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The American Astronomical Society, which is the major organization of professional astronomers in North America, has approximately 8,200 members (as of 2024). This number includes scientists from other fields such as physics, geology, and engineering, whose research interests are closely related to astronomy. The International Astronomical Union comprises about 12,700 members from 92 countries who are involved in astronomical research at the PhD level and beyond (as of 2024).
Contrary to the classical image of an old astronomer peering through a telescope through the dark hours of the night, it is far more common to use a charge-coupled device (CCD) camera to record a long, deep exposure, allowing a more sensitive image to be created because the light is added over time. Before CCDs, photographic plates were a common method of observation. Modern astronomers spend relatively little time at telescopes, usually just a few weeks per year. Analysis of observed phenomena, along with making predictions as to the causes of what they observe, takes the majority of observational astronomers' time.
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Activities and graduate degree training.
Astronomers who serve as faculty spend much of their time teaching undergraduate and graduate classes. Most universities also have outreach programs, including public telescope time and sometimes planetariums, as a public service to encourage interest in the field.
Those who become astronomers usually have a broad background in physics, mathematics, sciences, and computing in high school. Taking courses that teach how to research, write, and present papers are part of the higher education of an astronomer, while most astronomers attain both a Master's degree and eventually a PhD degree in astronomy, physics or astrophysics.
PhD training typically involves 5-6 years of study, including completion of upper-level courses in the core sciences, a competency examination, experience with teaching undergraduates and participating in outreach programs, work on research projects under the student's supervising professor, completion of a PhD thesis, and passing a final oral exam. Throughout the PhD training, a successful student is financially supported with a stipend.
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Amateur astronomers.
While there is a relatively low number of professional astronomers, the field is popular among amateurs. Most cities have amateur astronomy clubs that meet on a regular basis and often host star parties. The Astronomical Society of the Pacific is the largest general astronomical society in the world, comprising both professional and amateur astronomers as well as educators from 70 different nations.
As with any hobby, most people who practice amateur astronomy may devote a few hours a month to stargazing and reading the latest developments in research. However, amateurs span the range from so-called "armchair astronomers" to people who own science-grade telescopes and instruments with which they are able to make their own discoveries, create astrophotographs, and assist professional astronomers in research.
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ASCII
ASCII ( ), an acronym for American Standard Code for Information Interchange, is a character encoding standard for electronic communication. ASCII codes represent text in computers, telecommunications equipment, and other devices. ASCII has just 128 code points, of which only 95 are , which severely limit its scope. The set of available punctuation had significant impact on the syntax of computer languages and text markup. ASCII hugely influenced the design of character sets used by modern computers; for example the first 128 code points of Unicode are the same as ASCII.
The Internet Assigned Numbers Authority (IANA) prefers the name US-ASCII for this character encoding.
ASCII is one of the IEEE milestones.
Overview.
ASCII was developed in part from telegraph code. Its first commercial use was in the Teletype Model 33 and the Teletype Model 35 as a seven-bit teleprinter code promoted by Bell data services. Work on the ASCII standard began in May 1961, with the first meeting of the American Standards Association's (ASA) (now the American National Standards Institute or ANSI) X3.2 subcommittee. The first edition of the standard was published in 1963, underwent a major revision during 1967, and experienced its most recent update during 1986. Compared to earlier telegraph codes, the proposed Bell code and ASCII were both ordered for more convenient sorting (i.e., alphabetization) of lists and added features for devices other than teleprinters.
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The use of ASCII format for Network Interchange was described in 1969. That document was formally elevated to an Internet Standard in 2015.
Originally based on the (modern) English alphabet, ASCII encodes 128 specified characters into seven-bit integers as shown by the ASCII chart in this article. Ninety-five of the encoded characters are printable: these include the digits "0" to "9", lowercase letters "a" to "z", uppercase letters "A" to "Z", and punctuation symbols. In addition, the original ASCII specification included 33 non-printing control codes which originated with s; most of these are now obsolete, although a few are still commonly used, such as the carriage return, line feed, and tab codes.
For example, lowercase "i" would be represented in the ASCII encoding by binary 1101001 = hexadecimal 69 ("i" is the ninth letter) = decimal 105.
Despite being an American standard, ASCII does not have a code point for the cent (¢). It also does not support English terms with diacritical marks such as résumé and jalapeño, or proper nouns with diacritical marks such as Beyoncé (although on certain devices characters could be combined with punctuation such as Tilde (~) and Backtick (`) to approximate such characters.)
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History.
The American Standard Code for Information Interchange (ASCII) was developed under the auspices of a committee of the American Standards Association (ASA), called the X3 committee, by its X3.2 (later X3L2) subcommittee, and later by that subcommittee's X3.2.4 working group (now INCITS). The ASA later became the United States of America Standards Institute (USASI) and ultimately became the American National Standards Institute (ANSI).
With the other special characters and control codes filled in, ASCII was published as ASA X3.4-1963, leaving 28 code positions without any assigned meaning, reserved for future standardization, and one unassigned control code. There was some debate at the time whether there should be more control characters rather than the lowercase alphabet. The indecision did not last long: during May 1963 the CCITT Working Party on the New Telegraph Alphabet proposed to assign lowercase characters to "sticks" 6 and 7, and International Organization for Standardization TC 97 SC 2 voted during October to incorporate the change into its draft standard. The X3.2.4 task group voted its approval for the change to ASCII at its May 1963 meeting. Locating the lowercase letters in "sticks" 6 and 7 caused the characters to differ in bit pattern from the upper case by a single bit, which simplified case-insensitive character matching and the construction of keyboards and printers.
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The X3 committee made other changes, including other new characters (the brace and vertical bar characters), renaming some control characters (SOM became start of header (SOH)) and moving or removing others (RU was removed). ASCII was subsequently updated as USAS X3.4-1967, then USAS X3.4-1968, ANSI X3.4-1977, and finally, ANSI X3.4-1986.
Revisions.
In the X3.15 standard, the X3 committee also addressed how ASCII should be transmitted (least significant bit first) and recorded on perforated tape. They proposed a 9-track standard for magnetic tape and attempted to deal with some punched card formats.
Design considerations.
Bit width.
The X3.2 subcommittee designed ASCII based on the earlier teleprinter encoding systems. Like other character encodings, ASCII specifies a correspondence between digital bit patterns and character symbols (i.e. graphemes and control characters). This allows digital devices to communicate with each other and to process, store, and communicate character-oriented information such as written language. Before ASCII was developed, the encodings in use included 26 alphabetic characters, 10 numerical digits, and from 11 to 25 special graphic symbols. To include all these, and control characters compatible with the Comité Consultatif International Téléphonique et Télégraphique (CCITT) International Telegraph Alphabet No. 2 (ITA2) standard of 1932, FIELDATA (1956), and early EBCDIC (1963), more than 64 codes were required for ASCII.
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ITA2 was in turn based on Baudot code, the 5-bit telegraph code Émile Baudot invented in 1870 and patented in 1874.
The committee debated the possibility of a shift function (like in ITA2), which would allow more than 64 codes to be represented by a six-bit code. In a shifted code, some character codes determine choices between options for the following character codes. It allows compact encoding, but is less reliable for data transmission, as an error in transmitting the shift code typically makes a long part of the transmission unreadable. The standards committee decided against shifting, and so ASCII required at least a seven-bit code.
The committee considered an eight-bit code, since eight bits (octets) would allow two four-bit patterns to efficiently encode two digits with binary-coded decimal. However, it would require all data transmission to send eight bits when seven could suffice. The committee voted to use a seven-bit code to minimize costs associated with data transmission. Since perforated tape at the time could record eight bits in one position, it also allowed for a parity bit for error checking if desired. Eight-bit machines (with octets as the native data type) that did not use parity checking typically set the eighth bit to 0.
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Internal organization.
The code itself was patterned so that most control codes were together and all graphic codes were together, for ease of identification. The first two so-called "ASCII sticks" (32 positions) were reserved for control characters. The "space" character had to come before graphics to make sorting easier, so it became position 20hex; for the same reason, many special signs commonly used as separators were placed before digits. The committee decided it was important to support uppercase 64-character alphabets, and chose to pattern ASCII so it could be reduced easily to a usable 64-character set of graphic codes, as was done in the DEC SIXBIT code (1963). Lowercase letters were therefore not interleaved with uppercase. To keep options available for lowercase letters and other graphics, the special and numeric codes were arranged before the letters, and the letter "A" was placed in position 41hex to match the draft of the corresponding British standard. The digits 0–9 are prefixed with 011, but the remaining 4 bits correspond to their respective values in binary, making conversion with binary-coded decimal straightforward (for example, 5 in encoded to 011"0101", where 5 is "0101" in binary).
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Many of the non-alphanumeric characters were positioned to correspond to their shifted position on typewriters; an important subtlety is that these were based on "mechanical" typewriters, not "electric" typewriters. Mechanical typewriters followed the "de facto" standard set by the Remington No. 2 (1878), the first typewriter with a shift key, and the shifted values of codice_1 were codice_2 early typewriters omitted "0" and "1", using "O" (capital letter "o") and "l" (lowercase letter "L") instead, but codice_3 and codice_4 pairs became standard once 0 and 1 became common. Thus, in ASCII codice_5 were placed in the second stick, positions 1–5, corresponding to the digits 1–5 in the adjacent stick. The parentheses could not correspond to "9" and "0", however, because the place corresponding to "0" was taken by the space character. This was accommodated by removing codice_6 (underscore) from "6" and shifting the remaining characters, which corresponded to many European typewriters that placed the parentheses with "8" and "9". This discrepancy from typewriters led to bit-paired keyboards, notably the Teletype Model 33, which used the left-shifted layout corresponding to ASCII, differently from traditional mechanical typewriters.
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Electric typewriters, notably the IBM Selectric (1961), used a somewhat different layout that has become "de facto" standard on computers following the IBM PC (1981), especially Model M (1984) and thus shift values for symbols on modern keyboards do not correspond as closely to the ASCII table as earlier keyboards did. The codice_7 pair also dates to the No. 2, and the codice_8 pairs were used on some keyboards (others, including the No. 2, did not shift codice_9 (comma) or codice_10 (full stop) so they could be used in uppercase without unshifting). However, ASCII split the codice_11 pair (dating to No. 2), and rearranged mathematical symbols (varied conventions, commonly codice_12) to codice_13.
Some then-common typewriter characters were not included, notably codice_14, while codice_15 were included as diacritics for international use, and codice_16 for mathematical use, together with the simple line characters codice_17 (in addition to common codice_18). The "@" symbol was not used in continental Europe and the committee expected it would be replaced by an accented "À" in the French variation, so the "@" was placed in position 40hex, right before the letter A.
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The control codes felt essential for data transmission were the start of message (SOM), end of address (EOA), end of message (EOM), end of transmission (EOT), "who are you?" (WRU), "are you?" (RU), a reserved device control (DC0), synchronous idle (SYNC), and acknowledge (ACK). These were positioned to maximize the Hamming distance between their bit patterns.
Character order.
ASCII-code order is also called "ASCIIbetical" order. Collation of data is sometimes done in this order rather than "standard" alphabetical order (collating sequence). The main deviations in ASCII order are:
An intermediate order converts uppercase letters to lowercase before comparing ASCII values.
Character groups.
Control characters.
ASCII reserves the first 32 code points (numbers 0–31 decimal) and the last one (number 127 decimal) for control characters. These are codes intended to control peripheral devices (such as printers), or to provide meta-information about data streams, such as those stored on magnetic tape. Despite their name, these code points do not represent printable characters (i.e. they are not characters at all, but signals). For debugging purposes, "placeholder" symbols (such as those given in ISO 2047 and its predecessors) are assigned to them.
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For example, character 0x0A represents the "line feed" function (which causes a printer to advance its paper), and character 8 represents "backspace". refers to control characters that do not include carriage return, line feed or white space as non-whitespace control characters. Except for the control characters that prescribe elementary line-oriented formatting, ASCII does not define any mechanism for describing the structure or appearance of text within a document. Other schemes, such as markup languages, address page and document layout and formatting.
The original ASCII standard used only short descriptive phrases for each control character. The ambiguity this caused was sometimes intentional, for example where a character would be used slightly differently on a terminal link than on a data stream, and sometimes accidental, for example the standard is unclear about the meaning of "delete".
Probably the most influential single device affecting the interpretation of these characters was the Teletype Model 33 ASR, which was a printing terminal with an available paper tape reader/punch option. Paper tape was a very popular medium for long-term program storage until the 1980s, less costly and in some ways less fragile than magnetic tape. In particular, the Teletype Model 33 machine assignments for codes 17 (control-Q, DC1, also known as XON), 19 (control-S, DC3, also known as XOFF), and 127 (delete) became "de facto" standards. The Model 33 was also notable for taking the description of control-G (code 7, BEL, meaning audibly alert the operator) literally, as the unit contained an actual bell which it rang when it received a BEL character. Because the keytop for the O key also showed a left-arrow symbol (from ASCII-1963, which had this character instead of underscore), a noncompliant use of code 15 (control-O, shift in) interpreted as "delete previous character" was also adopted by many early timesharing systems but eventually became neglected.
