title: The Secret of Monkey Island

abstract: The Secret of Monkey Island is a 1990 point-and-click graphic adventure game developed and published by Lucasfilm Games. It takes place in a fictional version of the Caribbean during the age of piracy. The player assumes the role of Guybrush Threepwood, a young man who dreams of becoming a pirate, and explores fictional islands while solving puzzles. The game was conceived in 1988 by Lucasfilm employee Ron Gilbert, who designed it with Tim Schafer and Dave Grossman. Gilbert's frustrations with contemporary adventure titles led him to make the player character's death almost impossible, which meant that gameplay focused on exploration. The atmosphere was based on that of the Pirates of the Caribbean theme park ride. The Secret of Monkey Island was the fifth game built with the SCUMM engine, which was heavily modified to include a more user-friendly interface. Critics praised The Secret of Monkey Island for its humor, audiovisuals, and gameplay. Several publications list it among the greatest video games of all time. The game spawned a number of sequels, collectively known as the Monkey Island series. Gilbert, Schafer and Grossman also led the development of the sequel Monkey Island 2: LeChuck's Revenge. LucasArts released a remake of the original in 2009, which was also well received by the gaming press.

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# The Secret of Monkey Island

***The Secret of Monkey Island*** is a 1990 point-and-click graphic adventure game developed and published by Lucasfilm Games. It takes place in a fictional version of the Caribbean during the age of piracy. The player assumes the role of Guybrush Threepwood, a young man who dreams of becoming a pirate, and explores fictional islands while solving puzzles.

The game was conceived in 1988 by Lucasfilm employee Ron Gilbert, who designed it with Tim Schafer and Dave Grossman. Gilbert's frustrations with contemporary adventure titles led him to make the player character's death almost impossible, which meant that gameplay focused on exploration. The atmosphere was based on that of the Pirates of the Caribbean theme park ride. *The Secret of Monkey Island* was the fifth game built with the SCUMM engine, which was heavily modified to include a more user-friendly interface.

Critics praised *The Secret of Monkey Island* for its humor, audiovisuals, and gameplay. Several publications list it among the greatest video games of all time. The game spawned a number of sequels, collectively known as the *Monkey Island* series. Gilbert, Schafer and Grossman also led the development of the sequel *Monkey Island 2: LeChuck's Revenge*. LucasArts released a remake of the original in 2009, which was also well received by the gaming press.

## Gameplay

*The Secret of Monkey Island* is a 2D adventure game played from a third-person perspective. Via a point-and-click interface, the player guides protagonist Guybrush Threepwood through the game's world and interacts with the environment by selecting from twelve verb commands (nine in newer versions) such as "talk to" for communicating with characters and "pick up" for collecting items between commands and the world's objects in order to successfully solve puzzles and thus progress in the game. While conversing with other characters, the player may choose between topics for discussion that are listed in a dialog tree; the game is one of the first to incorporate such a system. The in-game action is frequently interrupted by cutscenes. Like other LucasArts adventure games, *The Secret of Monkey Island* features a design philosophy that makes the player character's death nearly impossible (Guybrush does drown if he stays underwater for more than ten minutes).

## Plot

A youth named Guybrush Threepwood arrives on Mêlée Island, hoping to become a pirate. He seeks out the island's pirate leaders, who set him three trials: winning a sword duel against Carla, the island's resident swordmaster; finding a buried treasure; and stealing a valuable idol from the governor's mansion. These quests take Guybrush throughout the island, where he hears of stories of the ghost pirate LeChuck, who apparently died in an expedition to the mysterious Monkey Island, an act that was meant to win the love of the governor, Elaine Marley. Guybrush meets several characters of interest, including a local voodoo priestess, Stan the Used Boat Salesman, Carla the Sword Master, a prisoner named Otis, and Meathook, whose hands have been replaced by hooks.

Guybrush encounters Elaine and is smitten, and she soon reciprocates. However, as he completes the tasks set for him, the island is raided by LeChuck and his undead crew, who abduct Elaine and retreat to their secret hideout on Monkey Island. Guybrush buys a ship and hires Carla, Otis, and Meathook as crew before setting sail. On Monkey Island, Guybrush discovers a village of cannibals in a dispute with Herman Toothrot, a castaway marooned there. He settles their quarrel, then recovers a magical "voodoo root" from LeChuck's ship for the cannibals, who provide him with a seltzer bottle of "voodoo root elixir" that can destroy ghosts.

When Guybrush returns to LeChuck's ship with the elixir, he learns that LeChuck has returned to Mêlée Island to marry Elaine at the church. He promptly returns to Mêlée Island and gatecrashes the wedding, only to ruin Elaine's own plan for escape; in the process he loses the elixir. Now confronted with a furious LeChuck, Guybrush is savagely beaten by the ghost pirate in a fight ranging across the island. At the ship emporium, Guybrush finds a bottle of root beer. Substituting it for the lost elixir, he sprays LeChuck, destroying him. Guybrush and Elaine enjoy a romantic moment, watching fireworks caused by LeChuck exploding.

## Development

### Origin and writing

Ron Gilbert conceived the idea of a pirate adventure game in 1988, after completing *Zak McKracken and the Alien Mindbenders*. He first wrote story ideas about pirates while spending the weekend at a friend's house. Gilbert experimented with introductory paragraphs to find a satisfactory idea. His initial story featured unnamed villains that would eventually become LeChuck and Elaine; Guybrush was absent at this point. He pitched it to Lucasfilm Games's staff as a series of short stories. Gilbert's idea was warmly received, but production was postponed because Lucasfilm Games assigned its designers, including Gilbert, to *Indiana Jones and the Last Crusade: The Graphic Adventure*. Development of *The Last Crusade* was finished in 1989, which allowed Gilbert to begin production of *The Secret of Monkey Island*, then known internally under the working title *Mutiny on Monkey Island*.

Gilbert soon realised that it would be difficult to design the game by himself; he decided to join forces with Tim Schafer and Dave Grossman, both of whom he hired for Lucasfilm. The game's insult sword fighting mechanics were influenced by swashbuckling movies starring Errol Flynn, which Gilbert, Schafer and Grossman often watched for inspiration. They noticed that pirates in those films often taunted their opponents instead of attacking them, which gave the designers the idea to base the game's duels on insults rather than combat. Writer Orson Scott Card helped them write the insults during a visit to Lucasfilm's headquarters at Skywalker Ranch. Many of Gilbert's original gameplay ideas were abandoned during the production process, although he stated that "most of that stuff was left out for a reason".

Tim Schafer (left, 2011 photo) and Dave Grossman (right, 2007 photo) co-wrote the game's plot with Gilbert and supplied programming.

The game's plot, as described by Dave Grossman: "It's a story about this young man who comes to an island in search of his life's dream. He's pursuing his career goals and he discovers love in the process and winds up thinking that was actually more important than what he was doing to begin with. You're laughing, but there's actually something deeper going on as well". When work on the plot began, Gilbert discovered that Schafer's and Grossman's writing styles were too different to form a cohesive whole: Grossman's was "very kind of a dry, sarcastic humor" and Schafer's was "just a little more in your face". In reaction, Gilbert assigned them to different characters and story moments depending on what type of comedy was required. Grossman believed that this benefited the game's writing, as he and Schafer "were all funny in slightly different ways, and it worked well together". Schafer and Grossman wrote most of the dialogue while they were programming the game; as a result, much of it was improvised. Some of the dialogue was based on the designers' personal experiences, such as Guybrush's line "I had a feeling in hell there would be mushrooms", which came from Schafer's own hatred of fungi.

The game's world and characters were designed primarily by Gilbert. After having read Tim Powers' historical fantasy novel *On Stranger Tides*, he decided to add paranormal themes to the game's plot. He also cited Powers' book as an influence on the characters, particularly those of Guybrush and LeChuck. Inspiration for the game's ambiance came from Gilbert's favorite childhood amusement park ride, Pirates of the Caribbean. Grossman said that Gilbert always wanted "to step off the ride" and "talk to the people who lived in that world". Near the final stages of the design work, Gilbert introduced several characters who were not directly related to the game's story. He considered this to be an important decision, as the player would need those seemingly minor characters in later parts of the game and would receive a chance to "really interact with them".

### Creative and technical design

Gilbert, Schafer and Grossman's primary goal was to create a simpler and more accessible gameplay model than those presented in previous Lucasfilm titles. Gilbert had conceived the main designs and puzzles before production began, which resulted in the bulk of the designers' work to flesh out his ideas. He was frustrated by the adventure games that Sierra On-Line was releasing at the time, and later said that "you died any time you did anything wrong". Gilbert considered such gameplay as "a cheap way out for the designer". He had previously applied his design ideas to the 1987 graphic adventure title *Maniac Mansion*, but considered he committed a number of mistakes during development, such as dead-end situations that prevented the player from completing the game and poorly implemented triggers for cutscenes. Gilbert aimed to avoid such errors in *The Secret of Monkey Island*. The team decided to make it impossible for the player character to die, with one notable exception, which focused gameplay primarily on world exploration. The Sierra game-over screen was parodied, when Guybrush falls off a cliff only to be bounced back up by a "rubber tree". Guybrush can also be killed by drowning, though it is an Easter Egg unlikely to be found without conscientious effort.

A scene in *The Secret of Monkey Island* shows the protagonist Guybrush Threepwood standing on the docks of Mêlée Island. Below the scene, the game displays the list of the verb commands and items in the player's inventory in a point-and-click menu.The same scene in the special edition. The verb portion of the screen has been removed as part of a control overhaul, while the background artwork has been made more elaborate to build a much more vibrant environment.

*The Secret of Monkey Island* was the fifth Lucasfilm Games project powered by the SCUMM engine, originally developed for *Maniac Mansion*. The company had gradually modified the engine since its creation. For *Maniac Mansion*, the developers hard coded verb commands in the SCUMM scripting language. These commands become more abstract in subsequent versions of the engine. The developers carried over the practice of referring to individual segments of the gameworld as "rooms", even though the areas in *Monkey Island* were outdoors. The game uses the same version of the engine used in *Indiana Jones and the Last Crusade: The Graphic Adventure*, with minor changes. A dialogue tree was added, which facilitated conversation options and the sword-fighting puzzles. The developers removed the "What is" option (an input command that describes an on-screen object to the player) in favor of allowing the player to simply highlight the object with the mouse cursor. The game's improved interface became the standard for the company's later titles. The game also introduced logical verb shortcuts, which could be performed with the mouse; for example, clicking on a character defaults to the "talk" action, the most obvious action in the situation. SCUMM's visuals were updated for the game—the original EGA version had a 320x200 pixel resolution rendered in 16 colors. According to artist Steve Purcell, that became a major limitation for the art team; due to a low number of "ghastly" colors, they often chose bizarre tones for backgrounds. They chose black and white for Guybrush's outfit for the same reason. The VGA version of the game later corrected these issues by implementing 256-color support, which allowed for more advanced background and character art. Other platform releases removed the infamous "stump joke" from the game, which was a joke in the EGA version in which the player would examine a tree stump in the forest. Guybrush would exclaim that there is an opening to a system of catacombs and attempt to enter, but this would result in a message stating the player needed to insert disc 22, then 36, then 114 in order to continue. The joke resulted in numerous calls to the LucasArts hotline asking about missing discs. As a result, the joke was removed from later editions and is mentioned as a conversation option for the LucasArts Hint Hotline in the sequel.

