describes a process known as entropy , a measure of the number of specific ways in which a system may be arranged , often taken to be a measure of " disorder " . The higher the entropy , the higher the disorder . After his fall and subsequent shattering , the inability to put him together again is representative of this principle , as it would be highly unlikely ( though not impossible ) to return him to his earlier state of lower entropy , as the entropy of an isolated system never decreases .
| 762f1a2e8c1b477f19a8eb6b5e9563b4 | 17,961 |
A variation on the poem using near @-@ sounding French nonsense words is often used to illustrate the difficulty of speech recognition in different languages . A common version is as follows :
| 1cb61b417276a30827f00f8a7c4d8d06 | 17,962 |
To a listener expecting a nursery rhyme , it will generally be heard as the English version , while someone expecting French will instead tend to hear nonsense words .
| c9b31e59e0692f3c1a5465888738be51 | 17,963 |
= Welsh National Opera =
| 9b946ffa312e0edb647ac6a4efc5763a | 17,966 |
Welsh National Opera ( WNO ) ( Welsh : Opera Cenedlaethol Cymru ) is an opera company based in Cardiff , Wales ; it gave its first performances in 1946 . It began as a mainly amateur body and transformed into an all @-@ professional ensemble by 1973 . In its early days the company gave a single week 's annual season in Cardiff , gradually extending its schedule to become an all @-@ year @-@ round operation , with its own salaried chorus and orchestra . It has been described by The New York Times as " one of the finest operatic ensembles in Europe " .
| 8c0a95721594fdee2d1de198313370a4 | 17,968 |
For most of its existence the company lacked a permanent base in Cardiff , but in 2004 it moved into the new Wales Millennium Centre , Cardiff Bay . The company tours nationally and internationally , giving more than 120 performances annually , with a repertoire of eight operas each year , to a combined audience of more than 150 @,@ 000 people . Its most frequent venues other than Cardiff are Llandudno in Wales and Bristol , Birmingham , Liverpool , Milton Keynes , Oxford , Plymouth , and Southampton in England .
| ed52ceb818822d4da2f045a8e19a9f05 | 17,969 |
Singers who have been associated with the company include Geraint Evans , Thomas Allen , Anne Evans , and Bryn Terfel . Guest artists from other countries have included Joan Hammond , Tito Gobbi and Elisabeth Söderström . Among the conductors have been Sir Charles Mackerras , Reginald Goodall , James Levine and Pierre Boulez . The company has been led since 2011 by David Pountney as chief executive and artistic director .
| d7db62bf1fc848ab6f11072f40612a54 | 17,970 |
= = Background = =
| d514b18e9690308b2ac67a227be74a70 | 17,972 |
Choral singing became increasingly popular in 19th @-@ century Wales , principally owing to the rise of the eisteddfod as a symbol of its culture . The first Welsh National Opera Company was formed in 1890 . A local newspaper commented that it was remarkable that " a race of people to whom vocal music is a ruling passion should not generations ago have established a permanent national opera " . The company gave performances of operas by the Welsh composer Joseph Parry in Cardiff and on tour in Wales . The company , predominantly amateur with some professional guest singers from the London stage , gave numerous performances of Parry 's Blodwen and Arienwen , composed in 1878 and 1890 respectively . An American tour was planned , but the company folded , and Parry 's final opera , The Maid of Cefn Ydfa , was given at Cardiff by the Moody @-@ Manners Opera Company in 1902 .
| 92c99cb20f4fcb7406d2f1b1fe828011 | 17,974 |
A Cardiff Grand Opera Society ran from 1924 to 1934 . It presented week @-@ long annual seasons of popular operas including Faust , Carmen and Il trovatore , and like its predecessor was mainly an amateur body , with professional guest principals . Apart from the productions of these two enterprises , opera in Wales in the late 19th and early 20th centuries was generally presented by visiting companies from England .