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When a Teletype 33 ASR equipped with the automatic paper tape reader received a control-S (XOFF, an abbreviation for transmit off), it caused the tape reader to stop; receiving control-Q (XON, transmit on) caused the tape reader to resume. This so-called flow control technique became adopted by several early computer operating systems as a "handshaking" signal warning a sender to stop transmission because of impending buffer overflow; it persists to this day in many systems as a manual output control technique. On some systems, control-S retains its meaning, but control-Q is replaced by a second control-S to resume output.
The 33 ASR also could be configured to employ control-R (DC2) and control-T (DC4) to start and stop the tape punch; on some units equipped with this function, the corresponding control character lettering on the keycap above the letter was TAPE and TAPE respectively.
Delete vs backspace.
The Teletype could not move its typehead backwards, so it did not have a key on its keyboard to send a BS (backspace). Instead, there was a key marked that sent code 127 (DEL). The purpose of this key was to erase mistakes in a manually-input paper tape: the operator had to push a button on the tape punch to back it up, then type the rubout, which punched all holes and replaced the mistake with a character that was intended to be ignored. Teletypes were commonly used with the less-expensive computers from Digital Equipment Corporation (DEC); these systems had to use what keys were available, and thus the DEL character was assigned to erase the previous character. Because of this, DEC video terminals (by default) sent the DEL character for the key marked "Backspace" while the separate key marked "Delete" sent an escape sequence; many other competing terminals sent a BS character for the backspace key.
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The early Unix tty drivers, unlike some modern implementations, allowed only one character to be set to erase the previous character in canonical input processing (where a very simple line editor is available); this could be set to BS "or" DEL, but not both, resulting in recurring situations of ambiguity where users had to decide depending on what terminal they were using (shells that allow line editing, such as ksh, bash, and zsh, understand both). The assumption that no key sent a BS character allowed Ctrl+H to be used for other purposes, such as the "help" prefix command in GNU Emacs.
Escape.
Many more of the control characters have been assigned meanings quite different from their original ones. The "escape" character (ESC, code 27), for example, was intended originally to allow sending of other control characters as literals instead of invoking their meaning, an "escape sequence". This is the same meaning of "escape" encountered in URL encodings, C language strings, and other systems where certain characters have a reserved meaning. Over time this interpretation has been co-opted and has eventually been changed.
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In modern usage, an ESC sent "to" the terminal usually indicates the start of a command sequence, which can be used to address the cursor, scroll a region, set/query various terminal properties, and more. They are usually in the form of a so-called "ANSI escape code" (often starting with a "Control Sequence Introducer", "CSI", "") from ECMA-48 (1972) and its successors. Some escape sequences do not have introducers, like the "Reset to Initial State", "RIS" command "".
In contrast, an ESC read "from" the terminal is most often used as an out-of-band character used to terminate an operation or special mode, as in the TECO and vi text editors. In graphical user interface (GUI) and windowing systems, ESC generally causes an application to abort its current operation or to exit (terminate) altogether.
End of line.
The inherent ambiguity of many control characters, combined with their historical usage, created problems when transferring "plain text" files between systems. The best example of this is the newline problem on various operating systems. Teletype machines required that a line of text be terminated with both "carriage return" (which moves the printhead to the beginning of the line) and "line feed" (which advances the paper one line without moving the printhead). The name "carriage return" comes from the fact that on a manual typewriter the carriage holding the paper moves while the typebars that strike the ribbon remain stationary. The entire carriage had to be pushed (returned) to the right in order to position the paper for the next line.
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DEC operating systems (OS/8, RT-11, RSX-11, RSTS, TOPS-10, etc.) used both characters to mark the end of a line so that the console device (originally Teletype machines) would work. By the time so-called "glass TTYs" (later called CRTs or "dumb terminals") came along, the convention was so well established that backward compatibility necessitated continuing to follow it. When Gary Kildall created CP/M, he was inspired by some of the command line interface conventions used in DEC's RT-11 operating system.
Until the introduction of PC DOS in 1981, IBM had no influence in this because their 1970s operating systems used EBCDIC encoding instead of ASCII, and they were oriented toward punch-card input and line printer output on which the concept of "carriage return" was meaningless. IBM's PC DOS (also marketed as MS-DOS by Microsoft) inherited the convention by virtue of being loosely based on CP/M, and Windows in turn inherited it from MS-DOS.
Requiring two characters to mark the end of a line introduces unnecessary complexity and ambiguity as to how to interpret each character when encountered by itself. To simplify matters, plain text data streams, including files, on Multics used line feed (LF) alone as a line terminator. The tty driver would handle the LF to CRLF conversion on output so files can be directly printed to terminal, and NL (newline) is often used to refer to CRLF in UNIX documents. Unix and Unix-like systems, and Amiga systems, adopted this convention from Multics. On the other hand, the original Macintosh OS, Apple DOS, and ProDOS used carriage return (CR) alone as a line terminator; however, since Apple later replaced these obsolete operating systems with their Unix-based macOS (formerly named OS X) operating system, they now use line feed (LF) as well. The Radio Shack TRS-80 also used a lone CR to terminate lines.
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Computers attached to the ARPANET included machines running operating systems such as TOPS-10 and TENEX using CR-LF line endings; machines running operating systems such as Multics using LF line endings; and machines running operating systems such as OS/360 that represented lines as a character count followed by the characters of the line and which used EBCDIC rather than ASCII encoding. The Telnet protocol defined an ASCII "Network Virtual Terminal" (NVT), so that connections between hosts with different line-ending conventions and character sets could be supported by transmitting a standard text format over the network. Telnet used ASCII along with CR-LF line endings, and software using other conventions would translate between the local conventions and the NVT. The File Transfer Protocol adopted the Telnet protocol, including use of the Network Virtual Terminal, for use when transmitting commands and transferring data in the default ASCII mode. This adds complexity to implementations of those protocols, and to other network protocols, such as those used for E-mail and the World Wide Web, on systems not using the NVT's CR-LF line-ending convention.
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End of file/stream.
The PDP-6 monitor, and its PDP-10 successor TOPS-10, used control-Z (SUB) as an end-of-file indication for input from a terminal. Some operating systems such as CP/M tracked file length only in units of disk blocks, and used control-Z to mark the end of the actual text in the file. For these reasons, EOF, or end-of-file, was used colloquially and conventionally as a three-letter acronym for control-Z instead of SUBstitute. The end-of-text character (ETX), also known as control-C, was inappropriate for a variety of reasons, while using control-Z as the control character to end a file is analogous to the letter Z's position at the end of the alphabet, and serves as a very convenient mnemonic aid. A historically common and still prevalent convention uses the ETX character convention to interrupt and halt a program via an input data stream, usually from a keyboard.
The Unix terminal driver uses the end-of-transmission character (EOT), also known as control-D, to indicate the end of a data stream.
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In the C programming language, and in Unix conventions, the null character is used to terminate text strings; such null-terminated strings can be known in abbreviation as ASCIZ or ASCIIZ, where here Z stands for "zero".
Table of codes.
Control code table.
Other representations might be used by specialist equipment, for example ISO 2047 graphics or hexadecimal numbers.
Printable character table.
At the time of adoption, the codes 20hex to 7Ehex would cause the printing of a visible character (a glyph), and thus were designated "printable characters". These codes represent letters, digits, punctuation marks, and a few miscellaneous symbols. There are 95 printable characters in total.
The empty space between words, as produced by the space bar of a keyboard, is character code 20hex. Since the space character is visible in printed text it considered a "printable character", even though it is unique in having no visible glyph. It is listed in the printable character table, as per the ASCII standard, instead of in the control character table.
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Code 7Fhex corresponds to the non-printable "delete" (DEL) control character and is listed in the control character table.
Earlier versions of ASCII used the up arrow instead of the caret (5Ehex) and the left arrow instead of the underscore (5Fhex).
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Usage.
ASCII was first used commercially during 1963 as a seven-bit teleprinter code for American Telephone & Telegraph's TWX (TeletypeWriter eXchange) network. TWX originally used the earlier five-bit ITA2, which was also used by the competing Telex teleprinter system. Bob Bemer introduced features such as the escape sequence. His British colleague Hugh McGregor Ross helped to popularize this work according to Bemer, "so much so that the code that was to become ASCII was first called the "Bemer–Ross Code" in Europe". Because of his extensive work on ASCII, Bemer has been called "the father of ASCII".
On March 11, 1968, US President Lyndon B. Johnson mandated that all computers purchased by the United States Federal Government support ASCII, stating:
I have also approved recommendations of the Secretary of Commerce [Luther H. Hodges] regarding standards for recording the Standard Code for Information Interchange on magnetic tapes and paper tapes when they are used in computer operations.
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All computers and related equipment configurations brought into the Federal Government inventory on and after July 1, 1969, must have the capability to use the Standard Code for Information Interchange and the formats prescribed by the magnetic tape and paper tape standards when these media are used.
ASCII was the most common character encoding on the World Wide Web until December 2007, when UTF-8 encoding surpassed it; UTF-8 is backward compatible with ASCII.
Variants and derivations.
As computer technology spread throughout the world, different standards bodies and corporations developed many variations of ASCII to facilitate the expression of non-English languages that used Roman-based alphabets. One could class some of these variations as "ASCII extensions", although some misuse that term to represent all variants, including those that do not preserve ASCII's character-map in the 7-bit range. Furthermore, the ASCII extensions have also been mislabelled as ASCII.
7-bit codes.
From early in its development, ASCII was intended to be just one of several national variants of an international character code standard.
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Other international standards bodies have ratified character encodings such as ISO 646 (1967) that are identical or nearly identical to ASCII, with extensions for characters outside the English alphabet and symbols used outside the United States, such as the symbol for the United Kingdom's pound sterling (£); e.g. with code page 1104. Almost every country needed an adapted version of ASCII, since ASCII suited the needs of only the US and a few other countries. For example, Canada had its own version that supported French characters.
Many other countries developed variants of ASCII to include non-English letters (e.g. é, ñ, ß, Ł), currency symbols (e.g. £, ¥), etc. See also YUSCII (Yugoslavia).
It would share most characters in common, but assign other locally useful characters to several code points reserved for "national use". However, the four years that elapsed between the publication of ASCII-1963 and ISO's first acceptance of an international recommendation during 1967 caused ASCII's choices for the national use characters to seem to be "de facto" standards for the world, causing confusion and incompatibility once other countries did begin to make their own assignments to these code points.
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ISO/IEC 646, like ASCII, is a 7-bit character set. It does not make any additional codes available, so the same code points encoded different characters in different countries. Escape codes were defined to indicate which national variant applied to a piece of text, but they were rarely used, so it was often impossible to know what variant to work with and, therefore, which character a code represented, and in general, text-processing systems could cope with only one variant anyway.
Because the bracket and brace characters of ASCII were assigned to "national use" code points that were used for accented letters in other national variants of ISO/IEC 646, a German, French, or Swedish, etc. programmer using their national variant of ISO/IEC 646, rather than ASCII, had to write, and thus read, something such as
codice_19
instead of
codice_20
C trigraphs were created to solve this problem for ANSI C, although their late introduction and inconsistent implementation in compilers limited their use. Many programmers kept their computers on ASCII, so plain-text in Swedish, German etc. (for example, in e-mail or Usenet) contained "{, }" and similar variants in the middle of words, something those programmers got used to. For example, a Swedish programmer mailing another programmer asking if they should go for lunch, could get "N{ jag har sm|rg}sar" as the answer, which should be "Nä jag har smörgåsar" meaning "No I've got sandwiches".
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In Japan and Korea, still a variation of ASCII is used, in which the backslash (5C hex) is rendered as ¥ (a Yen sign, in Japan) or ₩ (a Won sign, in Korea). This means that, for example, the file path C:\Users\Smith is shown as C:¥Users¥Smith (in Japan) or C:₩Users₩Smith (in Korea).
In Europe, teletext character sets, which are variants of ASCII, are used for broadcast TV subtitles, defined by World System Teletext and broadcast using the DVB-TXT standard for embedding teletext into DVB transmissions. In the case that the subtitles were initially authored for teletext and converted, the derived subtitle formats are constrained to the same character sets.
8-bit codes.
Eventually, as 8-, 16-, and 32-bit (and later 64-bit) computers began to replace 12-, 18-, and 36-bit computers as the norm, it became common to use an 8-bit byte to store each character in memory, providing an opportunity for extended, 8-bit relatives of ASCII. In most cases these developed as true extensions of ASCII, leaving the original character-mapping intact, but adding additional character definitions after the first 128 (i.e., 7-bit) characters. ASCII itself remained a seven-bit code: the term "extended ASCII" has no official status.