The game's "pirate reggae" music was composed by Lucasfilm Games' in-house musician Michael Land in MIDI format. It was his first project at the company. The game was originally released for floppy disk in 1990, but a CD-ROM version with a high-quality CD soundtrack followed in 1992. The music has remained popular, and has been remixed by the musicians of OverClocked ReMix and by the game's fans.

*The Secret of Monkey Island* ultimately cost $200,000 to produce, and was developed over nine months.

### Special edition

LucasArts released a remake with updated audiovisuals titled *The Secret of Monkey Island: Special Edition* in July 2009 for iPhone, Microsoft Windows, and Xbox 360 exclusively via digital distribution. LucasArts confirmed the game's development one month earlier on June 1; rumors appeared several days earlier when the Xbox 360 version of the game received an USK rating. The game was developed by A.C.R.O.N.Y.M. Games. The game was first displayed to the public at the E3 expo in June. The remake features hand-drawn visuals with more detail, a remastered musical score, voice work for characters, and a hint system. The developers included the function to switch between new and original audiovisuals at will. The voice actors included Dominic Armato as Guybrush Threepwood and Earl Boen as LeChuck; most had provided voice work in sequels to *The Secret of Monkey Island*.

LucasArts's game producer Craig Derrick and his team conceived the idea of the remake in 2008. After researching the *Monkey Island* series' history, they decided to make "something fresh and new while staying true to the original", which resulted in the idea of *The Secret of Monkey Island*'s remake. The developers tried to leave much of the original design unchanged. Any changes were intended to achieve the level of immersion desired for the original. To that end, they added details like a pirate ship or pirates talking in the background of scenes. While the team considered the SCUMM interface revolutionary at the time, LucasArts community manager Brooks Brown noted that it is incompatible with an analog stick, which most consoles use. The designers made the cursor contextual to the game objects as the primary interface. Brown had considered updating the reference to advertise *Star Wars: The Force Unleashed* because *Loom* was not on the market at the time, but concluded that the game would not be the same if such changes were implemented. Prior to the *Special Edition* release, however, LucasArts announced that *Loom*, along with other games from its back catalog, would be made available on Steam. Brown stated that the decision to distribute the game online was because "digital downloads have finally gotten going".

The Special Editions of *The Secret of Monkey Island* and its sequel were later released physically for Xbox 360, PlayStation 3 and PC (exclusively in Europe) as *Monkey Island Special Edition Collection*.

## Reception

*The Secret of Monkey Island* received positive reviews from critics. According to Gilbert, it "sold well" but was "never a big hit". Grossman later summarized that the game's sales were "north of 100,000, far south of 1 million. Back in those days, a few hundred thousand was a giant smash hit". According to *Next Generation*, *The Secret of Monkey Island* was a "relatively minor hit" in the United States, but the game and its sequel became "blockbusters on the PC and the Amiga throughout Europe".

Hartley, Patricia, and Kirk Lesser of *Dragon* praised the designers' attention to detail, and cited the game's humor as a high point. Although they believed that the game was too expensive, they summarized it as "a highly enjoyable graphic adventure replete with interesting puzzles, a fantastic Roland soundtrack, superb VGA graphics, smooth-scrolling animation, and some of the funniest lines ever seen on your computer screen". Duncan MacDonald of *Zero* praised the graphics and found the game "quite amusing". His favorite aspect was the fine-tuned difficulty level, which he believed was "just right", ending his review with "at last an adventure game that's enjoyable rather than frustrating". Paul Glancey of *Computer and Video Games* consider the game superior to Lucasfilm's earlier adventure titles, and wrote that "usually the entertainment you get from an adventure is derived solely from solving puzzles, but the hilarious characters and situations, and the movie-like presentation ... make playing this more like taking part in a comedy film, so it's much more enjoyable". He considered the puzzles to be "brilliantly conceived" and found the game's controls accessible. He summarized it as "utterly enthralling".

*ACE*'s Steve Cooke also found the controls convenient, and he praised the game's atmosphere. He wrote that, "in graphics and sound terms ... *Monkey Island*, along with *King's Quest V*, is currently at the head of the pack". However, he disliked the designers' running joke of placing "TM" after character and place names, which he thought detracted from the atmosphere. He singled out the game's writing, characters and plot structure as its best elements. *Amiga Power*'s Mark Ramshaw wrote "with *The Secret of Monkey Island*, the mouse-controlled, graphic-adventure comes of age". He lauded its comedic elements, which he believed were the highlight of the game. The reviewer also praised the control scheme, noting that it allows the player to "more or less forget about the specifics of what \[they are\] physically doing ... and lose \[themselves\] in the adventure instead". He noted that the game's plot and visual and aural presentation fit together to create a thick atmosphere, and finished: "Forget all those other milestone adventures (*Zork*, *The Hobbit*, *Lord of the Rings* *et al*) — for sheer enjoyment and general all-round perfection, *The Secret of Monkey Island* creams 'em all in style". The game, along with its sequel, was ranked the 19th best game of all time by *Amiga Power*.

Writing for *The One*, Paul Presley stated that "Lucasfilm appears to have taken all of the elements that worked in its previous releases and, not only incorporated them into this tale of scurvy swashbuckling, but even improved on them in the process!" Like the other reviewers, he praised its controls. He also lauded its "hilarious storyline, strong characters and ... intriguing setting", but complained about graphical slowdowns. Nick Clarkson of *Amiga Computing* cited the game's graphics as "flawless", noting that "the characters are superbly animated and the backdrops simply ooze atmosphere". He highly praised its sound effects and music, and believed that its controls "couldn't be simpler". The staff of *Amiga Action* wrote that the "attention to detail and the finely tuned gameplay cannot be faulted". They called the graphics "stunning throughout", and believed that, when they were combined with the "excellent Caribbean tunes", the result is a game filled with character and atmosphere. They ended by stating that "there is absolutely no excuse for not owning this game". *Computer Gaming World* said that "*Monkey Island* offers up LucasArt's famous humor at its best ... For an adventure you'll long remember, raise your cup of grog".

*The Secret of Monkey Island* has featured regularly in lists of "top" games, such as *Computer Gaming World's* Hall of Fame and IGN's Video Game Hall of Fame. In 1991, *PC Format* placed *The Secret of Monkey Island* on its list of the 50 best computer games of all time, calling it "genuinely funny". In 1996, *Computer Gaming World* ranked it as the 19th best game of all time, writing: "Who could ever forget the insult-driven duel system or the identity of the mysterious Swordmaster?". In 2004, readers of *Retro Gamer* voted it as the 33rd top retro game. IGN named *The Secret of Monkey Island* one of the ten best LucasArts adventure games in 2009, and ranked the Xbox Live Arcade version as the 20th best title of all time for that platform in 2010. In 2017, *The Secret of Monkey Island* ranked 78th in the "Scientifically Proven Best Video Games of All Time", a statistical meta-analysis compiled by Warp Zoned of 44 "top games" lists published between 1995 and 2016.

### Special edition

Like the original release, *The Secret of Monkey Island: Special Edition* received positive reviews from critics. Sean Ely of *GamePro* praised its updated audio, and said that the new graphics "blow the old clunker visuals ... out of the water". He cited its script, humor, plot, puzzles and balanced difficulty level as high points, and finished, "*The Secret of Monkey Island: Special Edition* is impressive, hilarious and downright worth your money". Daemon Hatfield of IGN wrote: "Almost 20 years after its release, \[*The Secret of Monkey Island*\] remains a blast to play". He called the new graphics "slick, if a little generic", and noted that the "original graphics have a certain charm to them that the fancy pants new visuals just don't", but he enjoyed the redone music, the new hint function, and the added sound effects and voice acting. He summarized it as "one of the best times you'll ever have pointing and clicking", and noted that "few games are this funny". Justin Calvert of GameSpot noted that "the Special Edition looks much better and is the only way to play if you want to hear ... what characters are saying, whereas the original game's interface is less clunky". However, he wrote that "the voice work is such a great addition to the game that it's difficult to go back to the original edition". He praised its humor, writing, puzzles and characters, and he believed that it had aged well. Eurogamer's Dan Whitehead wrote: "Purists like me will almost certainly find something to grumble about over the span of the game, but the overall impact of the redesign is undeniably for the better". He preferred the original game's Guybrush design, and believed that the new control system was "rather less intuitive" than the old one. He finished by stating that "few games can stand the test of time with such confidence".

## Legacy

*The Secret of Monkey Island* spawned five sequels. The first, *Monkey Island 2: LeChuck's Revenge*, was released in 1991 and focuses on LeChuck's return. Six years later, LucasArts released *The Curse of Monkey Island*, which features a new visual design. In 2000, the company released *Escape from Monkey Island*, which uses the GrimE engine of *Grim Fandango* to produce 3D graphics. The next title, *Tales of Monkey Island* released in 2009, is a series of five episodic chapters. The most recent title, *Return to Monkey Island*, was released in 2022 and revisits several locations and characters from the first game.

Elements of the game have appeared elsewhere in popular culture. The original version was selected as one of five for the exhibition *The Art of Video Games* in the Smithsonian American Art Museum in 2011. A fictive drink recipe in the game for grog was mistakenly reported as real in 2009 by Argentine news channel C5N, which urged teenagers against consuming the dangerous "Grog XD" drink. In *Tales of Monkey Island*, Guybrush refers to this news story while pushing the Grog XD button on a Grog machine.

In a celebration of the game's 30th anniversary, Ron Gilbert shared secrets from its original source code during a video conversation with the Video Games History Foundation. These included early character prototypes, unused animations and alternative game environments.

On July 20, 2023 game studio Rare LTD released an update for their game *Sea of Thieves* where players could visit Melee Island and interact with characters of the Monkey Island game series in a new adventure bridging the stories of both worlds.

## InfoBox

| The Secret of Monkey Island | |
| --- | --- |
| Steve Purcell's cover art depicts primary characters Guybrush Threepwood and Elaine Marley, as well as several auxiliary characters. | |
| Developer(s) | Lucasfilm Games<br>A.C.R.O.N.Y.M. Games (special edition) |
| Publisher(s) | The Software Toolworks (CD) |
| Director(s) | Ron Gilbert |
| Producer(s) | Greg Hammond |
| Designer(s) |  |
| Programmer(s) | Aric Wilmunder, Wallace Poulter & Brad P. Taylor (CD-ROM conversion) |
| Artist(s) | Steve Purcell<br>Mark Ferrari<br>Mike Ebert<br>Martin Cameron |
| Writer(s) | * Ron Gilbert * Dave Grossman * Tim Schafer |
| Composer(s) |  |
| Series | *Monkey Island* |
| Engine | SCUMM |
| Platform(s) |  |
| Release | **16-color version**<br>October 1990 (1990-10)<br>**256-color version**<br>December 1990 (1990-12)<br>**CD-ROM version**<br>1992<br>**Special edition**<br>July 15, 2009 |
| Genre(s) | Graphic adventure |
| Mode(s) | Single-player |


title: Piano Quartet (Strauss)

abstract: The Piano Quartet in C minor, Op. 13, TrV 137, was written by Richard Strauss from 1884 to 1885. An early chamber music work of the then 20-year-old composer, it shows considerable influence from Johannes Brahms. It is scored for a standard piano quartet consisting of a piano, violin, viola, and cello. At the premiere on 8 December 1885 in Weimar, Strauss himself performed the piano part. The work consists of four movements, with a total playing time of 37 to 40 minutes. The first movement is in sonata form with many sharp contrasts and a constantly switching mood. The second movement is a light and playful scherzo dominated by a leaping motif. The third movement is lyrical and reflective, while the finale revisits the turbulent mood of the opening movement. The work was favorably received by the press and public. Strauss submitted it to a competition of the Berliner Tonkünstlerverein and was awarded the first prize out of 24 entries. Though the Piano Quartet ultimately never rivalled the success of his other early chamber pieces, Strauss cherished the piece and programmed it regularly until the 1920s.