| 1a4a61e566be28c09bcfbc7dbd61eefc | 17,975 |
In the 1930s Idloes Owen , a singing teacher and conductor , ran an amateur choir , the Lyrian Singers , based in Cardiff . In November 1941 , together with John Morgan – a former Carl Rosa baritone – and Morgan 's fiancée Helena Hughes Brown , Owen agreed to found the Lyrian Grand Opera Company , with Brown as secretary and Owen as conductor and general manager . They publicised their plan and held a general meeting of potential supporters in December 1943 ; at that meeting the name of the proposed organisation was changed to " Welsh National Opera Company " . By January 1944 plans were far enough advanced for the company 's first rehearsals to be held . Owen recruited a local businessman , W. H. ( Bill ) Smith ( 1894 – 1968 ) , who agreed to serve as business manager . At first doubtful of the company 's prospects , Smith became its dominant influence , leading fund @-@ raiser , and chairman for twenty years from 1948 .
| 92c55a08e0de32efe89aa93f7c47c239 | 17,976 |
= = Early years = =
| 800003101c57ed56d3fb8a29a1269525 | 17,978 |
The new company made its debut at the Prince of Wales Theatre , Cardiff on 15 April 1946 with a double bill of Cavalleria Rusticana and Pagliacci . The orchestra was professional , mostly drawn from members of the BBC Welsh Orchestra ; all the singers were amateurs , except for Tudor Davies , a tenor well known at Covent Garden and Sadler 's Wells , who sang Canio in Pagliacci . During the week @-@ long season the new company also staged Faust , with Davies in the title role . Although nearing the end of his career he was a considerable box @-@ office draw , and the company played to full houses . Nevertheless , the expense of a professional orchestra and the hire of costumes and scenery outweighed the box @-@ office receipts , and the season made a small loss . Finance remained a recurring problem over the succeeding decades .
| 866c79ef19c6c22d8ebf3f4bf088d7ea | 17,980 |
Although Owen was the conductor for the performances of Cavalliera Rusticana , and remained as musical director of the company until 1952 , his health was fragile and he conducted none of the company 's other productions . His colleague , the chorus master , Ivor John , was in charge of the first season 's Pagliacci and Faust .
| 1c50f033500f26ff0fa44b2a1c791662 | 17,981 |
In 1948 the organisation was registered as a limited company , and the Cardiff season was extended from one week to two . The following year the company gave its first performances in Swansea . The chorus featured 120 performers by this time .
| 8f4f1b6e79cc626606bd98a2631ae164 | 17,982 |
The company 's first few seasons attracted little attention from the British musical establishment , but by the early 1950s London papers began to take notice . Picture Post hailed the WNO 's chorus as the finest in Britain . The Times also praised the chorus : " It has body , lightness , rhythmic precision , and , most welcome of all , unflagging and spontaneous freshness . " By this time the company had expanded its repertoire to take in Carmen , La traviata , Madame Butterfly , The Tales of Hoffmann , The Bartered Bride and Die Fledermaus . The Times commented that Smith , Owen and their colleagues were " making history for Wales . The shackles of puritanism , which had kept this country from an art @-@ form perfectly suited to its national talents and predilections ( for histrionics and dressing @-@ up are as natural to the Welsh as singing ) had been broken for ever " .
| d57724c8e49d4090c211102d300d84ea | 17,983 |
= = Consolidating : 1950s and 60s = =
| eaf3c25efa18efcd2434c510133f7f41 | 17,985 |
In 1952 the company moved its Cardiff venue to the Sophia Gardens Pavilion ( built for the Festival of Britain ) , with the Bournemouth Municipal Orchestra as the company 's orchestra , replacing the previous ad hoc ensemble . The Pavilion was acoustically mediocre and lacked an orchestra pit ; two years later the company moved again , to the New Theatre where it played Cardiff seasons across the next fifty years . The 1952 season attracted particular interest because it included what was then a rarity : Verdi 's Nabucco . The company built a reputation for staging seldom @-@ seen Verdi works , including The Sicilian Vespers staged in the same year , I Lombardi in 1956 , and The Battle of Legnano , under the shortened title The Battle , in 1960 . The 1952 Nabucco was the WNO 's first production for which costumes and scenery were specially designed ( by Patrick Robertson ) rather than hired .
| 640470f07d643a56b2c92802dc220e3e | 17,987 |
In 1953 the company staged its first work by a Welsh composer : Menna by Arwel Hughes . The composer conducted , and the leads were sung by two professional guest stars , Richard Lewis and Elsie Morison . The same year marked WNO 's first appearances outside Wales , playing a week at Bournemouth in April , and a week at Manchester in October , when The Manchester Guardian found the soloists first @-@ rate but the chorus disappointing , in both Nabucco and Il trovatore . A reviewer in The Musical Times commented on potential difficulties in assembling the wholly amateur chorus for performances beyond daily travelling range of their day jobs . By the time of the company 's first London season – a week at Sadler 's Wells in 1955 – the chorus was judged to be " lively and exciting " ( The Musical Times ) , " vibrant " and " moving " ( The Times ) and " joyous " ( The Manchester Guardian ) .