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For some countries, 8-bit extensions of ASCII were developed that included support for characters used in local languages; for example, ISCII for India and VISCII for Vietnam. Kaypro CP/M computers used the "upper" 128 characters for the Greek alphabet.
Even for markets where it was not necessary to add many characters to support additional languages, manufacturers of early home computer systems often developed their own 8-bit extensions of ASCII to include additional characters, such as box-drawing characters, semigraphics, and video game sprites. Often, these additions also replaced control characters (index 0 to 31, as well as index 127) with even more platform-specific extensions. In other cases, the extra bit was used for some other purpose, such as toggling inverse video; this approach was used by ATASCII, an extension of ASCII developed by Atari.
Most ASCII extensions are based on ASCII-1967 (the current standard), but some extensions are instead based on the earlier ASCII-1963. For example, PETSCII, which was developed by Commodore International for their 8-bit systems, is based on ASCII-1963. Likewise, many Sharp MZ character sets are based on ASCII-1963.
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IBM defined code page 437 for the IBM PC, replacing the control characters with graphic symbols such as smiley faces, and mapping additional graphic characters to the upper 128 positions. Digital Equipment Corporation developed the Multinational Character Set (DEC-MCS) for use in the popular VT220 terminal as one of the first extensions designed more for international languages than for block graphics. Apple defined Mac OS Roman for the Macintosh and Adobe defined the PostScript Standard Encoding for PostScript; both sets contained "international" letters, typographic symbols and punctuation marks instead of graphics, more like modern character sets.
The ISO/IEC 8859 standard (derived from the DEC-MCS) provided a standard that most systems copied (or at least were based on, when not copied exactly). A popular further extension designed by Microsoft, Windows-1252 (often mislabeled as ISO-8859-1), added the typographic punctuation marks needed for traditional text printing. ISO-8859-1, Windows-1252, and the original 7-bit ASCII were the most common character encoding methods on the World Wide Web until 2008, when UTF-8 overtook them.
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ISO/IEC 4873 introduced 32 additional control codes defined in the 80–9F hexadecimal range, as part of extending the 7-bit ASCII encoding to become an 8-bit system.
Unicode.
Unicode and the ISO/IEC 10646 Universal Character Set (UCS) have a much wider array of characters and their various encoding forms have begun to supplant ISO/IEC 8859 and ASCII rapidly in many environments. While ASCII is limited to 128 characters, Unicode and the UCS support more characters by separating the concepts of unique identification (using natural numbers called "code points") and encoding (to 8-, 16-, or 32-bit binary formats, called UTF-8, UTF-16, and UTF-32, respectively).
ASCII was incorporated into the Unicode (1991) character set as the first 128 symbols, so the 7-bit ASCII characters have the same numeric codes in both sets. This allows UTF-8 to be backward compatible with 7-bit ASCII, as a UTF-8 file containing only ASCII characters is identical to an ASCII file containing the same sequence of characters. Even more importantly, forward compatibility is ensured as software that recognizes only 7-bit ASCII characters as special and does not alter bytes with the highest bit set (as is often done to support 8-bit ASCII extensions such as ISO-8859-1) will preserve UTF-8 data unchanged.
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Animation
Animation is a filmmaking technique whereby still images are manipulated to create moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Animation has been recognized as an artistic medium, specifically within the entertainment industry. Many animations are either traditional animations or computer animations made with computer-generated imagery (CGI). Stop motion animation, in particular claymation, has continued to exist alongside these other forms.
Animation is contrasted with live action, although the two do not exist in isolation. Many moviemakers have produced films that are a hybrid of the two. As CGI increasingly approximates photographic imagery, filmmakers can easily composite 3D animations into their film rather than using practical effects for showy visual effects (VFX).
General overview.
Computer animation can be very detailed 3D animation, while 2D computer animation (which may have the look of traditional animation) can be used for stylistic reasons, low bandwidth, or faster real-time renderings. Other common animation methods apply a stop motion technique to two- and three-dimensional objects like paper cutouts, puppets, or clay figures.
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An animated cartoon, or simply a cartoon, is an animated film, usually short, that features an exaggerated visual style. This style is often inspired by comic strips, gag cartoons, and other non-animated art forms. Cartoons frequently include anthropomorphic animals, superheroes, or the adventures of human protagonists. The action often revolves around exaggerated physical humor, particularly in predator/prey dynamics (e.g. cats and mices, coyotes and birds), where violent pratfalls such as falls, collisions, and explosions occur, often in ways that would be lethal in the real life.
During the 1980s, the term "cartoon" was shortened to toon, referring to characters in animated productions, or more specifically, cartoonishly-drawn characters. This term gained popularity first in 1988 with the live-action/animated hybrid film "Who Framed Roger Rabbit", which introduced ToonTown, a world inhabited by various animated cartoon characters. In 1990, "Tiny Toon Adventures" embraced the classic cartoon spirit, introducing a new generation of cartoon characters. Then, in 1993, "Animaniacs" followed, featuring the rubber-hose-styled Warner siblings, Yakko Warner, Wakko Warner, and Dot Warner who are trapped in the 1930s, eventually escaped and found themselves in the Warner Bros. water tower in the 1990s.
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The illusion of animation—as in motion pictures in general—has traditionally been attributed to the persistence of vision and later to the phi phenomenon and beta movement, but the exact neurological causes are still uncertain. The illusion of motion caused by a rapid succession of images that minimally differ from each other, with unnoticeable interruptions, is a stroboscopic effect. While animators traditionally used to draw each part of the movements and changes of figures on transparent cels that could be moved over a separate background, computer animation is usually based on programming paths between key frames to maneuver digitally created figures throughout a digitally created environment.
Analog mechanical animation media that rely on the rapid display of sequential images include the phenakistiscope, zoetrope, flip book, praxinoscope, and film. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on computers, technology such as the animated GIF and Flash animation were developed.
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In addition to short films, feature films, television series, animated GIFs, and other media dedicated to the display of moving images, animation is also prevalent in video games, motion graphics, user interfaces, and visual effects.
The physical movement of image parts through simple mechanics—for instance, moving images in magic lantern shows—can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in automata. Electronic automata were popularized by Disney as animatronics.
Etymology.
The word "animation" comes to the Latin word "animātiō", meaning 'bestowing of life'. The earlier meaning of the English word is 'liveliness' and has been in use much longer than the meaning of 'moving image medium'.
History.
Before cinematography.
Long before modern animation began, audiences around the world were captivated by the magic of moving characters. For centuries, master artists and craftsmen have brought puppets, automatons, shadow puppets, and fantastical lanterns to life, inspiring the imagination through physically manipulated wonders.
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In 1833, the stroboscopic disc (better known as the phenakistiscope) introduced the principle of modern animation, which would also be applied in the zoetrope (introduced in 1866), the flip book (1868), the praxinoscope (1877) and film.
Silent era.
When cinematography eventually broke through in the 1890s, the wonder of the realistic details in the new medium was seen as its biggest accomplishment. It took years before animation found its way to the cinemas. The successful short "The Haunted Hotel" (1907) by J. Stuart Blackton popularized stop motion and reportedly inspired Émile Cohl to create "Fantasmagorie" (1908), regarded as the oldest known example of a complete traditional (hand-drawn) animation on standard cinematographic film. Other great artistic and very influential short films were created by Ladislas Starevich with his puppet animations since 1910 and by Winsor McCay with detailed hand-drawn animation in films such as "Little Nemo" (1911) and "Gertie the Dinosaur" (1914).
During the 1910s, the production of animated "cartoons" became an industry in the US. Successful producer John Randolph Bray and animator Earl Hurd, patented the cel animation process that dominated the animation industry for the rest of the century. Felix the Cat, who debuted in 1919, became the first fully realized anthropomorphic animal character in the history of American animation.
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American golden age.
In 1928, "Steamboat Willie", featuring Mickey Mouse and Minnie Mouse, popularized film-with-synchronized-sound and put Walt Disney's studio at the forefront of the animation industry. Although Disney Animation's actual output relative to total global animation output has always been very small, the studio has overwhelmingly dominated the "aesthetic norms" of animation ever since.
The enormous success of Mickey Mouse is seen as the start of the golden age of American animation that would last until the 1960s. The United States dominated the world market of animation with a plethora of cel-animated theatrical shorts. Several studios would introduce characters that would become very popular and would have long-lasting careers, including Walt Disney Productions' Goofy (1932) and Donald Duck (1934), Fleischer Studios/Paramount Cartoon Studios' Out of the Inkwell' Koko the Clown (1918), Bimbo and Betty Boop (1930), Popeye (1933) and Casper the Friendly Ghost (1945), Warner Bros. Cartoon Studios' Looney Tunes' Porky Pig (1935), Daffy Duck (1937), Elmer Fudd (1937–1940), Bugs Bunny (1938–1940), Tweety (1942), Sylvester the Cat (1945), Wile E. Coyote and the Road Runner (1949), MGM cartoon studio's Tom and Jerry (1940) and Droopy, Universal Cartoon Studios' Woody Woodpecker (1940), Terrytoons/20th Century Fox's Mighty Mouse (1942), and United Artists' Pink Panther (1963).
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Features before CGI.
In 1917, Italian-Argentine director Quirino Cristiani made the first feature-length film "El Apóstol" (now lost), which became a critical and commercial success. It was followed by Cristiani's "Sin dejar rastros" in 1918, but one day after its premiere, the film was confiscated by the government.
After working on it for three years, Lotte Reiniger released the German feature-length silhouette animation "Die Abenteuer des Prinzen Achmed" in 1926, the oldest extant animated feature.
In 1937, Walt Disney Studios premiered their first animated feature "Snow White and the Seven Dwarfs", still one of the highest-grossing traditional animation features . The Fleischer studios followed this example in 1939 with "Gulliver's Travels" with some success. Partly due to foreign markets being cut off by the Second World War, Disney's next features "Pinocchio", "Fantasia" (both 1940), Fleischer Studios' second animated feature "Mr. Bug Goes to Town" (1941–1942) and Disney's feature films "Cinderella" (1950), "Alice in Wonderland" (1951) and "Lady and the Tramp" (1955) failed at the box office. For several decades, Disney was the only American studio to regularly produce animated features, until Ralph Bakshi became the first to release more than a handful of features. Sullivan-Bluth Studios began to regularly produce animated features starting with "An American Tail" in 1986.
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Although relatively few titles became as successful as Disney's features, other countries developed their own animation industries that produced both short and feature theatrical animations in a wide variety of styles, relatively often including stop motion and cutout animation techniques. Soviet Soyuzmultfilm animation studio, founded in 1936, produced 20 films (including shorts) per year on average and reached 1,582 titles in 2018. China, Czechoslovakia / Czech Republic, Italy, France, and Belgium were other countries that more than occasionally released feature films.
Television.
Animation became very popular on television since the 1950s, when television sets started to become common in most developed countries. Cartoons were mainly programmed for children, on convenient time slots, and especially US youth spent many hours watching Saturday-morning cartoons. Many classic cartoons found a new life on the small screen and by the end of the 1950s, the production of new animated cartoons started to shift from theatrical releases to TV series. Hanna-Barbera Productions was especially prolific and had huge hit series, such as "The Flintstones" (1960–1966) (the first prime time animated series), "Scooby-Doo" (since 1969) and Belgian co-production "The Smurfs" (1981–1989). The constraints of American television programming and the demand for an enormous quantity resulted in cheaper and quicker limited animation methods and much more formulaic scripts. Quality dwindled until more daring animation surfaced in the late 1980s and in the early 1990s with hit series, the first cartoon of The Simpsons (1987), which later developed into its own show (in 1989) and "SpongeBob SquarePants" (since 1999) as part of a "renaissance" of American animation.
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While US animated series also spawned successes internationally, many other countries produced their own child-oriented programming, relatively often preferring stop motion and puppetry over cel animation. Japanese anime TV series became very successful internationally since the 1960s, and European producers looking for affordable cel animators relatively often started co-productions with Japanese studios, resulting in hit series such as "Barbapapa" (The Netherlands/Japan/France 1973–1977), "Wickie und die starken Männer/小さなバイキング ビッケ (Vicky the Viking)" (Austria/Germany/Japan 1974), "Maya the Honey Bee" (Japan/Germany 1975) and "The Jungle Book" (Italy/Japan 1989).
Switch from cels to computers.
Computer animation was gradually developed since the 1940s. 3D wireframe animation started popping up in the mainstream in the 1970s, with an early (short) appearance in the sci-fi thriller "Futureworld" (1976).
"The Rescuers Down Under" was the first feature film to be completely created digitally without a camera. It was produced using the Computer Animation Production System (CAPS), developed by Pixar in collaboration with The Walt Disney Company in the late 1980s, in a style similar to traditional cel animation.
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The so-called 3D style, more often associated with computer animation, became the dominant technique following the success of Pixar's "Toy Story" (1995), the first computer-animated feature in this style.