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# Piano Quartet (Strauss)

The **Piano Quartet in C minor**, Op. 13, TrV 137, was written by Richard Strauss from 1884 to 1885. An early chamber music work of the then 20-year-old composer, it shows considerable influence from Johannes Brahms. It is scored for a standard piano quartet consisting of a piano, violin, viola, and cello. At the premiere on 8 December 1885 in Weimar, Strauss himself performed the piano part.

The work consists of four movements, with a total playing time of 37 to 40 minutes. The first movement is in sonata form with many sharp contrasts and a constantly switching mood. The second movement is a light and playful scherzo dominated by a leaping motif. The third movement is lyrical and reflective, while the finale revisits the turbulent mood of the opening movement.

The work was favorably received by the press and public. Strauss submitted it to a competition of the *Berliner Tonkünstlerverein* and was awarded the first prize out of 24 entries. Though the Piano Quartet ultimately never rivalled the success of his other early chamber pieces, Strauss cherished the piece and programmed it regularly until the 1920s.

## Background

The Piano Quartet in C minor was written in the fall and winter of 1884–85, bearing an autograph date of 1 January 1885. This early chamber music work, written when Strauss was 20 years old, shows considerable influence from Johannes Brahms, especially his Piano Quartet in G minor (1856–1861) and Piano Quartet in C minor (1875). When Strauss later spoke in retrospect about his *Brahmsschwärmerei* ("infatuation with Brahms") period, he explicitly mentioned *Wandrers Sturmlied* (1884) and *Burleske* (1885–1886), but not the Piano Quartet, which according to his biographer Richard Specht was the "strongest acknowledgment of Brahms that Strauss ever made". Musicologist Peter Jost suggests that Strauss was rather embarrassed by its stylistic similarity to Brahms' works in his later years.

A few weeks after the work's completion, the *Berliner Tonkünstlerverein*, a Berlin-based professional association for musicians, held a competition for "the best piano quartet received", with Heinrich Dorn, Josef Rheinberger and Franz Wüllner as judges. Motivated by the failure of his Cello Sonata at a similar competition three years earlier, Strauss submitted his Piano Quartet and was awarded the first prize out of 24 submissions, receiving a prize of 300 marks.

The premiere of the Piano Quartet took place in Weimar on 8 December 1885, with the composer playing the piano part. In a letter to his father, Strauss mentioned the other three performers as "Grützmacher, Halir and Hagel", presumably Leopold Grützmacher (cello), Karel Halíř (violin) and an otherwise unknown violist with the name Hagel. Strauss described the premiere as being very successful.

The first edition appeared in July 1886; Strauss received a payment of 200 marks from his publisher Eugen Spitzweg, owner of the Aibl Publishing House in Munich. The work bears a dedication to Georg II, Duke of Saxe-Meiningen; as Court Kapellmeister in Meiningen, Strauss was eager to win the trust of the duke. After Strauss resigned to take up a position in Munich, the duke afforded his thanks to the dedication in a letter to Strauss: "The dedication of your inventive, beautiful quartet will afford me great pleasure. On this occasion, I would like to tell you that I am very sad to see you leave and confess that through your achievements I am thoroughly cured of my earlier misapprehension that you, due to your youth, were not yet qualified to be the sole director of an orchestra."

## Structure

| External audio | |
| --- | --- |
| Performed by the Ames Piano Quartet | |
| I. Allegro | |
| II. Scherzo: Presto | |
| III. Andante | |
| IV. Finale: Vivace | |

The Piano Quartet consists of four movements, with a total duration of 37 to 40 minutes.

1. Allegro
2. Scherzo: Presto
3. Andante
4. Finale: Vivace

### Allegro

The first movement is held in sonata form and opens with a low-lying *unisono* subject in the strings that pauses on a chord and subsequently erupts *fortissimo* in triplets on the piano. A similar series of musical devices is used in Brahms' G minor and C minor piano quartet. According to musicologist Ludwig Finscher, the opening movement is not based concise motifs, but on expansive thematic groups. While the first theme group is "richly Brahmsian", the second is "one of the first great Strauss cantilenas, a huge melody of pathos-saturated gestures". The development already shows Strauss in his "insatiable" manner of motif processing.

Music critic Michael Kennedy noted that "one should recognize the real Strauss in the broad sweep of the second subject of the first movement and in the *Till*-like way in which he switches moods during this Allegro".

### Scherzo. Presto

The second movement is a skittish scherzo, dominated by a leaping motif that appears in various variations. Marked *presto*, it is full of energy, with octave drops throughout. Echoes of the *Burleske* for piano and orchestra, composed in 1886, can be heard. In contrast, the trio section is romantic and lyrical in which the instruments take turns. The trio section is recalled in the coda.

### Andante

The third movement is an reflective *Andante* in F minor. A gentle introduction in the strings leads to a long, elegiac piano theme that the strings tentatively take up. A lyrical second subject is taken up by the viola, and Strauss develops both themes gracefully. A little triplet figure foreshadows *Ariadne auf Naxos*, composed almost 30 years later.

### Finale. Vivace

The finale returns to the turbulent mood of the opening movement, a "rugged piece consisting almost entirely of motivic gestures". The first theme is full of "sharp edges" and syncopated rhythms, but once again the mood shifts when the calm second theme (*molto con espressione*) is introduced in the cello. Both ideas are extensively developed, leading to a conclusion on a C minor chord.

Kennedy notes that the movement sounds more like Schumann than Brahms, though it also foreshadows the mature Strauss in some of the figures.

## Reception and legacy

Although the premiere was successful and the work won Strauss a prestigious competition, his Piano Quartet did not receive much coverage in the press, perhaps due to an abundance of works in the genre and the dominance of Brahms' piano quartets. Strauss himself seemed to have been surprised that the Piano Quartet was enthusiastically received by the public – in a letter to his mentor Hans von Bülow, Strauss called his own work "by no means a pleasant and flattering piece".

Following a performance in Berlin on 22 May 1886 at a soiree of the *Tonkünstlerverein*, the *Vossische Zeitung* wrote:

> \[Richard Strauss'\] new work testifies to aesthetic sense, inventiveness and technical skill. Just as the composer keeps within the bounds of a healthy sensibility here, he also develops his themes in a clear and mostly lively, as well as artistic manner. Only the first Allegro and the Scherzo of the quartet seem to be the most peculiar in substance, the latter especially with its rhythms. The Andante initially captivates with its soft and full swelling cantilena, but becomes tiring in the course due to the lack of a more lively contrast. The finale is fresh and brisk; in keeping with the basic character of the work, we would have liked a grander conception of this movement. The arrangement of the instruments, especially the strings, is as melodious as it is often characteristically charming.

The work was performed in Cologne in 1887 at the annual festival of the *Allgemeiner Deutscher Musikverein*. Music critic Richard Pohl complimented Strauss, despite being a follower of the New German School around Franz Liszt and thus critical towards chamber music in the style of Brahms:

> Richard Strauss has an unusual talent for composition – he has his own thoughts, imaginative ideas, great formal dexterity and a 'long breath', a proof of proficient skill. The Quartet lasts three quarters of an hour and yet kept us in suspense until the end. The last movement, however, is the weakest – but that happens to most composers, as it is much harder to satisfactorily conclude than to begin. Dramatists usually do not fare any better with their final acts. The first movement is large in scale and broad in development; the Scherzo has real humor, but is so exceptionally difficult rhythmically that, as one kind artist told me, "you must be able to keep time very well just to listen to it". The Andante is noble and flows beautifully.

Music critic Arthur Johnstone wrote in 1904 that Strauss "shows himself a better Brahmsian than Brahms, avoiding all his model's worst faults" and that the quartet "might rank as the mature work of anyone but Strauss". He called it an "extremely good Quartet of the orthodox kind — one may even say, one of the best existing works for pianoforte and three bow instruments".

Though the Piano Quartet never rivalled the success of the Cello Sonata (1883) or the Violin Sonata (1887), Strauss cherished the piece and programmed it regularly until the 1920s; by then, he had already established a reputation for large-scale stage works and orchestral pieces. The Violin Sonata of 1887 remained his last major chamber music work, and the Piano Quartet "represents one of the last moments of Strauss' youthful apprenticeship before he discovered the path to his own musical independence".

## Recordings

As of 2022, recordings of the Piano Quartet include:

Recordings of the Piano Quartet in C minor
| Year | Performers | Label | Catalogue | Duration |
| --- | --- | --- | --- | --- |
| 1993 | Ames Piano Quartet | Dorian | 90167 | 38:35 |
| 1994 | Ralf Gothoni, Mark Lubotsky, Martti Rousi, Matti Hirvikangas | Ondine | ODE840-2 | 39:46 |
| 1997 | Christiaan Bor, Rainer Moog, Ronald Thomas, Pascal Devoyon | Vanguard | 99156 | 36:41 |
| 1999 | Peter Wöpke, Roland Metzger, Ingo Sinnhoffer, Wolfgang Sawallisch | Arts Music | 472592 | 38:45 |
| 2000 | Lyric Piano Quartet | Black Box | BBM1048 | 37:53 |
| 2005 | Mendelssohn Piano Trio, Michael Stepniak | Centaur | CRC2718 | 34:03 |
| 2006 | Mozart Piano Quartet | MDG | MDG6431355 | 39:00 |
| 2006 | Alvarez Quartet | HERA | HER2121 | 38:22 |
| 2007 | Nash Ensemble | Hyperion | CDA67574 | 40:30 |
| 2010 | Primrose Piano Quartet | Meridian | CDE84584/5 | 38:25 |
| 2014 | Fauré Quartet | Sony | 88843023672 | 37:05 |
| 2016 | Doren Dinglinger, Tony Nys, Alexandre Vay, Daniel Blumenthal | CPO | 5551162 | 40:22 |
| 2017 | Canada Quartet | Centaur | CRC3384 | 40:50 |
| 2018 | Munich Piano Trio, Tilo Widenmeyer | Genuin | GEN18496 | 37:29 |

1. Gilliam, Bryan Randolph; Youmans, Charles (2001). "Strauss, Richard (Georg)". *Grove Music Online* (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0.
2. Jost, Peter, ed. (2021). *Richard Strauss. Piano Quartet c minor op. 13* (PDF). Munich: G. Henle Verlag. pp. V–VII. ISMN 979-0-2018-1495-7.
3. Gilliam, Bryan Randolph (1997). *Richard Strauss: New Perspectives on the Composer and His Work*. Durham: Duke University Press. pp. 5–7. ISBN 0-8223-2114-9.
4. Böhmer, Karl. *Richard Strauss. Klavierquartett c-Moll, op. 13* (in German). Villa Musica. Retrieved 8 January 2021.
5. Kennedy, Michael (2007). *Notes to Hyperion recording CDA67574*. Hyperion Records.
6. Bromberger, Eric. "Piano Quartet in C minor, Op. 13 (Richard Strauss)". *Los Angeles Philharmonic*. Retrieved 25 December 2021.
7. Stenitzer, Max (1911). *Richard Strauss* (in German). Berlin: Schuster & Loeffler. p. 57.
8. "Theater, Musik, Konzerte etc". *Vossische Zeitung* (in German). No. 239. Berlin. 25 May 1886. pp. 3–4.
9. Pohl, Richard (14 July 1887). "Die 24. Tonkünstler-Versammlung des Allgemeinen deutschen Musikvereins zu Cöln". *Musikalisches Wochenblatt* (in German). Vol. 18, no. 29. Leipzig: Siegel. pp. 354–355.
10. Johnstone, Arthur (1905). *Musical Criticisms*. Manchester: Manchester University Press. pp. 39–41. OCLC 1049669158  via Internet Archive.