| 1a73911fbd4dfa80cb107904572cec68 | 17,988 |
By the mid @-@ 1950s professional singers were cast in leading roles in most productions ; they included Walter Midgley in Tosca and La bohème ( 1955 ) , Raimund Herincx in Mefistofele ( 1957 ) , Heather Harper in La traviata ( 1957 ) , and Joan Hammond in Madame Butterfly ( 1958 ) . A possibility of strengthening the professional element of the company was mooted in 1958 , when a merger was proposed with the Carl Rosa Company , which was in financial difficulties . The proposal was not followed through and WNO continued independently while the Carl Rosa folded .
| c240ddb9e275b31aea4b99dccd31365a | 17,989 |
During the 1960s the company continued to widen its range . Its first Wagner production , Lohengrin , and its first Mozart , The Marriage of Figaro , were both performed in 1962 , conducted by Charles Groves . Another Welsh opera , Hughes 's Serch yw 'r Doctor ( " Love , the Doctor " ) was staged in 1960 . The popular Italian repertoire remained the core of the annual seasons , mostly directed by the head of production , John Moody . Leading roles were taken by rising stars such as John Shirley @-@ Quirk , Gwyneth Jones , Thomas Allen , Josephine Barstow and Margaret Price , the last of whom made her operatic debut with the company in 1962 . Established singers guesting with the company included Geraint Evans who played the title role in Don Pasquale in 1966 , and Ian Wallace in the same part the following year . Evans was also seen as Leporello in Don Giovanni in 1966 and as Falstaff in 1969 .
| 3f8dcc1adb041f02bac6faa913468ecf | 17,990 |
The gradual switch from amateur to professional continued in 1968 , when for the first time the chorus was supplemented by a smaller , professional group of singers ; the mix of amateur and professional choristers continued over the next five years . At the end of the 1960s the main WNO company , now a year @-@ round operation , consisted of 8 salaried principal singers , 57 guest soloists and a chorus of 90 amateurs and 32 professionals . As well as the Bournemouth players , the company engaged the Royal Liverpool Philharmonic , City of Birmingham Symphony and Ulster orchestras for different venues . In the last season of the decade 32 performances were given in Cardiff and 61 elsewhere in the UK . In addition to the main company , WNO maintained two smaller groups : one , with orchestra , toured Welsh towns , the other , consisting of 12 singers with piano , toured 79 , mostly small , towns in Wales and England . WNO instituted its own training scheme for young singers during the decade .
| a8389cdbb187f6dda4e66d826f1a78ba | 17,991 |
= = Fully professional : 1970s = =
| 263394b88a81e1bb09a2199461540d66 | 17,993 |
In 1970 WNO stopped using the Bournemouth and other orchestras and established its own , known at first as the Welsh Philharmonia . Three years later the last amateur element of the company was removed when the chorus became fully professional . A further broadening of the repertoire took place in the 1970s : in 1971 WNO staged the first performances in Britain of Berg 's Lulu , directed by Michael Geliot , who had succeeded Moody in 1969 . In the view of Malcolm Boyd in The New Grove Dictionary of Opera , Geliot , " unpredictable and often controversial " , largely shaped the company 's style in the 1970s . In collaboration with the company 's musical director James Lockhart , Geliot is credited by The Times with introducing new young singers and " directing a host of groundbreaking productions " before leaving in 1978 . The critic Rodney Milnes wrote in 1975 about WNO 's productions :
| 5dfb274d9feed56f0b09206d3ae8539b | 17,995 |
I have never seen , well , hardly ever , a pretentious , silly or seriously misguided production , and neither have I seen a dull one . … The company 's greatest virtue is that its work is dedicated above all to the service of composers and audiences , and not to some abstract notion of " prestige " nor to the vanity or ambition of individuals , and in this it is almost unique .
| bad9d4080b868313b2d3308525187d32 | 17,996 |
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