Most of the cel animation studios switched to producing mostly computer-animated films around the 1990s, as it proved cheaper and more profitable. Not only the very popular 3D animation style was generated with computers, but also most of the films and series with a more traditional hand-crafted appearance, in which the charming characteristics of cel animation could be emulated with software, while new digital tools helped developing new styles and effects.
Economic status.
In 2010, the animation market was estimated to be worth circa US$80 billion. By 2021, the value had increased to an estimated US$370 billion. Animated feature-length films returned the highest gross margins (around 52%) of all film genres between 2004 and 2013. Animation as an art and industry continues to thrive as of the early 2020s.
Education, propaganda and commercials.
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The clarity of animation makes it a powerful tool for instruction, while its total malleability also allows exaggeration that can be employed to convey strong emotions and to thwart reality. It has therefore been widely used for other purposes than mere entertainment.
During World War II, animation was widely exploited for propaganda. Many American studios, including Warner Bros. and Disney, lent their talents and their cartoon characters to convey to the public certain war values. These efforts extended to other countries well into the Cold War era, particularly as it pertained to "combatting" communism. For example, the English 1954 adaptation of George Orwell's "Animal Farm" (the nation's first feature-length animated film) is speculated to have had its production funded by the CIA.
Animation has been very popular in television commercials, both due to its graphic appeal, and the humour it can provide. Some animated characters in commercials have survived for decades, such as Snap, Crackle and Pop in advertisements for Kellogg's cereals. Tex Avery was the producer of the first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company.
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Other media, merchandise and theme parks.
Apart from their success in movie theaters and television series, many cartoon characters would also prove lucrative when licensed for all kinds of merchandise and for other media.
Animation has traditionally been very closely related to comic books. While many comic book characters found their way to the screen (which is often the case in Japan, where many manga are adapted into anime), original animated characters also commonly appear in comic books and magazines. Somewhat similarly, characters and plots for video games (an interactive form of animation that became its own medium) have been derived from films and vice versa.
Some of the original content produced for the screen can be used and marketed in other media. Stories and images can easily be adapted into children's books and other printed media. Songs and music have appeared on records and as streaming media.
While very many animation companies commercially exploit their creations outside moving image media, The Walt Disney Company is the best known and most extreme example. Since first being licensed for a children's writing tablet in 1929, their Mickey Mouse mascot has been depicted on an enormous amount of products, as have many other Disney characters. This may have influenced some pejorative use of Mickey's name, but licensed Disney products sell well, and the so-called Disneyana has many avid collectors, and even a dedicated Disneyana Fan Club (since 1984).
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Disneyland opened in 1955 and features many attractions that were based on Disney's cartoon characters. Its enormous success spawned several other Disney theme parks and resorts. Disney's earnings from the theme parks have relatively often been higher than those from their movies.
Awards.
As with any other form of media, animation has instituted awards for excellence in the field. Many are part of general or regional film award programs, like the China's Golden Rooster Award for Best Animation (since 1981). Awards programs dedicated to animation, with many categories, include ASIFA-Hollywood's Annie Awards, the Emile Awards in Europe and the Anima Mundi awards in Brazil.
Academy Awards.
Apart from Academy Awards for Best Animated Short Film (since 1932) and Best Animated Feature (since 2002), animated movies have been nominated and rewarded in other categories, relatively often for Best Original Song and Best Original Score.
"Beauty and the Beast" was the first animated film nominated for Best Picture, in 1991. "Up" (2009) and "Toy Story 3" (2010) also received Best Picture nominations, after the academy expanded the number of nominees from five to ten.
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Production.
The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a form of filmmaking, with certain unique aspects. Traits common to both live-action and animated feature films are labor intensity and high production costs.
The most important difference is that once a film is in the production phase, the marginal cost of one more shot is higher for animated films than live-action films. It is relatively easy for a director to ask for one more take during principal photography of a live-action film, but every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious by modern computer animation). It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film. Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where storyboard artists develop every single scene through storyboards, then handing the film over to the animators only after the production team is satisfied that all the scenes make sense as a whole. While live-action films are now also storyboarded, they enjoy more latitude to depart from storyboards (i.e., real-time improvisation).
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Another problem unique to animation is the requirement to maintain a film's consistency from start to finish, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film. Since the early 1980s, teams of about 500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult.
This problem is usually solved by having a separate group of visual development artists develop an overall look and palette for each film before the animation begins. While animators must "sacrifice their personal drawing styles so that the work of many hands appears to be that of one", visual development artists are allowed to "create new worlds, new characters, and new entertainment possibilities in their own individualistic graphic styles". Character designers on the visual development team draw model sheets to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles. On traditionally animated projects, maquettes were often sculpted to further help the animators see how characters would look from different angles.
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Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film. The traditional approach worked for several decades because prior to the 1960s, no one except Disney was attempting to regularly produce feature-length animated films. All other animation studios, with occasional exceptions, were producing short films only a few minutes in length. For short films, it was enough for the storyboard artists to work up a few visual gags and then string them together to form a crude plot.
In 1960, Hanna-Barbera pioneered the longer animated sitcom format for television with "The Flintstones". Hanna-Barbera and the other early television animation studios soon discovered that storyboarding was far too inefficient to fill up a half-hour episode on the extremely tight budgets typical of television. During the 1960s, these studios experimented with a more efficient method for developing story material: a screenwriter is hired to draft a written screenplay which is approved and handed over to the storyboard artists for storyboarding. This method creates significant tension between screenwriters and storyboard artists, in that some artists feel that people who cannot draw should not be writing for animation, while some writers feel that artists do not understand how to write. Despite that tension, it has become and remains the dominant method by which animation studios develop both feature-length films and television shows.
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Techniques.
Traditional.
Traditional animation (also called cel animation or hand-drawn animation) is the process that was used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by a rostrum camera onto motion picture film.
The traditional cel animation process became obsolete by the beginning of the 21st century. In modern traditionally animated films, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media with digital video. The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 90 years. Some animation producers have used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses significant computer technology.
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Examples of traditionally animated feature films include "Pinocchio" (United States, 1940), "Animal Farm" (United Kingdom, 1954), "Lucky and Zorba" (Italy, 1998), and "The Illusionist" (British-French, 2010). Traditionally animated films produced with the aid of computer technology include "The Lion King" (US, 1994), "Anastasia" (US, 1997), "The Prince of Egypt" (US, 1998), "Akira" (Japan, 1988), "Spirited Away" (Japan, 2001), "The Triplets of Belleville" (France, 2003), and "The Secret of Kells" (Irish-French-Belgian, 2009).
Full.
Full animation is the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement, having a smooth animation. Fully animated films can be made in a variety of styles, from more realistically animated works like those produced by the Walt Disney studio ("The Little Mermaid", "Beauty and the Beast", "Aladdin", "The Lion King") to the more 'cartoon' styles of the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works, "The Secret of NIMH" (US, 1982), "The Iron Giant" (US, 1999), and "Nocturna" (Spain, 2007). Fully animated films are often animated on "twos", sometimes on "ones", which means that 12 to 24 drawings are required for a single second of film.
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Limited.
Limited animation involves the use of less detailed or more stylized drawings and methods of movement usually a choppy or "skippy" movement animation. Limited animation uses fewer drawings per second, thereby limiting the fluidity of the animation. This is a more economic technique. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in "Gerald McBoing-Boing" (US, 1951), "Yellow Submarine" (UK, 1968), and certain anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media for television (the work of Hanna-Barbera, Filmation, and other TV animation studios) and later the Internet (web cartoons).
Rotoscoping.
Rotoscoping is a technique patented by Max Fleischer in 1917 where animators trace live-action movement, frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in "The Lord of the Rings" (US, 1978), or used in a stylized and expressive manner, as in "Waking Life" (US, 2001) and "A Scanner Darkly" (US, 2006). Some other examples are "Fire and Ice" (US, 1983), "Heavy Metal" (1981), and "Aku no Hana" (Japan, 2013).
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Live-action blending.
Live-action/animation is a technique combining hand-drawn characters into live action shots or live-action actors into animated shots. One of the earlier uses was in Koko the Clown when Koko was drawn over live-action footage. Walt Disney and Ub Iwerks created a series of "Alice Comedies" (1923–1927), in which a live-action girl enters an animated world. Other examples include "Allegro Non Troppo" (Italy, 1976), "Who Framed Roger Rabbit" (US, 1988), "Volere volare" (Italy 1991), "Space Jam" (US, 1996) and "Osmosis Jones" (US, 2001).
Stop motion.
Stop motion is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the materials used to create the animation. Computer software is widely available to create this type of animation; traditional stop-motion animation is usually less expensive but more time-consuming to produce than current computer animation.
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Computer.
Computer animation encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer. 2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer.
2D.
2D animation figures are created or edited on the computer using 2D bitmap graphics and 2D vector graphics. This includes automated computerized versions of traditional animation techniques, interpolated morphing, onion skinning and interpolated rotoscoping. 2D animation has many applications, including After Effects Animation, analog computer animation, Flash animation, and PowerPoint animation. Cinemagraphs are still photographs in the form of an animated GIF file of which part is animated.
Final line advection animation is a technique used in 2D animation, to give artists and animators more influence and control over the final product as everything is done within the same department. Speaking about using this approach in "Paperman", John Kahrs said that "Our animators can change things, actually erase away the CG underlayer if they want, and change the profile of the arm."
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When working with game animations, skeletal 2D animations are commonly created using tools like Spine, DragonBones, Blender COA Tools, Rive, and the built-in Unity editor. The primary benefit of this approach is the ability to reuse images, which reduces the amount of graphics stored in RAM. This principle of maximizing resource efficiency means that by reusing existing elements, you can enhance the visual appeal of animations without needing to create additional graphics.
3D.
3D animation is digitally modeled and manipulated by an animator. The 3D model maker usually starts by creating a 3D polygon mesh for the animator to manipulate. A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of form to a 3D object or 3D environment. Sometimes, the mesh is given an internal digital skeletal structure called an armature that can be used to control the mesh by weighting the vertices. This process is called rigging and can be used in conjunction with key frames to create movement.
Other techniques can be applied, mathematical functions (e.g., gravity, particle simulations), simulated fur or hair, and effects, fire and water simulations. These techniques fall under the category of 3D dynamics.
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Apollo
Apollo is one of the Olympian deities in ancient Greek and Roman religion and Greek and Roman mythology. Apollo has been recognized as a god of archery, music and dance, truth and prophecy, healing and diseases, the Sun and light, poetry, and more. One of the most important and complex of the Greek gods, he is the son of Zeus and Leto, and the twin brother of Artemis, goddess of the hunt. He is considered to be the most beautiful god and is represented as the ideal of the "kouros" (ephebe, or a beardless, athletic youth). Apollo is known in Greek-influenced Etruscan mythology as "Apulu".
As the patron deity of Delphi ("Apollo Pythios"), Apollo is an oracular god—the prophetic deity of the Delphic Oracle and also the deity of ritual purification. His oracles were often consulted for guidance in various matters. He was in general seen as the god who affords help and wards off evil, and is referred to as , the "averter of evil". Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius. Apollo delivered people from epidemics, yet he is also a god who could bring ill health and deadly plague with his arrows. The invention of archery itself is credited to Apollo and his sister Artemis. Apollo is usually described as carrying a silver or golden bow and a quiver of arrows.
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As the god of "mousike", Apollo presides over all music, songs, dance, and poetry. He is the inventor of string-music and the frequent companion of the Muses, functioning as their chorus leader in celebrations. The lyre is a common attribute of Apollo. Protection of the young is one of the best attested facets of his panhellenic cult persona. As a , Apollo is concerned with the health and education of children, and he presided over their passage into adulthood. Long hair, which was the prerogative of boys, was cut at the coming of age () and dedicated to Apollo. The god himself is depicted with long, uncut hair to symbolise his eternal youth.
Apollo is an important pastoral deity, and he was the patron of herdsmen and shepherds. Protection of herds, flocks and crops from diseases, pests and predators were his primary rustic duties. On the other hand, Apollo also encouraged the founding of new towns and the establishment of civil constitutions, is associated with dominion over colonists, and was the giver of laws. His oracles were often consulted before setting laws in a city. Apollo Agyieus was the protector of the streets, public places and home entrances.
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In Hellenistic times, especially during the 5th century BCE, as "Apollo Helios" he became identified among Greeks with Helios, the personification of the Sun. Although Latin theological works from at least 1st century BCE identified Apollo with Sol, there was no conflation between the two among the classical Latin poets until 1st century CE.
Etymology.
Apollo (Attic, Ionic, and Homeric Greek: , ( ); Doric: , ; Arcadocypriot: , ; Aeolic: , ; )
The name "Apollo"—unlike the related older name "Paean"—is generally not found in the Linear B (Mycenean Greek) texts, although there is a possible attestation in the lacunose form "]pe-rjo-[" (Linear B: ]-[) on the KN E 842 tablet, though it has also been suggested that the name might actually read "Hyperion" ([u]-pe-rjo-[ne]).