## InfoBox

| Piano Quartet in C minor | |
| --- | --- |
| Piano quartet by Richard Strauss | |
| Cover page of first edition | |
| Key | C minor |
| Catalogue | TrV 137 |
| Opus | 13 |
| Composed | 1884–1885 |
| Dedication | Georg II, Duke of Saxe-Meiningen |
| Published | 1886 (1886) |
| Duration | 37–40 minutes |
| Movements | four |
| Scoring | * piano * violin * viola * cello |
| Premiere | |
| Date | 8 December 1885 (1885-12-08) |
| Location | Weimar |
| Performers |  |


title: Vijayan Pillai

abstract: N. Vijayan Pillai was an Indian politician and member of the 14th Kerala Legislative Assembly. He represented Kerala Legislative Assembly Chavara constituency in Kerala Legislative Assembly as CMP candidate. He started his political career as a Panchayat Member in 1979, and continued to do so for 20 years. He was a member of Kollam District Panchayat from 2000 to 2005. He was born as the son of V. Narayanan Pillai, a veteran RSP leader and Bhavani Amma, on 2 April 1951. Vijayan Pillai was a member of the CPI-M and won the legislative assembly election with a groundbreaking victory never imagined in the history of Chavara constituency as he won against Shibu Baby John who was the sitting MLA. Vijayan Pillai was known for his social service in Chavara society and for his welfare programs. He brought in good amount of reforms in social upliftment of common man in Chavara constituency. His son Sujith Vijayanpillai is the current member of Kerala Legislative Assembly from Chavara constituency in Kerala. He was a prominent leader in the region to bring in employment to youth and always strove to achieve social upbringing of the Chavara constituency with the help of NGOs and ruling LDF government policies. He was keen on reducing unemployment by engaging youth with skill based programs and connecting major businessmen from region as well as NRIs to support the initiative.

text:
# Vijayan Pillai

**N. Vijayan Pillai** (2 April 1951 – 8 March 2020) was an Indian politician and member of the 14th Kerala Legislative Assembly. He represented Kerala Legislative Assembly Chavara constituency in Kerala Legislative Assembly as CMP candidate . He started his political career as a Panchayat Member in 1979, and continued to do so for 20 years. He was a member of Kollam District Panchayat from 2000 to 2005.

He was born as the son of V. Narayanan Pillai, a veteran RSP leader and Bhavani Amma, on 2 April 1951. Vijayan Pillai was a member of the CPI-M and won the legislative assembly election with a groundbreaking victory never imagined in the history of Chavara constituency as he won against Shibu Baby John who was the sitting MLA. Vijayan Pillai was known for his social service in Chavara society and for his welfare programs. He brought in good amount of reforms in social upliftment of common man in Chavara constituency. His son Sujith Vijayanpillai is the current member of Kerala Legislative Assembly from Chavara constituency in Kerala.

He was a prominent leader in the region to bring in employment to youth and always strove to achieve social upbringing of the Chavara constituency with the help of NGOs and ruling LDF government policies. He was keen on reducing unemployment by engaging youth with skill based programs and connecting major businessmen from region as well as NRIs to support the initiative.

## Death

Pillai died of age-related illness on 8 March 2020 at Aster Medcity in Kochi. His funeral was conducted on 9 March 2020 at his native village in Kollam.

## InfoBox

| N. Vijayan Pillai | |
| --- | --- |
| Portrait of N. Vijayan Pillai | |
|  | |
| Member of Kerala Legislative Assembly | |
| **In office**<br>2016–2020 | |
| Preceded by | Shibu Baby John |
| Succeeded by | Sujith Vijayanpillai |
| Constituency | Chavara |
|  | |
| Personal details | |
| Born | 2 April 1951 |
| Died | (aged 68) |
| Nationality | Indian |
| Political party | CPI(M) |
| Children | 3 |
|  | |


title: Type IV collagen C4 domain

abstract: In molecular biology, the type IV collagen C4 domain is a duplicated domain present at the C-terminus of type IV collagens. Each type IV collagen contains a long triple-helical collagenous domain flanked by a short 7S domain of 25 amino acids and a globular non-collagenous C4 domain of ~230 amino acids at the N and C terminus, respectively. In protomer assembly, the C4 domains of three chains interact, forming a C4 trimer, to select and register chains for triple helix formation. In network assembly, the C4 trimers of two protomers interact, forming a C4 hexamer structure, to select and connect protomers. The collagen IV C4 domain contains 12 cysteines, and all of them are involved in disulphide bonds. It folds into a tertiary structure with predominantly beta-strands. The collagen IV C4 domain is composed of two similarly folded subdomains stabilised by 3 intrachain disulphide bonds involving the following pairs: C1-C6, C2-C5, and C3-C4. Each subdomain represents a compact disulphide-stabilised triangular structure, from which a finger-like hairpin loop projects into an incompletely formed six-stranded beta-sheet of an adjacent subdomain of the same or of an adjacent chain clamping the subdomains tightly together.

text:
# Type IV collagen C4 domain

In molecular biology, the **type IV collagen C4 domain** (or collagen IV NC1 domain) is a duplicated domain present at the C-terminus of type IV collagens. Each type IV collagen contains a long triple-helical collagenous domain flanked by a short 7S domain of 25 amino acids and a globular non-collagenous C4 domain of ~230 amino acids at the N and C terminus, respectively. In protomer assembly, the C4 domains of three chains interact, forming a C4 trimer, to select and register chains for triple helix formation. In network assembly, the C4 trimers of two protomers interact, forming a C4 hexamer structure, to select and connect protomers.

The collagen IV C4 domain contains 12 cysteines, and all of them are involved in disulphide bonds. It folds into a tertiary structure with predominantly beta-strands. The collagen IV C4 domain is composed of two similarly folded subdomains stabilised by 3 intrachain disulphide bonds involving the following pairs: C1-C6, C2-C5, and C3-C4. Each subdomain represents a compact disulphide-stabilised triangular structure, from which a finger-like hairpin loop projects into an incompletely formed six-stranded beta-sheet of an adjacent subdomain of the same or of an adjacent chain clamping the subdomains tightly together.

This article incorporates text from the public domain Pfam and InterPro: IPR001442

## InfoBox

| C4 | |
| --- | --- |
| the 1.9-a crystal structure of the noncollagenous (nc1) domain of human placenta collagen iv shows stabilization via a novel type of covalent met-lys cross-link | |
| Identifiers | |
| Symbol | C4 |
| Pfam | PF01413 |
| Pfam clan | CL0056 |
| InterPro | IPR001442 |
| SMART | C4 |
| PROSITE | PDOC00031 |
| MEROPS | C47 |
| SCOP2 | 1hra / SCOPe / SUPFAM |
| TCDB | 2.A.16 |
| Available protein structures:  Pfam structures / ECOD  PDB RCSB PDB; PDBe; PDBj  PDBsum structure summary | |


title: Waiākea-Uka

abstract: Waiākea-Uka (IPA:/'waj.ə.kei.ə.'u.kə/) is an ancient subdivision (ahupuaʻa) in the Hilo District of the Big Island of Hawaiʻi, located mauka (mountain-side) of the Waiākea ahupua'a; its location is on the lower flanks of the volcano Mauna Loa. Because of this, one meaning of the name 'Waiākea-Uka' can be translated from 'Olelo Hawai'i as '(the) mountain-side (of) Waiākea'. Many ahupua'a have this -uka appellation, as the directions 'mountain-side' and 'sea-side' (makai) are the two best ways of orientating something in space on any of the islands.

text:
# Waiākea-Uka

**Waiākea-Uka** (IPA:/'waj.ə.kei.ə.'u.kə/) is an ancient subdivision (*ahupuaʻa*) in the Hilo District of the Big Island of Hawaiʻi, located mauka (mountain-side) of the Waiākea ahupua'a; its location is on the lower flanks of the volcano Mauna Loa. Because of this, one meaning of the name 'Waiākea-Uka' can be translated from 'Olelo Hawai'i as '(the) mountain-side (of) Waiākea'. Many ahupua'a have this -uka appellation, as the directions 'mountain-side' and 'sea-side' (makai) are the two best ways of orientating something in space on any of the islands.

## History

Waiākea-Uka marks the most mauka portion of human settlement in the Hilo district. Waiākea-Uka has many expensive houses, including a Swiss-style chateau. The area is home to many traditional agricultural Hawaiian-style homes. As the area is mauka of Hilo Bay, there is no threat of tsunami; earthquakes are always a possibility anywhere on the island, and the area is currently termed lava zone 3. The most recent lava flows were in 1935, 1942 and 1984, with the 1984 coming quite close to the upper reaches of the area. Driving northwest on the Saddle Road, about 15 miles outside of the Hilo extension, one can see the vast lava fields of the 1881, 1935 and 1942 lava flows. This same lava flow stopped one half mile east of the upper Kaumana area

## Current

Recently, there has been much growth in the agriculture of the area. Some cattle, goat and dairy farms are located in Waiākea-Uka, as well as a state forest reserve (Upper Waiākea Forest Reserve).

Waiākea-Uka is served by four schools located in the Waiākea area: Waiakeawaena Elementary School, Waiakea Elementary School, Waiakea Intermediate School, and Waiakea High School. The Waiākea-Uka region is home to a million-dollar park and indoor gym. The area also highlights a variety of traditional stone/rock wall and palm grove cutting techniques; many homes have kept these walls up and a variety of linearly-cut coconut palm groves can be seen as home line designations.

The Hele-On bus number 6 runs from Hilo town to Waiākea-Uka, and the bus number 7 runs from Waiākea-Uka to Hilo town.

## Climate and Topography

The topography of the entire area is quite varied; The main roads (Hoaka Road, 'Aina'ola Drive, Kawailani Street) are laid over the same active rift zones that created the region over the past 100 years. Further earthquake activity and land settling has created a spectacular view of the Hilo region, including Hilo bay, as well as Mauna Kea. Waiākea Stream flows from the slopes of Mauna Loa at 19°37′57″N 155°10′41″W / 19.63250°N 155.17806°W / 19.63250; -155.17806 (Waiākea Stream Source) into Waiākea Pond at an elevation of only 10 feet (3.0 m) at 19°42′53″N 155°4′35″W / 19.71472°N 155.07639°W / 19.71472; -155.07639 (Waiākea Pond).