The etymology of the name is uncertain. The spelling ( in Classical Attic) had almost superseded all other forms by the beginning of the common era, but the Doric form, (), is more archaic, as it is derived from an earlier . It probably is a cognate to the Doric month "Apellaios" (), and the offerings () at the initiation of the young men during the family-festival (). According to some scholars, the words are derived from the Doric word (), which originally meant "wall", "fence for animals" and later "assembly within the limits of the square". Apella () is the name of the popular assembly in Sparta, corresponding to the (). R. S. P. Beekes rejected the connection of the theonym with the noun and suggested a Pre-Greek proto-form *"Apalyun".
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Several instances of popular etymology are attested by ancient authors. Thus, the Greeks most often associated Apollo's name with the Greek verb (), "to destroy". Plato in "Cratylus" connects the name with (), "redemption", with ("apolousis"), "purification", and with (), "simple", in particular in reference to the Thessalian form of the name, , and finally with (), "ever-shooting". Hesychius connects the name Apollo with the Doric (), which means "assembly", so that Apollo would be the god of political life, and he also gives the explanation (), "fold", in which case Apollo would be the god of flocks and herds. In the ancient Macedonian language () means "stone", and some toponyms may be derived from this word: (Pella, the capital of ancient Macedonia) and ("Pellēnē"/"Pellene").
The Hittite form "Apaliunas" ("d") is attested in the Manapa-Tarhunta letter. The Hittite testimony reflects an early form "", which may also be surmised from the comparison of Cypriot with Doric . The name of the Lydian god "Qλdãns" // may reflect an earlier /-/ before palatalization, syncope, and the pre-Lydian sound change * ">" . Note the labiovelar in place of the labial // found in pre-Doric and Hittite "Apaliunas". A Luwian etymology suggested for "Apaliunas" makes Apollo "The One of Entrapment", perhaps in the sense of "Hunter".
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Greco-Roman epithets.
Apollo's chief epithet was Phoebus ( ; , "Phoibos" ), literally "bright". It was very commonly used by both the Greeks and Romans for Apollo's role as the god of light. Like other Greek deities, he had a number of others applied to him, reflecting the variety of roles, duties, and aspects ascribed to the god. However, while Apollo has a great number of appellations in Greek myth, only a few occur in Latin literature.
Origin and birth.
Apollo's birthplace was Mount Cynthus on the island of Delos.
Place of worship.
Delphi and Actium were his primary places of worship.
Celtic epithets and cult titles.
Apollo was worshipped throughout the Roman Empire. In the traditionally Celtic lands, he was most often seen as a healing and sun god. He was often equated with Celtic gods of similar character.
Origins.
Apollo is considered the most Hellenic (Greek) of the Olympian gods.
The cult centers of Apollo in Greece, Delphi and Delos, date from the 8th century BCE. The Delos sanctuary was primarily dedicated to Artemis, Apollo's twin sister. At Delphi, Apollo was venerated as the slayer of the monstrous serpent Python. For the Greeks, Apollo was the most Greek of all the gods, and through the centuries he acquired different functions. In Archaic Greece he was the prophet, the oracular god who in older times was connected with "healing". In Classical Greece he was the god of light and of music, but in popular religion he had a strong function to keep away evil. Walter Burkert discerned three components in the prehistory of Apollo worship, which he termed "a Dorian-northwest Greek component, a Cretan-Minoan component, and a Syro-Hittite component."
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Healer and god-protector from evil.
In classical times, his major function in popular religion was to keep away evil, and he was therefore called "apotropaios" (, "averting evil") and "alexikakos" ( "keeping off ill"; from v. + n. ). Apollo also had many epithets relating to his function as a healer. Some commonly-used examples are "paion" ( literally "healer" or "helper") "epikourios" (, "succouring"), "oulios" (, "healer, baleful") and "loimios" (, "of the plague"). In later writers, the word, "paion", usually spelled "Paean", becomes a mere epithet of Apollo in his capacity as a god of healing.
Apollo in his aspect of "healer" has a connection to the primitive god Paean (), who did not have a cult of his own. Paean serves as the healer of the gods in the "Iliad", and seems to have originated in a pre-Greek religion. It is suggested, though unconfirmed, that he is connected to the Mycenaean figure "pa-ja-wo-ne" (Linear B: ). Paean was the personification of holy songs sung by "seer-doctors" (), which were supposed to cure disease.
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Homer uses the noun Paeon to designate both a god and that god's characteristic song of apotropaic thanksgiving and triumph. Such songs were originally addressed to Apollo and afterwards to other gods: to Dionysus, to Apollo Helios, to Apollo's son Asclepius the healer. About the 4th century BCE, the paean became merely a formula of adulation; its object was either to implore protection against disease and misfortune or to offer thanks after such protection had been rendered. It was in this way that Apollo had become recognized as the god of music. Apollo's role as the slayer of the Python led to his association with battle and victory; hence it became the Roman custom for a paean to be sung by an army on the march and before entering into battle, when a fleet left the harbour, and also after a victory had been won.
In the "Iliad", Apollo is the healer under the gods, but he is also the bringer of disease and death with his arrows, similar to the function of the Vedic god of disease Rudra. He sends a plague () to the Achaeans. Knowing that Apollo can prevent a recurrence of the plague he sent, they purify themselves in a ritual and offer him a large sacrifice of cows, called a hecatomb.
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Dorian origin.
The "Homeric Hymn to Apollo" depicts Apollo as an intruder from the north. The connection with the northern-dwelling Dorians and their initiation festival "apellai" is reinforced by the month "Apellaios" in northwest Greek calendars. The family-festival was dedicated to Apollo (Doric: ). "Apellaios" is the month of these rites, and Apellon is the "megistos kouros" (the great Kouros). However it can explain only the Doric type of the name, which is connected with the Ancient Macedonian word "pella" (Pella), "stone". Stones played an important part in the cult of the god, especially in the oracular shrine of Delphi (Omphalos).
Minoan origin.
George Huxley considered the identification of Apollo with the Minoan deity Paiawon, worshipped in Crete, to have originated at Delphi. In the "Homeric Hymn", Apollo appears as a dolphin carrying Cretan priests to Delphi, to which site they evidently transfer their religious practices. "Apollo Delphinios" or "Delphidios" was a sea-god worshipped especially in Crete and in the islands. Apollo's sister Artemis, who was the Greek goddess of hunting, is identified with the Minoan goddess Britomartis (Diktynna), and with "Laphria" the Pre-Greek "mistress of the animals" who was specially worshipped at Delphi. In her earliest depictions she was accompanied by the "Master of the animals", a bow-wielding god of hunting whose name has been lost; aspects of this figure may have been absorbed into the more popular Apollo. A family of priests at Delphi was named "Lab(r)yaden". The name may derive from Laphria.
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Anatolian origin.
A non-Greek origin of Apollo has long been assumed in scholarship. The name of Apollo's mother Leto has Lydian origin, and she was worshipped on the coasts of Asia Minor. The inspiration oracular cult was probably introduced into Greece from Anatolia, which is the origin of Sibyl, and where some of the oldest oracular shrines originated. Omens, symbols, purifications, and exorcisms appear in old Assyro-Babylonian texts. These rituals were spread into the empire of the Hittites, and from there into Greece.
Homer pictures Apollo on the side of the Trojans, fighting against the Achaeans, during the Trojan War. He is pictured as a terrible god, less trusted by the Greeks than other gods. The god seems to be related to "Appaliunas", a tutelary god of Wilusa (Troy) in Asia Minor, but the word is not complete. The stones found in front of the gates of Homeric Troy were the symbols of Apollo. A western Anatolian origin may also be bolstered by references to the parallel worship of "Artimus" (Artemis) and "Qλdãns", whose name may be cognate with the Hittite and Doric forms, in surviving Lydian texts"." However, recent scholars have cast doubt on the identification of "Qλdãns" with Apollo.
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The Greeks gave to him the name "agyieus" as the protector god of public places and houses who wards off evil and his symbol was a tapered stone or column. However, while usually Greek festivals were celebrated at the full moon, all the feasts of Apollo were celebrated on the seventh day of the month, and the emphasis given to that day ("sibutu") indicates a Babylonian origin.
Proto-Indo-European.
The Vedic Rudra has some functions similar to those of Apollo. The terrible god is called "the archer" and the bow is also an attribute of Shiva. Rudra could bring diseases with his arrows, but he was able to free people of them and his alternative Shiva is a healer physician god. However the Indo-European component of Apollo does not explain his strong association with omens, exorcisms, and an oracular cult.
Oracular cult.
Unusually among the Olympic deities, Apollo had two cult sites that had widespread influence: Delos and Delphi. In cult practice, Delian Apollo and Pythian Apollo (the Apollo of Delphi) were so distinct that they might both have shrines in the same locality. Lycia was sacred to the god, for this Apollo was also called Lycian. Apollo's cult was already fully established when written sources commenced, about 650 BCE. Apollo became extremely important to the Greek world as an oracular deity in the archaic period, and the frequency of theophoric names such as "Apollodorus" or "Apollonios" and cities named "Apollonia" testify to his popularity. Oracular sanctuaries to Apollo were established in other sites. In the 2nd and 3rd century CE, those at Didyma and Claros pronounced the so-called "theological oracles", in which Apollo confirms that all deities are aspects or servants of an all-encompassing, highest deity. "In the 3rd century, Apollo fell silent. Julian the Apostate (359–361) tried to revive the Delphic oracle, but failed."
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Oracular shrines.
Apollo had a famous oracle in Delphi, and other notable ones in Claros and Didyma. His oracular shrine in Abae in Phocis, where he bore the toponymic epithet "Abaeus" (, "Apollon Abaios"), was important enough to be consulted by Croesus. His oracular shrines include:
Oracles were also given by sons of Apollo.
Temples of Apollo.
Many temples were dedicated to Apollo in Greece and the Greek colonies. They show the spread of the cult of Apollo and the evolution of Greek architecture, which was mostly based on the rightness of form and on mathematical relations. Some of the earliest temples, especially in Crete, do not belong to any Greek order. It seems that the first peripteral temples were rectangular wooden structures. The different wooden elements were considered divine, and their forms were preserved in the marble or stone elements of the temples of Doric order. The Greeks used standard types because they believed that the world of objects was a series of typical forms which could be represented in several instances. The temples should be canonic, and the architects were trying to achieve this esthetic perfection. From the earliest times there were certain rules strictly observed in rectangular peripteral and prostyle buildings. The first buildings were built narrowly in order to hold the roof, and when the dimensions changed some mathematical relations became necessary in order to keep the original forms. This probably influenced the theory of numbers of Pythagoras, who believed that behind the appearance of things there was the permanent principle of mathematics.
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The Doric order dominated during the 6th and the 5th century BC but there was a mathematical problem regarding the position of the triglyphs, which could not be solved without changing the original forms. The order was almost abandoned for the Ionic order, but the Ionic capital also posed an insoluble problem at the corner of a temple. Both orders were abandoned for the Corinthian order gradually during the Hellenistic age and under Rome.
The most important temples are:
Mythology.
In the myths, Apollo is the son of Zeus, the king of the gods, and Leto, his previous wife or one of his mistresses. Apollo often appears in the myths, plays and hymns either directly or indirectly through his oracles. As Zeus' favorite son, he had direct access to the mind of Zeus and was willing to reveal this knowledge to humans. A divinity beyond human comprehension, he appears both as a beneficial and a wrathful god.
Birth.
"Homeric Hymn to Apollo".
Pregnant with the offspring of Zeus, Leto wandered through many lands wanting to give birth to Apollo. However all the lands rejected her out of fear. Upon reaching Delos, Leto requested the island to shelter her, and that in return her son would bring fame and prosperity to the island. Delos then revealed to Leto that Apollo was rumoured to be the god who will "greatly lord it among gods and men all over the fruitful earth". For this reason, all the lands were fearful and Delos feared that Apollo would cast her aside once he is born. Hearing this, Leto swore on the river Styx that if she is allowed to give birth on the island, her son would honour Delos the most amongst all the other lands. Assured by this, Delos agreed to assist Leto. All goddesses except Hera also came to aid Leto.
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However, Hera had tricked Eileithyia, the goddess of childbirth, to stay on Olympus, due to which Leto was unable to give birth. The goddesses then convinced Iris to go bring Eileithyia by offering her a necklace of amber 9 yards (8.2 m) long. Iris did accordingly and persuaded Eileithyia to step onto the island. Thus, clutching a palm tree, Leto finally gave birth after labouring for nine days and nine nights, with Apollo "leaping forth" from his mother's womb. The goddesses washed the newborn, covered him in a white garment and fastened golden bands around him. As Leto was unable to feed him, Themis, the goddess of divine law, fed him nectar and ambrosia. Upon tasting the divine food, the child broke free of the bands fastened onto him and declared that he would be the master of lyre and archery, and interpret the will of Zeus to humankind. He then started to walk, which caused the island to be filled with gold.
Callimachus' "Hymn to Delos".
The island Delos used to be Asteria, a goddess who jumped into the waters to escape the advances of Zeus and became a free-floating island of the same name. When Leto got pregnant, Hera was told that Leto's son would become more dear to Zeus than Ares. Enraged by this, Hera watched over the heavens and sent out Ares and Iris to prevent Leto from giving birth on the earth. Ares, stationed over the mainland, and Iris, over the islands, threatened all the lands and prevented them from helping Leto.
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When Leto arrived at Thebes, fetal Apollo prophesied from his mother's womb that in the future he would punish a slanderous woman in Thebes (Niobe), so he did not want to be born there. Leto then went to Thessaly and sought the help of the river nymphs who were the daughters of the river Peneus. Though he was initially fearful and reluctant, Peneus later decided to let Leto give birth in his waters. He did not change his mind even when Ares produced a terrifying sound and threatened to hurl mountain peaks into the river. But Leto herself declined his help and departed, as she did not want him to suffer for her sake.
After being turned away from various lands, Apollo spoke again from the womb, asking his mother to take look at the floating island in front of her and expressing his wish to be born there. When Leto approached Asteria, all the other islands fled. But Asteria welcomed Leto without any fear of Hera. Walking on the island, she sat down against a palm tree and asked Apollo to be born. During the childbirth, swans circled the island seven times, a sign that later on Apollo would play the seven-stringed lyre. When Apollo finally "leapt forth" from his mother's womb, the nymphs of the island sang a hymn to Eileithyia that was heard to the heavens. The moment Apollo was born, the entire island, including the trees and the waters, became gold. Asteria bathed the newborn, swaddled him and fed him with her breast milk. The island had become rooted and was later called Delos.
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Hera was no longer angry, as Zeus had managed to calm her down; and she held no grudge against Asteria, since Asteria had rejected Zeus in the past.
Pindar.
Pindar is the earliest source who explicitly calls Apollo and Artemis as twins. Here, Asteria is also stated to be Leto's sister. Wanting to escape Zeus' advances, she flung herself into the sea and became a floating rock called Ortygia until the twins were born. When Leto stepped on the rock, four pillars with adamantine bases rose from the earth and held up the rock. When Apollo and Artemis were born, their bodies shone radiantly and a chant was sung by Eileithyia and Lachesis, one of the three Moirai.
Hyginus.
Scorning the advances of Zeus, Asteria transformed herself into a bird and jumped into a sea. From her, an island rose which was called Ortygia. When Hera discovered that Leto was pregnant with Zeus' child, she decreed that Leto can give birth only in a place where sun does not shine. During this time, the monster Python also started hounding Leto with an intent of killing her, because he had foreseen his death coming at the hands of Leto's offspring. However, on Zeus' orders, Boreas carried away Leto and entrusted her to Poseidon. To protect her, Poseidon took her to the island Ortygia and covered it with waves so that the sun would not shine on it. Leto gave birth clinging to an olive tree and henceforth the island was called Delos.
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Other variations.
Aside from those mentioned above, more variations on the story of Apollo's birth include:
Aelian states that it took Leto twelve days and twelve nights to travel from Hyperborea to Delos. Leto changed herself into a she-wolf before giving birth. This is given as the reason why Homer describes Apollo as the "wolf-born god".
Libanius wrote that neither land nor visible islands would receive Leto, but by the will of Zeus Delos then became visible, and thus received Leto and the children.
According to Strabo, the Curetes helped Leto by creating loud noises with their weapons and thus frightening Hera, they concealed Leto's childbirth.
Theognis wrote that the island was filled with ambrosial fragrance when Apollo was born, and the Earth laughed with joy.
In some versions, Artemis was born first and subsequently assisted with the birth of Apollo.
While in some accounts Apollo's birth itself fixed the floating Delos to the earth, there are accounts of Apollo securing Delos to the bottom of the ocean a little while later.
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This island became sacred to Apollo and was one of the major cult centres of the god.
Apollo was born on the seventh day (, "hebdomagenes") of the month Thargelion—according to Delian tradition—or of the month Bysios—according to Delphian tradition. The seventh and twentieth, the days of the new and full moon, were ever afterwards held sacred to him.
Hyperborea.
Hyperborea, the mystical land of eternal spring, venerated Apollo above all the gods. The Hyperboreans always sang and danced in his honor and hosted Pythian games. There, a vast forest of beautiful trees was called "the garden of Apollo". Apollo spent the winter months among the Hyperboreans, leaving his shrine in Delphi under the care of Dionysus. His absence from the world caused coldness and this was marked as his annual death. No prophecies were issued during this time. He returned to the world during the beginning of the spring. The "Theophania" festival was held in Delphi to celebrate his return.
However, Diodorus Silculus states that Apollo visited Hyperborea every nineteen years. This nineteen-year period was called by the Greeks as the 'year of Meton', the time period in which the stars returned to their initial positions. And that visiting Hyperborea at that time, Apollo played on the cithara and danced continuously from the vernal equinox until the rising of the Pleiades (constellations).
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Hyperborea was also Leto's birthplace. It is said that Leto came to Delos from Hyperborea accompanied by a pack of wolves. Henceforth, Hyperborea became Apollo's winter home and wolves became sacred to him. His intimate connection to wolves is evident from his epithet "Lyceus", meaning "wolf-like". But Apollo was also the wolf-slayer in his role as the god who protected flocks from predators. The Hyperborean worship of Apollo bears the strongest marks of Apollo being worshipped as the sun god. Shamanistic elements in Apollo's cult are often liked to his Hyperborean origin, and he is likewise speculated to have originated as a solar shaman. Shamans like Abaris and Aristeas were also the followers of Apollo, who hailed from Hyperborea.
In myths, the tears of amber Apollo shed when his son Asclepius died mixed with the waters of the river Eridanos, which surrounded Hyperborea. Apollo also buried in Hyperborea the arrow which he had used to kill the Cyclopes. He later gave this arrow to Abaris.
Childhood and youth.
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Growing up, Apollo was nursed by the nymphs Korythalia and Aletheia, the personification of truth. Phoebe, his grandmother, gave the oracular shrine of Delphi to Apollo as a birthday gift.
As a four-year-old child, Apollo built a foundation and an altar on Delos using the horns of the goats that his sister Artemis hunted. Since he learnt the art of building when young, he came to be known as Archegetes, ("the founder of towns") and guided men to build new cities. To keep the child amused, the Delian nymphs ran around the altar beating it, and then with their hands tied behind their backs, bit an olive branch. It later became a custom for all the sailors who passed by the island to do the same.
From his father Zeus, Apollo received a golden headband and a chariot driven by swans.
In his early years when Apollo spent his time herding cows, he was reared by the Thriae, who trained him and enhanced his prophetic skills. The god Pan was also said to have mentored him in the prophetic art. Apollo is also said to have invented the lyre, and along with Artemis, the art of archery. He then taught the humans the art of healing and archery.
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Lycian peasants.
Soon after giving birth to her twins, Leto fled from Delos fearing Hera. Upon reaching Lycia, her infants had drained all of their mother's milk and cried for more to satisfy their hunger. The exhausted mother then tried drinking from a nearby lake but was stopped by some Lycian peasants. When she begged them to let her quench her thirst, the haughty peasants not only threatened her but also stirred the mud in the lake to dirty the waters. Angered by this, Leto turned them into frogs.
In a slightly varied version, Leto took her infants and crossed over to Lycia where she attempted to bathe her children in a spring she found there. But the local herdsmen drove her away. After that, some wolves found Leto and guided her to the river Xanthos, where Leto was able to bathe her children and quench her thirst. She then returned to the spring and turned the herdsmen into frogs.
Slaying of Python.
Python, a chthonic serpent-dragon, was a child of Gaia and the guardian of the Delphic Oracle.
In the Callimachus' hymn to Delos, fetal Apollo foresees the death of Python at his hands.
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In the Homeric hymn to Apollo, Python was a female drakon and the nurse of the giant Typhon whom Hera had created to overthrow Zeus. She was described as a terrifying monster and a "bloody plague". Apollo, in his pursuit to establish his worship, came across Python and killed her with a single arrow shot from his bow. He let the corpse rot under the sun and declared himself the oracular deity of Delphi. Other authors have Apollo kill the monster using a hundred arrows or a thousand arrows.
According to Euripides, Leto had brought her twins to the cliffs of Parnassus shortly after giving birth to them. Upon seeing the monster there, Apollo, still a child being carried in his mother's arms, leapt forth and killed Python. Some authors also mention that Python was killed for displaying lustful affections towards Leto.
In another account, Python chased pregnant Leto with an intent of killing her because his death was fated to come at the hands of Leto's child. However, he had to stop the chase when Leto came under the protection of Poseidon. After his birth, four days old Apollo killed the serpent with the bow and arrows gifted to him by Hephaestus and avenged the trouble given to his mother. The god then put the bones of the slain monster in a cauldron and deposited it in his temple.
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This legend is also narrated as the origin of the cry "Hië paian". According to Athenaeus, Python attacked Leto and her twins during their visit to Delphi. Taking Artemis into her arms, Leto climbed upon a rock and cried at Apollo to shoot the monster. The cry let out by her, "ιε, παῖ" ("Shoot, boy") later got slightly altered as "ἰὴ παιών" ("Hië paian"), an exclamation to avert evils. Callimachus attributes the origin of this phrase to the Delphians, who let out the cry to encourage Apollo when the young god battled with Python.
Strabo has recorded a slightly different version where Python was actually a cruel and lawless man who was also known by the name "Drakon". When Apollo was teaching the humans to cultivate fruits and civilise themselves, the residents of Parnassus complained to the god about Python. In response to their pleas, Apollo killed the man with his arrows. During the fight, the Parnassians shouted "Hië paian" to encourage the god.
Establishment of worship in Delphi.
Continuing from his victory over Python, the Homeric hymn describes how the young god established his worship among the humans. As Apollo was pondering about what kind of men he should recruit to serve him, he spotted a ship full of Cretan merchants or pirates. He took the form of a dolphin and sprang aboard the ship. Whenever the oblivious crew members tried throwing the dolphin overboard, the god shook the ship until the crew was awed into submission. Apollo then created a breeze that directed the ship to Delphi. Upon reaching the land, he revealed himself as a god and initiated them as his priests. He instructed them to guard his temple and always keep righteousness in their hearts.
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Alcaeus narrates the following account: Zeus, who had adorned his newborn son with a golden headband, also provided him with a chariot driven by swans and instructed Apollo to visit Delphi to establish his laws among the people. But Apollo disobeyed his father and went to the land of Hyperborea. The Delphians continuously sung paeans in his honour and pleaded him to come back to them. The god returned only after a year and then carried out Zeus' orders.
In other variations, the shrine at Delphi was simply handed over to Apollo by his grandmother Phoebe as a gift, or Themis herself inspired him to be the oracular voice of Delphi.
However, in many other accounts, Apollo had to overcome certain obstacles before he was able to establish himself at Delphi. Gaea came in conflict with Apollo for killing Python and claiming the Delphic oracle for himself. According to Pindar, she sought to banish Apollo to Tartarus as a punishment. According to Euripides, soon after Apollo took the ownership of the oracle, Gaea started sending prophetic dreams to the humans. As a result, people stopped visiting Delphi to obtain prophecies. Troubled by this, Apollo went to Olympus and supplicated to Zeus. Zeus, admiring the ambitions of his young son, granted his request by putting an end to the dream visions. This sealed the role of Apollo as the oracular deity of Delphi.
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Since Apollo had committed a blood crime, he also had to be purified. Pausanias has recorded two of the many variations of this purification. In one of them, both Apollo and Artemis fled to Sicyon and were purified there. In the other tradition that had been prevalent among the Cretans, Apollo alone travelled to Crete and was purified by Carmanor. In another account, the Argive king Crotopus was the one who performed the purification rites on Apollo alone.
According the Aristonous and Aelian, Apollo was purified by the will of Zeus in the Vale of Tempe. Aristonous has continued the tale, saying that Apollo was escorted back to Delphi by Athena. As a token of gratitude, he later built a temple for Athena at Delphi, which served as a threshold for his own temple. Upon reaching Delphi, Apollo convinced Gaea and Themis into handing over the seat of oracle to him. To celebrate this event, other immortals also graced Apollo with gifts – Poseidon gave him the land of Delphi, the Delphian nymphs gifted him the Corycian cave, and Artemis set her dogs to patrol and safeguard the land.
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Some others have also said that Apollo was exiled and subjected to servitude under king Admetus as a means of punishment for the murder he had committed. It was when he was serving as a cowherd under Admetus that the theft of the cattle by Hermes happened. The servitude was said to have lasted for either one year, or one great year (a cycle of eight years), or nine years.
Plutarch, however, has mentioned a variation where Apollo was neither purified in Tempe nor banished to Earth as a servant for nine years, but was driven out to another world for nine great years. The god who returned was cleansed and purified, thus becoming a "true Phoebus – that is to say, clear and bright". He then took over the Delphic oracle, which had been under the care of Themis in his absence. Henceforth, Apollo became the god who cleansed himself from the sin of murder, made men aware of their guilt and purified them.