As Waiakea-Uka is on the lower flanks of Mauna Loa, the area is known in for its rainfall; in August 2013, the Waiakea-Uka NWS rain gauge showed 83.96 inches of accumulated rain, while the Hilo International Airport rain gauge only registered 57.97 inches for the same length of time; though these two rain gauges are about 6 miles apart, this represents a difference of 25.99 inches, or about the average yearly rainfall of the state of Kansas. As a result, Papaya, Guava, Citrus and Plumeria are grown by many residents. In recent years, plums and peaches can be seen around many of the area's fields.


title: Winners (Bobby Darin album)

abstract: Winners is an album by American singer Bobby Darin, released in 1964, two years after Bobby had left ATCO and moved to Capitol. Most of the album was recorded in February 1960, with arrangements by Bobby Scott. This was Darin's only vocal jazz album using a small combo rather than an orchestra or big band. Twelve songs were released on the album, but more were recorded at the sessions: "Bill Bailey Won't You Please Come Home" was released as a single in 1960, "Swing Low Sweet Chariot" was released as a single in 1964, and "Minnie the Moocher" was released on a single in 1965. "Swing Low Sweet Chariot" has never been reissued on either LP or CD. Two other songs, "I Got a Woman" and "A Game of Poker", remain unreleased. Two songs on the album do not fit the jazz combo theme and were not recorded at the same time as the other tracks. "Golden Earrings" was recorded on March 25, 1961, and "Milord" had been recorded on June 20, 1960. They had been released as both sides of a single a few months before Winners was issued in 1964.

text:
# Winners (Bobby Darin album)

***Winners*** is an album by American singer Bobby Darin, released in 1964, two years after Bobby had left ATCO (who released *Winners*) and moved to Capitol.

Most of the album was recorded in February 1960, with arrangements by Bobby Scott. This was Darin's only vocal jazz album using a small combo rather than an orchestra or big band. Twelve songs were released on the album, but more were recorded at the sessions: "Bill Bailey Won't You Please Come Home" was released as a single in 1960, "Swing Low Sweet Chariot" was released as a single in 1964, and "Minnie the Moocher" was released on a single in 1965. "Swing Low Sweet Chariot" has never been reissued on either LP or CD. Two other songs, "I Got a Woman" and "A Game of Poker" (from the musical *Saratoga*), remain unreleased.

Two songs on the album do not fit the jazz combo theme and were not recorded at the same time as the other tracks. "Golden Earrings" (from the film of the same name) was recorded on March 25, 1961, and "Milord" had been recorded (in French) on June 20, 1960. They had been released as both sides of a single a few months before *Winners* was issued in 1964.

## Reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |

*Winners* received relatively little fanfare when released. *Billboard* referred to it as "romantic and sentimental ballads and up-tempo swingers aimed at the sophisticated set." *Cash Box* stated the album was a group of "Darin-fashioned ballads and uptempo pleasers."

In his Allmusic review, critic Lindsay Planer wrote “In typical Darin style, he turns in thoroughly captivating readings. Granted, there are few (if any) plateaus… ”Easy Living" is perhaps the most emotive and exquisite cut on Winners. It is unfathomable to consider that it was initially deemed not worthy of release, as it remained unissued for over two years. The remarkable breadth of Darin's interpretation has rarely been equalled and likewise serves as a personal best.”

## Track listing

1. Milord” (Marguerite Monnot, Georges Moustaki) – 2:01
2. Between the Devil and the Deep Blue Sea” (Harold Arlen, Ted Koehler) – 2:01
3. Anything Goes” (Cole Porter) – 2:20
4. Do Nothin’ Till You Hear from Me” (Duke Ellington, Bob Russell) – 2:47
5. ”Golden Earrings” (Ray Evans, Jay Livingston, Victor Young) – 2:02
6. ”When Day is Done” (Buddy DeSylva, Robert Katscher) – 3:40
7. I've Found a New Baby” (Jack Palmer, Spencer Williams) – 2:11
8. What a Diff'rence a Day Made” (Stanley Adams, María Grever) – 3:36
9. What Can I Say After I Say I'm Sorry?” (Walter Donaldson, Abe Lyman) – 3:00
10. Hard Hearted Hannah” (Jack Yellen, Milton Ager, Charles Bates, Bob Bigelow) – 2:26
11. Easy Living” (Ralph Rainger, Leo Robin) – 2:42
12. They All Laughed” (George Gershwin, Ira Gershwin) – 2:15

## Personnel

## InfoBox

| Winners | |
| --- | --- |
|  | |
| Studio album by Bobby Darin | |
| Released | June 1964 |
| Recorded | February 1–2, 1960 |
| Genre | Pop |
| Length | 31:01 |
| Label | Atco |
| Producer | Herb Abramson, Ahmet Ertegün |
| Bobby Darin chronology | |
| *Golden Folk Hits*
(1963) ***Winners***
(1964) *From Hello Dolly to Goodbye Charlie*
(1964) | |


title: Thomas Gibson (banker)

abstract:
Thomas Gibson was an English banker and politician. A younger son of gentry from the North Riding of Yorkshire, he made his career as a banker in London and held finance-related public offices for most of his life. Gibson was the fifth son of John Gibson of Welburn in Yorkshire, whose ancestor Sir John Gibson had bought the manor of Welburn in 1597. Thomas Gibson became a partner in the banking firm of Gibson, Jacob, and Jacomb of Lothbury in London, where he financed coal mines in the north of England. Gibson became surveyor of petty customs in London in 1708. Through the bank he developed a friendship with Robert Walpole, the Prime Minister from 1721 to 1742, who appointed him in 1714 as cashier to the pay office. Gibson held the office until his death. Walpole brought Gibson into the House of Commons at the 1722 general election as a Member of Parliament (MP) for Marlborough.
He held that seat until he stood down at the 1734 general election, but was brought in two years later at an uncontested by-election for Yarmouth. He held the seat until death on 21 September 1744, aged 67.

text:
# Thomas Gibson (banker)

**Thomas Gibson** (16 March 1667 – 21 September 1744) was an English banker and politician. A younger son of gentry from the North Riding of Yorkshire, he made his career as a banker in London and held finance-related public offices for most of his life.

Gibson was the fifth son of John Gibson of Welburn in Yorkshire, whose ancestor Sir John Gibson had bought the manor of Welburn in 1597. Thomas Gibson became a partner in the banking firm of Gibson, Jacob, and Jacomb of Lothbury in London, where he financed coal mines in the north of England.

Gibson became surveyor of petty customs in London in 1708. Through the bank he developed a friendship with Robert Walpole, the Prime Minister from 1721 to 1742, who appointed him in 1714 as cashier to the pay office. Gibson held the office until his death.

Walpole brought Gibson into the House of Commons at the 1722 general election as a Member of Parliament (MP) for Marlborough. He held that seat until he stood down at the 1734 general election, but was brought in two years later at an uncontested by-election for Yarmouth. He held the seat until death on 21 September 1744, aged 67.


title: Wanted for Murder

abstract: Wanted for Murder is the title of a collection of six mystery novellas by Leslie Charteris which was first published in the United States in August 1931. This book was part of an ongoing series of novels and novellas by Charteris featuring the adventures of his Robin Hood-inspired crimefighter, Simon Templar, alias The Saint. Wanted for Murder holds an unusual place in the Charteris canon as this book featured the first American publication of the stories contained within the books Featuring the Saint and Alias the Saint, which were published in the United Kingdom earlier in 1931 by Hodder and Stoughton. In most cases, The Crime Club, an imprint of Doubleday, simply published American editions of the Saint books, but this was the first — and only — occasion on which The Crime Club chose not to publish two of Charteris' books, instead deciding to combine them into an American-only omnibus release. The book was later republished by Sun Dial Press in 1943 and retitled The Saint – Wanted for Murder; Avon Books also published a pulp paperback edition. In the 1950s, an American edition of Alias the Saint appeared in paperback, however this book contained only two stories—one from Alias the Saint and one from Featuring the Saint. Complete US editions of the two books did not appear until the early 1960s; once again, these books were promoted as featuring "excerpts from Wanted for Murder". The collection was also published under the title Paging the Saint.

text:
# Wanted for Murder

***Wanted for Murder*** is the title of a collection of six mystery novellas by Leslie Charteris which was first published in the United States in August 1931.

This book was part of an ongoing series of novels and novellas by Charteris featuring the adventures of his Robin Hood-inspired crimefighter, Simon Templar, alias The Saint.

*Wanted for Murder* holds an unusual place in the Charteris canon as this book featured the first American publication of the stories contained within the books *Featuring the Saint* and *Alias the Saint*, which were published in the United Kingdom earlier in 1931 by Hodder and Stoughton. In most cases, The Crime Club, an imprint of Doubleday, simply published American editions of the Saint books (occasionally retitled), but this was the first  and only  occasion on which The Crime Club chose not to publish two of Charteris' books, instead deciding to combine them into an American-only omnibus release.

The book was later republished by Sun Dial Press in 1943 and retitled *The Saint  Wanted for Murder*; Avon Books also published a pulp paperback edition. In the 1950s, an American edition of *Alias the Saint* appeared in paperback, however this book (subtitled "excerpts from *Wanted for Murder*") contained only two stories—one from *Alias the Saint* and one from *Featuring the Saint*. Complete US editions of the two books did not appear until the early 1960s; once again, these books were promoted as featuring "excerpts from *Wanted for Murder*". The collection was also published under the title *Paging the Saint*.

## Stories

*Wanted for Murder* contains the following stories:

From *Featuring the Saint*:

* The Logical Adventure
* The Wonderful War
* The Man Who Could Not Die

From *Alias the Saint*:

* The Story of a Dead Man
* The Impossible Crime
* The National Debt

## InfoBox

Wanted for Murder
**also** The Saint  Wanted for Murder
Paging the Saint
| First edition | |
| --- | --- |
| Author | Leslie Charteris |
| Language | English |
| Series | The Saint |
| Genre | Mystery |
| Publisher | The Crime Club |
| Publication date | 1931 |
| Publication place | United States |
| Media type | Print (hardback & paperback) |
| Preceded by | *Knight Templar* |
| Followed by | *She Was a Lady* |


title: Mokokchung Town Assembly constituency

abstract: Mokokchung Town is one of the 60 Legislative Assembly constituencies of Nagaland state in India. It is part of Mokokchung district and is reserved for candidates belonging to the Scheduled Tribes.

text:
# Mokokchung Town Assembly constituency

**Mokokchung Town** is one of the 60 Legislative Assembly constituencies of Nagaland state in India.

It is part of Mokokchung district and is reserved for candidates belonging to the Scheduled Tribes.