The Pythian games were also established by Apollo, either as funeral games to honor Python or to celebrate his own victory. The Pythia was Apollo's high priestess and his mouthpiece through whom he gave prophecies.
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Tityus.
Tityus was another giant who tried to rape Leto, either on his own accord when she was on her way to Delphi or at the order of Hera. Leto called upon on her children who instantly slew the giant. Apollo, still a young boy, shot him with his arrows. In some accounts, Artemis also joined him in protecting their mother by attacking Tityos with her arrows. For this act, he was banished to Tartarus and there he was pegged to the rock floor and stretched on an area of , while a pair of vultures feasted daily on his liver or his heart.
Another account recorded by Strabo says that Tityus was not a giant but a lawless man whom Apollo killed at the request of the residents.
Admetus.
Admetus was the king of Pherae, who was known for his hospitality. When Apollo was exiled from Olympus for killing Python, he served as a herdsman under Admetus, who was then young and unmarried. Apollo is said to have shared a romantic relationship with Admetus during his stay. After completing his years of servitude, Apollo went back to Olympus as a god.
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Because Admetus had treated Apollo well, the god conferred great benefits on him in return. Apollo's mere presence is said to have made the cattle give birth to twins. Apollo helped Admetus win the hand of Alcestis, the daughter of King Pelias, by taming a lion and a boar to draw Admetus' chariot. He was present during their wedding to give his blessings. When Admetus angered the goddess Artemis by forgetting to give her the due offerings, Apollo came to the rescue and calmed his sister. When Apollo learnt of Admetus' untimely death, he convinced or tricked the Fates into letting Admetus live past his time.
According to another version, or perhaps some years later, when Zeus struck down Apollo's son Asclepius with a lightning bolt for resurrecting the dead, Apollo in revenge killed the Cyclopes, who had fashioned the bolt for Zeus. Apollo would have been banished to Tartarus for this, but his mother Leto intervened, and reminding Zeus of their old love, pleaded with him not to kill their son. Zeus obliged and sentenced Apollo to one year of hard labor once again under Admetus.
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The love between Apollo and Admetus was a favored topic of Roman poets like Ovid and Servius.
Niobe.
The fate of Niobe was prophesied by Apollo while he was still in Leto's womb. Niobe was the queen of Thebes and wife of Amphion. She displayed hubris when she boasted that she was superior to Leto because she had fourteen children (Niobids), seven male and seven female, while Leto had only two. She further mocked Apollo's effeminate appearance and Artemis' manly appearance. Leto, insulted by this, told her children to punish Niobe. Accordingly, Apollo killed Niobe's sons, and Artemis her daughters. According to some versions of the myth, among the Niobids, Chloris and her brother Amyclas were not killed because they prayed to Leto. Amphion, at the sight of his dead sons, either killed himself or was killed by Apollo after swearing revenge.
A devastated Niobe fled to Mount Sipylos in Asia Minor and turned into stone as she wept. Her tears formed the river Achelous. Zeus had turned all the people of Thebes to stone and so no one buried the Niobids until the ninth day after their death, when the gods themselves entombed them.
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When Chloris married and had children, Apollo granted her son Nestor the years he had taken away from the Niobids. Hence, Nestor was able to live for 3 generations.
Building the walls of Troy.
Once Apollo and Poseidon served under the Trojan king Laomedon in accordance with Zeus' words. Apollodorus states that the gods willingly went to the king disguised as humans in order to check his hubris. Apollo guarded the cattle of Laomedon in the valleys of Mount Ida, while Poseidon built the walls of Troy. Other versions make both Apollo and Poseidon the builders of the wall. In Ovid's account, Apollo completes his task by playing his tunes on his lyre.
In Pindar's odes, the gods took a mortal named Aeacus as their assistant. When the work was completed, three snakes rushed against the wall, and though the two that attacked the sections of the wall built by the gods fell down dead, the third forced its way into the city through the portion of the wall built by Aeacus. Apollo immediately prophesied that Troy would fall at the hands of Aeacus's descendants, the Aeacidae (i.e. his son Telamon joined Heracles when he sieged the city during Laomedon's rule. Later, his great-grandson Neoptolemus was present in the wooden horse that leads to the downfall of Troy).
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However, the king not only refused to give the gods the wages he had promised, but also threatened to bind their feet and hands, and sell them as slaves. Angered by the unpaid labour and the insults, Apollo infected the city with a pestilence and Poseidon sent the sea monster Cetus. To deliver the city from it, Laomedon had to sacrifice his daughter Hesione (who would later be saved by Heracles).
During his stay in Troy, Apollo had a lover named Ourea, who was a nymph and daughter of Poseidon. Together they had a son named Ileus, whom Apollo loved dearly.
Trojan War.
Apollo sided with the Trojans during the Trojan War waged by the Greeks against the Trojans.
During the war, the Greek king Agamemnon captured Chryseis, the daughter of Apollo's priest Chryses, and refused to return her. Angered by this, Apollo shot arrows infected with the plague into the Greek encampment. He demanded that they return the girl, and the Achaeans (Greeks) complied, indirectly causing the "anger of Achilles", which is the theme of the "Iliad".
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Receiving the aegis from Zeus, Apollo entered the battlefield as per his father's command, causing great terror to the enemy with his war cry. He pushed the Greeks back and destroyed many of the soldiers. He is described as "the rouser of armies" because he rallied the Trojan army when they were falling apart.
When Zeus allowed the other gods to get involved in the war, Apollo was provoked by Poseidon to a duel. However, Apollo declined to fight him, saying that he would not fight his uncle for the sake of mortals.
When the Greek hero Diomedes injured the Trojan hero Aeneas, Aphrodite tried to rescue him, but Diomedes injured her as well. Apollo then enveloped Aeneas in a cloud to protect him. He repelled the attacks Diomedes made on him and gave the hero a stern warning to abstain from attacking a god. Aeneas was then taken to Pergamos, a sacred spot in Troy, where he was healed.
After the death of Sarpedon, a son of Zeus, Apollo rescued the corpse from the battlefield as per his father's wish and cleaned it. He then gave it to Sleep (Hypnos) and Death (Thanatos). Apollo had also once convinced Athena to stop the war for that day, so that the warriors can relieve themselves for a while.
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The Trojan hero Hector (who, according to some, was the god's own son by Hecuba) was favored by Apollo. When he got severely injured, Apollo healed him and encouraged him to take up his arms. During a duel with Achilles, when Hector was about to lose, Apollo hid Hector in a cloud of mist to save him. When the Greek warrior Patroclus tried to get into the fort of Troy, he was stopped by Apollo. Encouraging Hector to attack Patroclus, Apollo stripped the armour of the Greek warrior and broke his weapons. Patroclus was eventually killed by Hector. At last, after Hector's fated death, Apollo protected his corpse from Achilles' attempt to mutilate it by creating a magical cloud over the corpse, shielding it from the rays of the sun.
Apollo held a grudge against Achilles throughout the war because Achilles had murdered his son Tenes before the war began and brutally assassinated his son Troilus in his own temple. Not only did Apollo save Hector from Achilles, he also tricked Achilles by disguising himself as a Trojan warrior and driving him away from the gates.
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Finally, Apollo caused Achilles' death by guiding an arrow shot by Paris into Achilles' heel. In some versions, Apollo himself killed Achilles by taking the disguise of Paris.
Apollo helped many Trojan warriors—including Agenor, Polydamas, and Glaucus—in the battlefield. Though he greatly favored the Trojans, Apollo was bound to follow the orders of Zeus and served his father loyally during the war.
Nurturer of the young.
Apollo "Kourotrophos" is the god who nurtures and protects children and the young, especially boys. He oversees their education and their passage into adulthood. Education is said to have originated from Apollo and the Muses. Many myths have him train his children. It was a custom for boys to cut and dedicate their long hair to Apollo after reaching adulthood.
Chiron, the abandoned centaur, was fostered by Apollo, who instructed him in medicine, prophecy, archery and more. Chiron would later become a great teacher himself.
Asclepius in his childhood gained much knowledge pertaining to medicinal arts from his father. However, he was later entrusted to Chiron for further education.
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Anius, Apollo's son by Rhoeo, was abandoned by his mother soon after his birth. Apollo brought him up and educated him in mantic arts. Anius later became the priest of Apollo and the king of Delos.
Iamus was the son of Apollo and Evadne. When Evadne went into labour, Apollo sent the Moirai to assist his lover. After the child was born, Apollo sent snakes to feed the child some honey. When Iamus reached the age of education, Apollo took him to Olympia and taught him many arts, including the ability to understand and explain the languages of birds.
Idmon was educated by Apollo to be a seer. Even though he foresaw his death that would happen in his journey with the Argonauts, he embraced his destiny and died a brave death. To commemorate his son's bravery, Apollo commanded Boeotians to build a town around the tomb of the hero, and to honor him.
Apollo adopted Carnus, the abandoned son of Zeus and Europa. He reared the child with the help of his mother Leto and educated him to be a seer.
When his son Melaneus reached the age of marriage, Apollo asked the princess Stratonice to be his son's bride and carried her away from her home when she agreed.
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Apollo saved a shepherd boy (name unknown) from death in a large deep cave, by means of vultures. To thank him, the shepherd built Apollo a temple under the name Vulturius.
God of music.
Immediately after his birth, Apollo demanded a lyre and invented the paean, thus becoming the god of music. As the divine singer, he is the patron of poets, singers and musicians. The invention of string music is attributed to him. Plato said that the innate ability of humans to take delight in music, rhythm and harmony is the gift of Apollo and the Muses. According to Socrates, ancient Greeks believed that Apollo is the god who directs the harmony and makes all things move together, both for the gods and the humans. For this reason, he was called "Homopolon" before the "Homo" was replaced by "A". Apollo's harmonious music delivered people from their pain, and hence, like Dionysus, he is also called the liberator. The swans, which were considered to be the most musical among the birds, were believed to be the "singers of Apollo". They are Apollo's sacred birds and acted as his vehicle during his travel to Hyperborea. Aelian says that when the singers would sing hymns to Apollo, the swans would join the chant in unison.
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Among the Pythagoreans, the study of mathematics and music were connected to the worship of Apollo, their principal deity. Their belief was that music purifies the soul, just as medicine purifies the body. They also believed that music was delegated to the same mathematical laws of harmony as the mechanics of the cosmos, evolving into an idea known as the music of the spheres.
Apollo appears as the companion of the Muses, and as Musagetes ("leader of Muses") he leads them in dance. They spend their time on Parnassus, which is one of their sacred places. Apollo is also the lover of the Muses and by them he became the father of famous musicians like Orpheus and Linus.
Apollo is often found delighting the immortal gods with his songs and music on the lyre. In his role as the god of banquets, he was always present to play music at weddings of the gods, like the marriage of Eros and Psyche, Peleus and Thetis. He is a frequent guest of the Bacchanalia, and many ancient ceramics depict him being at ease amidst the maenads and satyrs. Apollo also participated in musical contests when challenged by others. He was the victor in all those contests, but he tended to punish his opponents severely for their hubris.
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Apollo's lyre.
The invention of the lyre is attributed either to Hermes or to Apollo himself. Distinctions have been made that Hermes invented lyre made of tortoise shell, whereas the lyre Apollo invented was a regular lyre.
Myths tell that the infant Hermes stole a number of Apollo's cows and took them to a cave in the woods near Pylos, covering their tracks. In the cave, he found a tortoise and killed it, then removed the insides. He used one of the cow's intestines and the tortoise shell and made his lyre.
Upon discovering the theft, Apollo confronted Hermes and asked him to return his cattle. When Hermes acted innocent, Apollo took the matter to Zeus. Zeus, having seen the events, sided with Apollo, and ordered Hermes to return the cattle. Hermes then began to play music on the lyre he had invented. Apollo fell in love with the instrument and offered to exchange the cattle for the lyre. Hence, Apollo then became the master of the lyre.
According to other versions, Apollo had invented the lyre himself, whose strings he tore in repenting of the excess punishment he had given to Marsyas. Hermes' lyre, therefore, would be a reinvention.
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Contest with Pan.
Once Pan had the audacity to compare his music with that of Apollo and to challenge the god of music to a contest. The mountain-god Tmolus was chosen to umpire. Pan blew on his pipes, and with his rustic melody gave great satisfaction to himself and his faithful follower, Midas, who happened to be present. Then, Apollo struck the strings of his lyre. It was so beautiful that Tmolus at once awarded the victory to Apollo, and everyone was pleased with the judgement. Only Midas dissented and questioned the justice of the award. Apollo did not want to suffer such a depraved pair of ears any longer, and caused them to become the ears of a donkey.
Contest with Marsyas.