## Members of the Legislative Assembly

| Year | Member | Party | |
| --- | --- | --- | --- |
| 1964 | Khelhoshe Sema |  | Independent |
| 1966 | A. Longkumer | | |
| 1969 | Assamwati |  | Nagaland Nationalist Organisation |
| 1974 | R. Lisen Ao | | |
| 1977 | Takuyaba |  | United Democratic Front |
| 1982 | |  | Naga National Democratic Party |
| 1987 | Imtimeren |  | Indian National Congress |
| 1989 | S. C. Jamir | | |
| 1993 | | | |
| 1998 | Nungshizenba | | |
| 2003 | | | |
| 2008 | C. Apok Jamir | | |
| 2013 | | | |
| 2018 | Metsubo Jamir |  | Nationalist Democratic Progressive Party |
| 2023 | | | |
|

## Election results

### 2023 Assembly election

2023 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **NDPP** | **Metsübo Jamir** | **5,318** | **78.66%** | **25.79%** |
|  | INC | Alem Jongshi | 1,407 | 20.81% | 18.51% |
|  | NOTA | Nota | 36 | 0.53% |  |
| Margin of victory | | | 3,911 | 57.85% | 39.94% |
| Turnout | | | 6,761 | 81.93% | 3.84% |
| Registered electors | | | 8,252 |  | 14.95% |
|  | NDPP **hold** | | Swing | 25.79% |  |

### 2018 Assembly election

2018 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **NDPP** | **Metsübo Jamir** | **2,964** | **52.87%** |  |
|  | NPF | Chubatoshi Apok Jamir | 1,960 | 34.96% | −8.60% |
|  | Independent | Temsuwati | 526 | 9.38% |  |
|  | INC | Rongsenshilu | 129 | 2.30% | −42.20% |
|  | NOTA | None of the Above | 27 | 0.48% |  |
| Margin of victory | | | 1,004 | 17.91% | 16.97% |
| Turnout | | | 5,606 | 78.09% | −8.07% |
| Registered electors | | | 7,179 |  | 23.48% |
|  | NDPP **gain** from INC | | Swing | 8.37% |  |

### 2013 Assembly election

2013 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **INC** | **Chubatoshi Apok Jamir** | **2,229** | **44.50%** | **−0.92%** |
|  | NPF | Rosemtong | 2,182 | 43.56% | 14.98% |
|  | Independent | Dr. Yangerla | 579 | 11.56% |  |
| Margin of victory | | | 47 | 0.94% | −12.70% |
| Turnout | | | 5,009 | 86.15% | 10.82% |
| Registered electors | | | 5,814 |  | −4.58% |
|  | INC **hold** | | Swing | -0.92% |  |

### 2008 Assembly election

2008 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **INC** | **Chubatoshi Apok Jamir** | **2,085** | **45.42%** | **−8.20%** |
|  | Independent | Aolepden | 1,459 | 31.79% |  |
|  | NPF | Nokzenketba | 1,312 | 28.58% | −17.79% |
| Margin of victory | | | 626 | 13.64% | 6.38% |
| Turnout | | | 4,590 | 79.70% | 2.49% |
| Registered electors | | | 6,093 |  | 22.57% |
|  | INC **hold** | | Swing | -8.20% |  |

### 2003 Assembly election

2003 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **INC** | **Nungshizenba** | **1,937** | **53.63%** |  |
|  | NPF | L. Nokzenketba | 1,675 | 46.37% |  |
| Margin of victory | | | 262 | 7.25% |  |
| Turnout | | | 3,612 | 72.84% | 72.84% |
| Registered electors | | | 4,971 |  | 9.11% |
|  | INC **hold** | | Swing | -44.53% |  |

### 1998 Assembly election

1998 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **INC** | **Nungshizenba** | ***Unopposed*** | | |
| Registered electors | | | 4,556 |  | −4.96% |
|  | INC **hold** | | Swing |  |  |

### 1993 Assembly election

1993 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **INC** | **S. C. Jamir** | **4,580** | **98.16%** | **15.08%** |
|  | NPF | Bendangtoshi | 86 | 1.84% | −15.08% |
| Margin of victory | | | 4,494 | 96.31% | 30.17% |
| Turnout | | | 4,666 | 97.56% | 8.41% |
| Registered electors | | | 4,794 |  | 72.32% |
|  | INC **hold** | | Swing | 15.08% |  |

### 1989 Assembly election

1989 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **INC** | **S. C. Jamir** | **2,017** | **83.07%** | **45.67%** |
|  | NPF | Takuyaba | 411 | 16.93% |  |
| Margin of victory | | | 1,606 | 66.14% | 62.80% |
| Turnout | | | 2,428 | 89.14% | 5.89% |
| Registered electors | | | 2,782 |  | −0.22% |
|  | INC **hold** | | Swing | 45.67% |  |

### 1987 Assembly election

1987 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **INC** | **Imtimeren** | **861** | **37.40%** | **13.57%** |
|  | Independent | Imkongmar | 784 | 34.06% |  |
|  | NND | Takuyaba | 628 | 27.28% | −6.62% |
|  | Independent | Lanutoshi | 29 | 1.26% |  |
| Margin of victory | | | 77 | 3.34% | −1.85% |
| Turnout | | | 2,302 | 83.25% | 25.43% |
| Registered electors | | | 2,788 |  | 0.43% |
|  | INC **gain** from NND | | Swing | 3.50% |  |

### 1982 Assembly election

1982 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **NND** | **Takuyaba** | **535** | **33.90%** |  |
|  | Independent | I. Chuba | 453 | 28.71% |  |
|  | INC | Limatemjen | 376 | 23.83% |  |
|  | Independent | Imtijongshi | 214 | 13.56% |  |
| Margin of victory | | | 82 | 5.20% | −35.93% |
| Turnout | | | 1,578 | 57.82% | −26.45% |
| Registered electors | | | 2,776 |  | 97.58% |
|  | NND **gain** from UDA | | Swing | -36.66% |  |

### 1977 Assembly election

1977 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **UDA** | **Takuyaba** | **827** | **70.56%** | **50.64%** |
|  | Independent | Koramoa Jamir | 345 | 29.44% |  |
| Margin of victory | | | 482 | 41.13% | 22.91% |
| Turnout | | | 1,172 | 84.27% | 37.63% |
| Registered electors | | | 1,405 |  | −58.00% |
|  | UDA **gain** from NNO | | Swing | 27.43% |  |

### 1974 Assembly election

1974 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **NNO** | **R. Lisen Ao** | **656** | **43.13%** | **−14.06%** |
|  | Independent | Limatemjen | 379 | 24.92% |  |
|  | UDA | Assamwati | 303 | 19.92% |  |
|  | Independent | Atak Aonok | 156 | 10.26% |  |
|  | Independent | K. Tiayanger | 27 | 1.78% |  |
| Margin of victory | | | 277 | 18.21% | −10.19% |
| Turnout | | | 1,521 | 46.64% | −8.45% |
| Registered electors | | | 3,345 |  | −31.27% |
|  | NNO **hold** | | Swing | -14.06% |  |

### 1969 Assembly election

1969 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **NNO** | **Assamwati** | **1,492** | **57.19%** |  |
|  | Independent | Kilensuwa | 751 | 28.78% |  |
|  | UDF | Tekasosang | 366 | 14.03% |  |
| Margin of victory | | | 741 | 28.40% |  |
| Turnout | | | 2,609 | 55.09% |  |
| Registered electors | | | 4,867 |  |  |
|  | NNO **gain** from Independent | | Swing |  |  |

### 1966 Assembly by-election

This by-election was needed because of the death of the sitting MLA, Khelhoshe Sema.

1966 Nagaland Legislative Assembly by-election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **Independent** | **A. Longkumer** | **905** |  |  |
|  | Independent | Moklonsama Ao | 853 |  |  |
| Margin of victory | | | 52 |  |  |
|  | Independent **hold** | | Swing |  |  |

### 1964 Assembly election

1964 Nagaland Legislative Assembly election: Mokokchung Town
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **Independent** | **Khelhoshe Sema** | **670** | **50.99%** |  |
|  | Independent | Tekasosang | 644 | 49.01% |  |
| Margin of victory | | | 26 | 1.98% |  |
| Turnout | | | 1,314 | 60.74% |  |
| Registered electors | | | 2,165 |  |  |
|  | Independent **win** (new seat) | | | | |

1. "Nagaland General Legislative Election 2023". Election Commission of India. Retrieved 20 April 2023.
2. "Nagaland Legislative Assembly". *legislativebodiesinindia.nic.in*. Retrieved 10 February 2021.
3. "Details of Bye Elections from 1952 to 1995". Election Commission of India. Archived from the original on 19 July 2017. Retrieved 16 August 2021.
4. "Statistical Report on General Election, 1969 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 15 August 2021.
5. "Statistical Report on General Election, 1974 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 15 August 2021.
6. "Statistical Report on General Election, 1977 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 16 August 2021.
7. "Statistical Report on General Election, 1982 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 17 August 2021.
8. "Statistical Report on General Election, 1987 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 18 August 2021.
9. "Statistical Report on General Election, 1989 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 22 August 2021.
10. "Statistical Report on General Election, 1993 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 28 August 2021.
11. "Statistical Report on General Election, 1998 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 29 August 2021.
12. "Statistical Report on General Election, 2003 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 3 September 2021.
13. "Statistical Report on General Election, 2008 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 25 September 2021.
14. "Statistical Report on General Election, 2013 to the Legislative Assembly of Nagaland". Election Commission of India. Retrieved 25 September 2021.
15. The Indian Express (2 March 2023). "Nagaland Assembly Election results 2023: Check full list of winners". Archived from the original on 3 March 2023. Retrieved 3 March 2023.
16. "Report on the General Election to the 13th Nagaland Legislative Assembly 2018" (PDF). *Chief Electoral Officer, Nagaland*. Archived from the original (PDF) on 28 January 2022.
17. "Report on the General Election to the 11th Nagaland Legislative Assembly 2013" (PDF). *Chief Electoral Officer, Nagaland*. Archived from the original (PDF) on 25 November 2022.
18. "Report on the General Election to the 11th Nagaland Legislative Assembly 2008" (PDF). *Chief Electoral Officer, Nagaland*. Archived from the original (PDF) on 28 January 2022.
19. "Report on the General Election to the 10th Nagaland Legislative Assembly 2003" (PDF). *Chief Electoral Officer, Nagaland*. Archived from the original (PDF) on 23 June 2022.
20. "Report on the General Election to the 9th Nagaland Legislative Assembly 1998" (PDF). *Chief Electoral Officer, Nagaland*. Archived from the original (PDF) on 28 January 2022.
21. Hosheto Chopy (12 September 2015). "Who was Late Khelhoshe Sema (Naga)". *The Morung Express*. Retrieved 30 August 2021.

26°19′N 94°31′E / 26.32°N 94.51°E / 26.32; 94.51

## InfoBox

| Mokokchung Town | |
| --- | --- |
| Constituency No. 27 for the Nagaland Legislative Assembly | |
|  | |
| Constituency details | |
| Country | India |
| Region | Northeast India |
| State | Nagaland |
| District | Mokokchung |
| LS constituency | Nagaland |
| Established | 1964 |
| Total electors | 8,252 |
| Reservation | ST |
| Member of Legislative Assembly | |
| 14th Nagaland Legislative Assembly | |
| **Incumbent**  **Metsubo Jamir** | |
| Party | Nationalist Democratic Progressive Party |
| Elected year | 2023 |


title: William Gadsby

abstract: William Gadsby (1773–1844) was an English Strict Baptist pastor, hymn writer and church planter. He is often seen of a father of the Strict and Particular Baptist movement in England. Although he was not formally educated, Gadsby was regarded by his contemporaries as an excellent preacher and pastor who championed the cause of social justice and opposed the established Elizabethan Church. Originally pastoring in Leicestershire, in 1805 he left to become pastor of Black Lane Strict and Particular Baptist Chapel in Manchester, England, and held that position until he died. Due to reconstructions and changes in street names, that same congregation was variously known as St George's Road Baptist Chapel, and Rochdale Road Particular Baptist Chapel.

text:
# William Gadsby

**William Gadsby** (1773–1844) was an English Strict Baptist pastor, hymn writer and church planter . He is often seen of a father of the Strict and Particular Baptist movement in England. Although he was not formally educated, Gadsby was regarded by his contemporaries as an excellent preacher and pastor who championed the cause of social justice and opposed the established Elizabethan Church.

Originally pastoring in Leicestershire, in 1805 he left to become pastor of Black Lane Strict and Particular Baptist Chapel in Manchester, England, and held that position until he died. Due to reconstructions and changes in street names, that same congregation was variously known as St George's Road Baptist Chapel, and Rochdale Road Particular Baptist Chapel.

## Early life

William was just one of fourteen children born to John and Martha Gadsby at Attleborough, Warwickshire on or around 3 January 1773. He was born into poverty and only briefly attended Nuneaton church school, starting work as a ribbon weaver at age 13. Being older than most of his siblings, he often had to care for them and this taught him the importance of leadership. By age 17 he had forgotten how to read.

His conversion to Christianity was also at this age: "But when the Lord was graciously pleased to quicken my soul, being then just 17 years of age, and showed me something of what sin really was, I really feared it then, and a turn in my mind took place of a very different kind... I was then solemnly and blessedly led to believe in God's free mercy and pardon." After this, he briefly attended an Independent Chapel in nearby Bedworth, however after meeting Pastor John Butterworth and conversing about the point of believer's baptism, he joined the Cow Lane Baptist Church in Coventry where he was baptized the same day on 29 December 1793.

## Ministry in Leicestershire

**The Barn at Hinckley**

Despite his impoverished upbringing and his strong belief that this should prevent him from preaching, William Gadsby felt called to form his own church in an old barn at the town of Hinckley.

Because of his lower class background, as well as his opposition to the Church of England, he faced much opposition. This included an attempted assassination, when he was stoned by thugs through a hole in the roof of the barn. When members of his congregation attempted to chase after them, he commanded them saying "God will see to it that I am not hurt".

**The Church of Desford**

He also began preaching to a small chapel in the village of Desford from 1794. This congregation had a proper church but was very poor. Thanks to donations from his loyal congregation, he began to sell drapery goods from land he bought in Hinckley as well as building a house.

**Hinckley Ebenezer Chapel**

In 1802, Gadsby and his flock began constructing a new independent chapel known as Hinckley Chapel. It was a difficult project due to the poverty of his congregation, and they were often mocked by locals. Gadsby preached here until he moved to preach in Manchester in 1805.

His experiences here would influence his future theology and politics, especially his left wing economic values.

## Ministry in Manchester

Gadsby originally had no intention of moving to Manchester, however after leaning that there was a chapel called "Back Lane Particular Baptist Chapel" that was without a pastor, he requested that he be allowed to preach there for a month as he attended to "business". He did not initially state it out of embarrassment but he did not have any business in Manchester but he had heard the people of Manchester were very charitable and so he sought to beg for money as his funds for Hinckley Chapel were dangerously low.

Eventually his sermons were admired by the congregation at Manchester and in 1805, he decided to settle there and become pastor for this chapel.

This event not only coincided with Britain's victory at Trafalgar, but also the start of much social discontent in Manchester, of which Gadsby would play a large role.

**38 Year Ministry**

Back Lane Particular Baptist Chapel would later be renamed to Rochdale Road Chapel and not long after becoming pastor, Gadsby managed to attract an even larger congregation.

As well as this, he often travelled on foot across much of Northern England, spreading the *Project of Strict Baptism* to the poor and working class, as well as starting more than 40 new Strict and Particular Baptist Chapels.

Along with his son, John, he would found the Gospel Standard magazine, which is now the longest running religious magazine in England.

## Peterloo Massacre

Just as many other dissident Protestant groups such as the Lollards of the Peasant Revolt and the True Levellers of the English Civil War, Gadsby's ministry showed a deep concern for the issues of social injustice and laissez faire economics. His Christian socialistic ideas also came from his families continued poverty when he was growing up and the perceived bourgeois attitude of the established Elizabethan Church.

After the massacre of protesting workers by the British Army on August 16, 1819, known as the Peterloo Massacre, Gadsby joined with many other political agitators in signing a "Declaration and Protest". In a letter to a friend in London, he wrote "I can assure you there is little else in our town but tyranny and oppression".

It was this sense of social injustice that caused him to help to form the Anti-Corn Law League.

He often enraged upper class circles for bringing his socialist ideas into his sermons, however he was often praised by his working class congregations. On one occasion, he claimed the mantra of landlordism was "the labouring, the industrious people of England shall not partake of the fruit of the earth, if we can help it, for we are determined to keep the greatest part for ourselves". When he attempted to continue, he was drowned out by the cheers of the crowd. When he apologised for detaining them for so long there were cries of "go on".

## Death

Gadsby died of a lung infection on 27 January 1844, two weeks after turning 71.

Shortly before his death he quoted an early expression where he said "in heaven we shall all have immortal lungs".

According to B.A. Ramsbottom, the morning of his funeral saw thousands of people lining the streets to pay homage to him. His funeral was taken by John Kershaw, who preached from the first Epistle of Peter and stated that Gadsby was now "crowning the Redeemer's brow with immortal honours", a nod to William's famous hymn, "Immortal Honours Rest on Jesus' Head".

## Theology

The theology of William Gadsby has been a cause of much debate, even during his own life. During his life, critics called him both a Hyper-Calvinist and a Methodist, both a Manichean and an Antinomian. Because of this variety of theological labels, it has become increasingly difficult to pin-point his exact theological doctrine.

**Christology**

Gadsby's Selection of Hymns for Public Worship is entirely trinitarian in nature, though in many hymns an emphasis on the divinity of Jesus is evident. , for example is Hymn 543 which states:

> Jesus is the way to God;
>
> Jesus is the way to bliss;
>
> In this way the church has trod,
>
> Down from Adam's day to this.

These lines, it has been argued, reflect a view of Jesus that emphasizes the divinity of the Logos, by stating that Jesus is the way to God and bliss, without mentioning his human nature explicitly. The mention of "In this way the church has trod, Down from Adam’s day to this" suggests a continuous and unchanging divine path, placing emphasis on the constancy of Jesus' divine nature throughout history.

This hymn should not, however, be taken out of context to suggest an unorthodox view of the trinity, such as monophysitism. Gadsby clearly had orthodox views on the nature of Christ. For example, in his sermon , 'God in our nature', he states: "This blessed Redeemer, this Person of the Son, takes our nature, and is “God with us.” I believe that our blessed Christ really took soul and body, the whole of humanity. He was “God with us” in his weakness; “God with us” in his conflicts; “God with us” in his victories."

He was a big believer in the primacy of the first coming of Jesus in the bible, believing he was what the Old Testament led to and the New Testament continued from.

**Soteriology**

Gadsby was a Calvinist. He rejected both paedobaptism and the necessity of baptism for salvation. He also believed in only two sacraments, Baptism followed by the Lord's Supper. According to Strict Baptist Theology, one could not partake in the remembrance of the Lord's Supper unless they had been baptised, a doctrine known as Closed Communion.

He was often at conflict with the Arminian preacher, Andrew Fuller, both for theological and political reasons.

**Evangelism**

The Strict Baptists were initially labelled Antinomians in their early years due to their economic isolation from people outside the denomination. Gadsby's followers were encouraged to only buy and sell from other Strict Baptists. Following his death and a slow decline in the denomination's size, this practice slowly died out, but the practice of being independent from the outside world remained in their evangelism which caused them to be labelled Hyper-Calvinists, even in modern times.

Most of his evangelism was done with the spread of his political ideas. William Gadsby was a renowned political radical and a fiery opponent to what he perceived as the bourgeois attitude of the established Churches and the monarchy. His political ideas have sometimes been seen as preceding Left Libertarian ideologies, and this caused him to become much despised in upper-class circles but much beloved amongst the workers.

This popularity has caused him to be described as the ‘most effective post-war Baptist politician’ as people would 'join his movements for his politics, and stay for his theology.' He modelled his preaching after Paul the Apostle's methods, writing letters, planting churches and embarking on missionary journeys across northern England, this spread both his theological ideas as well as his political radicalism.

Central to his politics was a non-violent aversion to political authority. This did not mean resistance to the authority of worldly powers, but a recognition of the primacy of the Gospel and a nonconformity to unbiblical governance. He is also thought to have had sympathy for the oath-based association of the Luddites, due to his light opposition to industrialisation.

His political engagement has been thought to embarrass later Strict Baptists as his son eliminated most political references from his published Works in 1851. His son, John also rebuked his followers for wrongfully claiming that William supported violent revolution. William Tant, a loyal follower of John Gadsby, condemned another of his followers, Edmund Greenfield when the latter wrote an article calling for Strict Baptists to become the "forces of Abaddon" mentioned in Revelation 9.

1. Garrett, James Leo jr (2009). *Baptist Theology: A Four-Century Study*. Mercer University Press. p. 198. ISBN 978-0-88146-129-9. Retrieved 19 March 2012.
2. Pegden, Tom (25 March 2021). "Strict and Particular Baptist Graveyard receives blue plaque". *Leicestershire Live*. Retrieved 11 October 2023.
3. Barton, Marcella (December 2004), "High Calvinists in Action. Calvinism and the City. Manchester and London, c. 1810–1860 by Ian J. Shaw", *Church History* (review), **73** (4), Cambridge University Press: 868–70, doi:10.1017/s0009640700073327, ISSN 0009-6407, JSTOR 4146775, S2CID 161777883
4. https://biblicalstudies.org.uk/pdf/bq/37-5\_227.pdf
5. "Gospel Standard Trust Publications - William Gadsby". *www.gospelstandard.org.uk*. Retrieved 28 June 2023.
6. Todd, John R. (1999). *Immortal honours: The Life of William Gadsby*. Loughborough: J.R. Todd. p. 3. ISBN 0953536807.
7. "William Gadsby (1773-1844) – Strict Baptist Historical Society". Retrieved 11 October 2023.
8. "William Gadsby". *Desford Heritage*. Retrieved 11 October 2023.
9. "Strict Particular Baptists | Desford History | Leicestershire UK". *Desford Heritage*. Retrieved 11 October 2023.
10. "William Gadsby's Deep Concern for the Suffering". *Test All Things*. 21 October 2011. Retrieved 11 October 2023.
11. *academic.oup.com* https://academic.oup.com/book/26930/chapter-abstract/196049425?redirectedFrom=fulltext. Retrieved 11 October 2023. `{{cite web}}`: Missing or empty `|title=` (help)
12. "Gadsby, William | Praise!". *www.praise.org.uk*. Retrieved 11 October 2023.
13. "Gospel Standard Trust Publications - The History of The Gospel Standard Magazine 1835-2010". *www.gospelstandard.org.uk*. Retrieved 11 October 2023.
14. "KITOMURA.COM PDF Compressor Online Free - COMPRESS-PDF.KITOMURA.COM". *kitomura.com*. Retrieved 23 June 2024.
15. "Gadsby's Hymns: Index by Author". *gadsbyshymns.neocities.org*. Retrieved 23 June 2024.
16. Gadsby, William. "1. God In Our Nature". *The Baptist Particular*. Retrieved 16 September 2024.
17. "Gospel Standard About Us - Home". *www.gospelstandard.org.uk*. Retrieved 23 June 2024.
18. "English Strict Baptists" (PDF).
19. "Gospel Standard Volume 5 - 1839" (PDF).
20. "Editorial: Varieties of Strict Baptist: The ministry of the self-taught and the learned". *Baptist Quarterly*. **40** (8): 450–454. October 2004. doi:10.1179/bqu.2004.40.8.001. ISSN 0005-576X.
21. "Gospel Standard Volume 13 - 1847" (PDF).