Marsyas was a satyr who was punished by Apollo for his hubris. He had found an aulos on the ground, tossed away after being invented by Athena because it made her cheeks puffy. Athena had also placed a curse upon the instrument, that whoever would pick it up would be severely punished. When Marsyas played the flute, everyone became frenzied with joy. This led Marsyas to think that he was better than Apollo, and he challenged the god to a musical contest. The contest was judged by the Muses, or the nymphs of Nysa. Athena was also present to witness the contest.
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Marsyas taunted Apollo for "wearing his hair long, for having a fair face and smooth body, for his skill in so many arts". He also further said,
The Muses and Athena sniggered at this comment. The contestants agreed to take turns displaying their skills and the rule was that the victor could "do whatever he wanted" to the loser.
According to one account, after the first round, they both were deemed equal by the Nysiads. But in the next round, Apollo decided to play on his lyre and add his melodious voice to his performance. Marsyas argued against this, saying that Apollo would have an advantage and accused Apollo of cheating. But Apollo replied that since Marsyas played the flute, which needed air blown from the throat, it was similar to singing, and that either they both should get an equal chance to combine their skills or none of them should use their mouths at all. The nymphs decided that Apollo's argument was just. Apollo then played his lyre and sang at the same time, mesmerising the audience. Marsyas could not do this. Apollo was declared the winner and, angered with Marsyas' haughtiness and his accusations, decided to flay the satyr.
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According to another account, Marsyas played his flute out of tune at one point and accepted his defeat. Out of shame, he assigned to himself the punishment of being skinned for a wine sack. Another variation is that Apollo played his instrument upside down. Marsyas could not do this with his instrument. So the Muses who were the judges declared Apollo the winner. Apollo hung Marsyas from a tree to flay him.
Apollo flayed the limbs of Marsyas alive in a cave near Celaenae in Phrygia for his hubris to challenge a god. He then gave the rest of his body for proper burial and nailed Marsyas' flayed skin to a nearby pine-tree as a lesson to the others. Marsyas' blood turned into the river Marsyas. But Apollo soon repented and being distressed at what he had done, he tore the strings of his lyre and threw it away. The lyre was later discovered by the Muses and Apollo's sons Linus and Orpheus. The Muses fixed the middle string, Linus the string struck with the forefinger, and Orpheus the lowest string and the one next to it. They took it back to Apollo, but the god, who had decided to stay away from music for a while, laid away both the lyre and the pipes at Delphi and joined Cybele in her wanderings to as far as Hyperborea.
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Contest with Cinyras.
Cinyras was a ruler of Cyprus, who was a friend of Agamemnon. Cinyras promised to assist Agamemnon in the Trojan war, but did not keep his promise. Agamemnon cursed Cinyras. He invoked Apollo and asked the god to avenge the broken promise. Apollo then had a lyre-playing contest with Cinyras, and defeated him. Either Cinyras committed suicide when he lost, or was killed by Apollo.
Patron of sailors.
Apollo functions as the patron and protector of sailors, one of the duties he shares with Poseidon. In the myths, he is seen helping heroes who pray to him for a safe journey.
When Apollo spotted a ship of Cretan sailors that were caught in a storm, he quickly assumed the shape of a dolphin and guided their ship safely to Delphi.
When the Argonauts faced a terrible storm, Jason prayed to his patron, Apollo, to help them. Apollo used his bow and golden arrow to shed light upon an island, where the Argonauts soon took shelter. This island was renamed "Anaphe", which means "He revealed it".
Apollo helped the Greek hero Diomedes, to escape from a great tempest during his journey homeward. As a token of gratitude, Diomedes built a temple in honor of Apollo under the epithet Epibaterius ("the embarker").
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During the Trojan War, Odysseus came to the Trojan camp to return Chriseis, the daughter of Apollo's priest Chryses, and brought many offerings to Apollo. Pleased with this, Apollo sent gentle breezes that helped Odysseus return safely to the Greek camp.
Arion was a poet who was kidnapped by some sailors for the rich prizes he possessed. Arion requested them to let him sing for the last time, to which the sailors consented. Arion began singing a song in praise of Apollo, seeking the god's help. Consequently, numerous dolphins surrounded the ship and when Arion jumped into the water, the dolphins carried him away safely.
Wars.
Trojan War.
Apollo played a pivotal role in the entire Trojan War. He sided with the Trojans, and sent a terrible plague to the Greek camp, which indirectly led to the conflict between Achilles and Agamemnon. He killed the Greek heroes Patroclus, Achilles, and numerous Greek soldiers. He also helped many Trojan heroes, the most important one being Hector. After the end of the war, Apollo and Poseidon together cleaned the remains of the city and the camps.
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Telegony war.
A war broke out between the Brygoi and the Thesprotians, who had the support of Odysseus. The gods Athena and Ares came to the battlefield and took sides. Athena helped the hero Odysseus while Ares fought alongside of the Brygoi. When Odysseus lost, Athena and Ares came into a direct duel. To stop the battling gods and the terror created by their battle, Apollo intervened and stopped the duel between them.
Indian war.
When Zeus suggested that Dionysus defeat the Indians in order to earn a place among the gods, Dionysus declared war against the Indians and travelled to India along with his army of Bacchantes and satyrs. Among the warriors was Aristaeus, Apollo's son. Apollo armed his son with his own hands and gave him a bow and arrows and fitted a strong shield to his arm. After Zeus urged Apollo to join the war, he went to the battlefield. Seeing several of his nymphs and Aristaeus drowning in a river, he took them to safety and healed them. He taught Aristaeus more useful healing arts and sent him back to help the army of Dionysus.
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Theban war.
During the war between the sons of Oedipus, Apollo favored Amphiaraus, a seer and one of the leaders in the war. Though saddened that the seer was fated to be doomed in the war, Apollo made Amphiaraus' last hours glorious by "lighting his shield and his helm with starry gleam". When Hypseus tried to kill the hero with a spear, Apollo directed the spear towards the charioteer of Amphiaraus instead. Then Apollo himself replaced the charioteer and took the reins in his hands. He deflected many spears and arrows away from them. He also killed many of the enemy warriors like Melaneus, Antiphus, Aetion, Polites and Lampus. At last, when the moment of departure came, Apollo expressed his grief with tears in his eyes and bid farewell to Amphiaraus, who was soon engulfed by the Earth.
Slaying of giants.
Apollo killed the giants Python and Tityos, who had assaulted his mother Leto.
Gigantomachy.
During the gigantomachy, Apollo and Heracles blinded the giant Ephialtes by shooting him in his eyes, Apollo shooting his left and Heracles his right. He also killed Porphyrion, the king of giants, using his bow and arrows.
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Aloadae.
The Aloadae, namely Otis and Ephialtes, were twin giants who decided to wage war upon the gods. They attempted to storm Mt. Olympus by piling up mountains, and threatened to fill the sea with mountains and inundate dry land. They even dared to seek the hand of Hera and Artemis in marriage. Angered by this, Apollo killed them by shooting them with arrows. According to another tale, Apollo killed them by sending a deer between them; as they tried to kill it with their javelins, they accidentally stabbed each other and died.
Phorbas.
Phorbas was a savage giant king of Phlegyas who was described as having swine-like features. He wished to plunder Delphi for its wealth. He seized the roads to Delphi and started harassing the pilgrims. He captured the old people and children and sent them to his army to hold them for ransom. And he challenged the young and sturdy men to a match of boxing, only to cut their heads off when they would get defeated by him. He hung the chopped-off heads to an oak tree. Finally, Apollo came to put an end to this cruelty. He entered a boxing contest with Phorbas and killed him with a single blow.
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Other stories.
In the first Olympic games, Apollo defeated Ares and became the victor in wrestling. He outran Hermes in the race and won first place.
Apollo divides months into summer and winter. He rides on the back of a swan to the land of the Hyperboreans during the winter months, and the absence of warmth in winter is due to his departure. During his absence, Delphi was under the care of Dionysus, and no prophecies were given during winters.
Periphas.
Periphas was an Attican king and a priest of Apollo. He was noble, just and rich. He did all his duties justly. Because of this people were very fond of him and started honouring him to the same extent as Zeus. At one point, they worshipped Periphas in place of Zeus and set up shrines and temples for him. This annoyed Zeus, who decided to annihilate the entire family of Periphas. But because he was a just king and a good devotee, Apollo intervened and requested his father to spare Periphas. Zeus considered Apollo's words and agreed to let him live. But he metamorphosed Periphas into an eagle and made the eagle the king of birds. When Periphas' wife requested Zeus to let her stay with her husband, Zeus turned her into a vulture and fulfilled her wish.
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Molpadia and Parthenos.
Molpadia and Parthenos were the sisters of Rhoeo, a former lover of Apollo. One day, they were put in charge of watching their father's ancestral wine jar but they fell asleep while performing this duty. While they were asleep, the wine jar was broken by the swine their family kept. When the sisters woke up and saw what had happened, they threw themselves off a cliff in fear of their father's wrath. Apollo, who was passing by, caught them and carried them to two different cities in Chersonesus, Molpadia to Castabus and Parthenos to Bubastus. He turned them into goddesses and they both received divine honors. Molpadia's name was changed to Hemithea upon her deification.
Prometheus.
Prometheus was the titan who was punished by Zeus for stealing fire. He was bound to a rock, where each day an eagle was sent to eat Prometheus' liver, which would then grow back overnight to be eaten again the next day. Seeing his plight, Apollo pleaded with Zeus to release the kind Titan, while Artemis and Leto stood behind him with tears in their eyes. Zeus, moved by Apollo's words and the tears of the goddesses, finally sent Heracles to free Prometheus.
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Heracles.
After Heracles (then named Alcides) was struck with madness and killed his family, he sought to purify himself and consulted the oracle of Apollo. Apollo, through the Pythia, commanded him to serve king Eurystheus for twelve years and complete the ten tasks the king would give him. Only then would Alcides be absolved of his sin. Apollo also renamed him Heracles.
To complete his third task, Heracles had to capture the Ceryneian Hind, a hind sacred to Artemis, and bring back it alive. After chasing the hind for one year, the animal eventually got tired, and when it tried crossing the river Ladon, Heracles captured it. While he was taking it back, he was confronted by Apollo and Artemis, who were angered at Heracles for this act. However, Heracles soothed the goddess and explained his situation to her. After much pleading, Artemis permitted him to take the hind and told him to return it later.
After he was freed from his servitude to Eurystheus, Heracles fell in conflict with Iphytus, a prince of Oechalia, and murdered him. Soon after, he contracted a terrible disease. He consulted the oracle of Apollo once again, in the hope of ridding himself of the disease. The Pythia, however, denied to give any prophesy. In anger, Heracles snatched the sacred tripod and started walking away, intending to start his own oracle. However, Apollo did not tolerate this and stopped Heracles; a duel ensued between them. Artemis rushed to support Apollo, while Athena supported Heracles. Soon, Zeus threw his thunderbolt between the fighting brothers and separated them. He reprimanded Heracles for this act of violation and asked Apollo to give a solution to Heracles. Apollo then ordered the hero to serve under Omphale, queen of Lydia for one year in order to purify himself.
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After their reconciliation, Apollo and Heracles together founded the city of Gythion.
Plato's concept of soulmates.
A long time ago, there were three kinds of human beings: male, descended from the sun; female, descended from the earth; and androgynous, descended from the moon. Each human being was completely round, with four arms and four legs, two identical faces on opposite sides of a head with four ears, and all else to match. They were powerful and unruly. Otis and Ephialtes even dared to scale Mount Olympus.
To check their insolence, Zeus devised a plan to humble them and improve their manners instead of completely destroying them. He cut them all in two and asked Apollo to make necessary repairs, giving humans the individual shape they still have now. Apollo turned their heads and necks around towards their wounds, he pulled together their skin at the abdomen, and sewed the skin together at the middle of it. This is what we call navel today. He smoothened the wrinkles and shaped the chest. But he made sure to leave a few wrinkles on the abdomen and around the navel so that they might be reminded of their punishment.
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The rock of Leukas.
Leukatas was believed to be a white-colored rock jutting out from the island of Leukas into the sea. It was present in the sanctuary of Apollo Leukates. A leap from this rock was believed to have put an end to the longings of love.
Once, Aphrodite fell deeply in love with Adonis, a young man of great beauty who was later accidentally killed by a boar. Heartbroken, Aphrodite wandered looking for the rock of Leukas. When she reached the sanctuary of Apollo in Argos, she confided in him her love and sorrow. Apollo then brought her to the rock of Leukas and asked her to throw herself from the top of the rock. She did so and was freed from her love. When she sought the reason behind this, Apollo told her that Zeus, before taking another lover, would sit on this rock to free himself from his love for Hera.
Another tale relates that a man named Nireus, who fell in love with the cult statue of Athena, came to the rock and jumped in order to relieve himself. After jumping, he fell into the net of a fisherman in which, when he was pulled out, he found a box filled with gold. He fought with the fisherman and took the gold, but Apollo appeared to him in the night in a dream and warned him not to appropriate gold which belonged to others.
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