## InfoBox

| PastorWilliam Gadsby | |
| --- | --- |
|  | |
| Born | 3 January 1773 (1773-01-03)
Attleborough, Warwickshire |
| Died | 27 January 1844 (1844-01-28) (aged 71)
Manchester, England |
| Nationality | British |
| Occupation(s) | Pastor, Church planter |
| **Theological work** | |
| Era | Late 18th Century |
| Tradition or movement | Strict Baptism
Christian Socialism |
|  | |


title: Mokomdongo

abstract: Mokomdongo or Monkomdongo is a commune in the Andemtenga Department of Kouritenga Province in the Centre-Est region of Burkina Faso. It had a population of 1,279 in 2006.

text:
# Mokomdongo

**Mokomdongo** or **Monkomdongo** is a commune in the Andemtenga Department of Kouritenga Province in the Centre-Est region of Burkina Faso. It had a population of 1,279 in 2006.

## Demographics

| Year | Population |
| --- | --- |
| 1985 | 562 |
| 1996 | 1,171 |
| 2006 | 1,279 |

### Neighbourhoods

| Neighbourhood | Population (2006) |
| --- | --- |
| Kiroghin | 140 |
| Mounmin | 142 |
| Nakomsin | 150 |
| Natenga | 146 |
| Rasmanwoghin | 119 |
| Siguiri | 149 |
| Tambiella | 144 |
| Yarcin | 150 |
| Yongsin | 140 |

## InfoBox

| Mokomdongo | |
| --- | --- |
| Country | Burkina Faso |
| Province | Kouritenga |
| Department | Andemtenga |
| Population (2006) | |
| Total | 1,279 |
| Time zone | UTC+0 (GMT) |


title: William Furlong Wise

abstract: Rear Admiral William Furlong Wise, was a British naval officer.

text:
# William Furlong Wise

Rear Admiral **William Furlong Wise**, CB (21 August 1784 – 29 April 1844) was a British naval officer.

## Childhood

Wise was born at the family home in Woolston near Kingsbridge, Devon, the son of George Furlong Wise of Woolston and his wife, Jane (née Dacres). His mother was the sister of Vice-Admiral James Richard Dacres (1749–1810) and also of Vice-Admiral Sir Richard Dacres (1761–1837), two connections which would serve him well in his future naval career. Indeed, the name James Richard Dacres appears several times in Wise's lifetime because his uncle James Richard Dacres had a son, also called James Richard Dacres (1788–1853) who served alongside Wise at various times.

## Early career

Wise entered the navy on 7 February 1797 on the frigate *Astraea* under his uncle Richard Dacres, and served, for the most part, with him on the home station, the coast of France, and in the West Indies.

On 1 May 1804 he was promoted to lieutenant of the *Franchise* at Jamaica. At that time his uncle Vice Admiral James Dacres was second in command on the Jamaica station, serving under Sir John Thomas Duckworth and flying his flag in the *Franchise*.

Wise was a lieutenant on *Theseus* when she was caught in a hurricane off the West Indies in September 1804. His fellow lieutenant on *Theseus* Edward Burt (later Captain) drew a set of four prints which are in the National Maritime Museum. Wise was to later commission Thomas Luny recreate two of them as oil paintings when they had both retired to Devon. Wise then spent a brief period on *Hercule*.

On 1 November 1805 (confirmed on 22 February 1806) he was promoted to commander of the *Drake*. On 14 January 1806 he was transferred to *Elk*, a sloop of war which was previously under the command of his cousin Commander James Richard Dacres

On 5 May *Elk*, under Wise's command, captured a Spanish privateer rowboat armed with a swivel gun and small arms. The privateer was five days out of Santiago and had taken two doggers. *Elk* caught up with the privateer off Cape Cruz, Cuba, captured her and retook one of the doggers. The privateer was the *Cubana*, with a 14-man crew, only five of whom were still aboard.

## HMS Mediator

On 18 May 1806 he was promoted to post-captain and appointed to the *Mediator*. On 16 February 1807 Wise in *Mediator* and James Richard Dacres in *Bacchante* led a raid on the fort at Samana. He was subsequently awarded a sword worth £100 from Lloyd's Patriotic Fund, which bears the inscription "From the Patriotic Fund at Lloyd's to William Furlong Wise Esq. Capt. of H.M.S. Mediator for his Gallant Conduct in Storming and Destroying with the Seamen and Marines belonging to His Majesty's Ships Bacchante and Mediator the Fort and Cannon in the Harbour of Samana on 16th of February 1807 as Recorded in the London Gazette of the 25th of April" In July 1807 Wise was invalided out of *Mediator*, and spent some time in the West Indies recuperating.

## Marriage

On 16 June 1810, he married Frances Grant Grenfell of England, the only daughter of William Grenfell. Fanny accompanied Wise on at least one voyage, as attested to by Captain Coggeshall of the *Leo* in his account of his capture and passage to Gibraltar as Wise's prisoner.

## HMS Granicus - Bombardment of Algiers

In November 1813 Wise commissioned the 36-gun frigate *Granicus*.

On 2 December 1814 he captured the *Leo*, an American privateer of 6 guns and 76 men, near Cape Spartel

On 27 August 1816 in *Granicus* he was with Admiral Lord Exmouth at the Bombardment of Algiers. He was cited for notable action.

A contemporary wrote of the action: "The Granicus and Hebrus frigates, and the smaller vessels (except the bombs) being considered in the light of a corps-de-reserve, had not had any particular stations assigned to them, but were to bring up abreast of any openings they could find in the line of battle. Impelled onward by the ardent desire of filling the first of these openings, the Hebrus got becalmed by the heavy cannonade, and was obliged to anchor a little without the line, on the Queen Charlotte's larboard quarter. The Granicus, finding herself shooting fast ahead, hove to, with the intention of waiting until her companions had taken their stations. As, owing to the dense smoke which prevailed, nothing beyond the distance of a cable's length could be seen, except the Queen Charlotte's mast-head flag, Captain Wise allowed 10 minutes to elapse for the ships to anchor. The Granicus then filled, let fall her fore-sail, set top-gallant-sails, and, soon gaining fresh way, steered straight for a beacon that, phoenix-like, seemed to live in the hottest of the fire. With a display of intrepidity and of seamanship alike unsurpassed, Captain Wise anchored his frigate in a space scarcely exceeding her own length between the Queen Charlotte and Superb; a station of which a three-decked line-of-battle ship might justly have been proud."

The *Granicus*, on this brilliant occasion, sustained a loss of 16 killed and 42 wounded; amongst the latter were Lieutenant Henry Augustus Perkins, and Messrs. Lewis Punbar Mitchell, Lewis Tobias Jones, George R. Glennie, and Dacres Furlong Wise, Midshipmen. The reference to Dacres Furlong Wise reminds us of the close links between Wise and Dacres family, he would likely have been the son of one of his uncles taken under Wise's wing as a midshipman on *Granicus*. On the second day after the battle, the following correspondence took place between *Granicus*' crew and the *Superb*'s:

"The ship's company of the little frigate that had the honour to lay between the Queen Charlotte and Superb, on the glorious 27th of August, 1816, beg leave to express their high admiration of the noble fire kept up by these ships on that glorious day, by which, in a great measure, the enemy's fire was drawn from his Majesty's ship Granicus."

Superb replied.

"The ship's company of the Superb returns their many thanks to the ship's company of the little frigate, for the high compliment they have been pleased to pay them, and have only to hope that should they ever again go into action, they may have a Granicus to support them.

Like many naval captains Wise commissioned Thomas Luny to do a painting of the bombardment for him. The paintings are all essentially similar to the one Luny did for Lord Exmouth that now hangs in the National Maritime Museum at Greenwich, the main dereferences being each particular Captain's vessel is centre stage.

On 21 September 1816, in recognition of Wise's contribution to the action at Algiers he was made a Companion of the Most Honorable Military Order of the Bath (CB).

## HMS Spartan - return to Algiers

On 6 January 1818 Wise was appointed to the frigate *Spartan*, which he commanded on the home station and in the West Indies until 1821. The *Spartan* was despatched to Algiers where Wise entered into a negotiation with the Dey, the result of which was, the payment of 35,000 dollars as a compensation for the property plundered on board the *Misericordia*, and an unqualified disavowal, on the part of the reigning Dey, of the act of his predecessor (who died of the plague on 1 March 1818) in sending away the representative of his Sardinian Majesty.

In 1819, *Spartan* visited Madeira, Dominica, Vera Cruz, Jamaica, Barbados, and Halifax.

In July 1820, she conveyed Lord Combermere from Barbados to England; and we subsequently find her proceeding to the Havannah, Charlestown, and New York; from whence she returned to England, for the purpose of being paid off, in January 1821.

## Retirement & death

*Spartan* returned to England, for the purpose of being paid off, in January 1821, after which Wise retired to Plymouth.

Wise was an active member of Plymouth civic society, becoming Mayor of Plymouth in 1829.

In 1832 when Plymouth suffered an outbreak of cholera, Wise was presented with a silver salver by Benjamin Smith III of London and inscribed "To William Furlong Wise Esq. Captain RN.CB. In testimony of his generous and unremitting exertions, regardless of all personal hazard, in behalf of the necessitous and afflicted, during the prevalence of Malignant Cholera in Plymouth 1832, Presented and inscribed by his fellow townsmen."

On 23 November 1841 Wise was appointed Rear-Admiral.

Wise died on 29 April 1844 at his residence, Hoegate House, Plymouth, after a week's illness.

## InfoBox

| William Furlong Wise | |
| --- | --- |
| Born | (1784-08-21)21 August 1784
Woolston near Kingsbridge, Devon, England |
| Died | 29 April 1844(1844-04-29) (aged 59)
Hoegate House, Plymouth, Devon, England |
| Allegiance | United Kingdom |
| Service/branch | Royal Navy |
| Years of service | 1797–1821 |
| Rank | Rear Admiral |
| Commands |  |
| Battles/wars | French Revolutionary Wars
Napoleonic Wars
Second Barbary War |
| Awards | Companion of the Most Honourable Military Order of the Bath |
| Relations | George Furlong Wise (father)
Vice Admiral James Dacres (uncle)
Vice Admiral Richard Dacres (uncle) |