title: Fire Emblem: Mystery of the Emblem

abstract: Fire Emblem: Mystery of the Emblem Fire Emblem: Mystery of the Emblem, known in Japan as Fire Emblem: Monshō no Nazo, is a tactical role-playing video game developed by Intelligent Systems, and published by Nintendo for the Super Famicom home video game console in 1994. It is the third installment of the Fire Emblem series, and the first to be developed for the Super Famicom. The story is divided into two parts: the first part is a retelling of Fire Emblem: Shadow Dragon and the Blade of Light, while the second is an original story acting as a sequel to the first game. After defeating the sorcerer Gharnef and the Dark Dragon Medeus, peace is restored to Archanea and Marth restores his kingdom. His ally Hardin ascends to the throne of Archanea, but begins hostile military expansion across the continent, forcing Marth to confront his old friend and the force driving him. Gameplay follows the traditional Fire Emblem system of tactical battles taking place on grid-based maps. Mystery of the Emblem began development in 1992 during the production of Fire Emblem Gaiden. The staff from previous entries, including series creator Shouzou Kaga and composer Yuka Tsujiyoko, returned to their respective roles. While originally conceived as two separate projects, the team eventually merged the proposed remake of Shadow Dragon and the Blade of Light with the original story content of Mystery of the Emblem. The gameplay, which had veered away from the first game's tactical RPG routes in Gaiden, returned to its more traditional stance. The difficulty was lowered to encourage new players to try the series. The game has been positively received by video game journalists; much praise went to its gameplay refinements and technical quality. It also set the best first-week sales for the series until Fire Emblem Awakening in 2012, and with 776,338 units by 2002 was the best-selling title in the series to that date. A derivative title for the Satellaview, BS Fire Emblem, was released during 1997. A full remake for the Nintendo DS, Fire Emblem: New Mystery of the Emblem, was released in 2010. In 2017, it was rereleased in Japan as part of the Japanese retailer versions of Classic SNES Edition.

text:
# Fire Emblem: Mystery of the Emblem

***Fire Emblem: Mystery of the Emblem***, known in Japan as ***Fire Emblem: Monshō no Nazo***, is a tactical role-playing video game developed by Intelligent Systems, and published by Nintendo for the Super Famicom home video game console in 1994. It is the third installment of the *Fire Emblem* series, and the first to be developed for the Super Famicom. The story is divided into two parts: the first part is a retelling of *Fire Emblem: Shadow Dragon and the Blade of Light*, while the second is an original story acting as a sequel to the first game. After defeating the sorcerer Gharnef and the Dark Dragon Medeus, peace is restored to Archanea and Marth restores his kingdom. His ally Hardin ascends to the throne of Archanea, but begins hostile military expansion across the continent, forcing Marth to confront his old friend and the force driving him. Gameplay follows the traditional *Fire Emblem* system of tactical battles taking place on grid-based maps.

*Mystery of the Emblem* began development in 1992 during the production of *Fire Emblem Gaiden*. The staff from previous entries, including series creator Shouzou Kaga and composer Yuka Tsujiyoko, returned to their respective roles. While originally conceived as two separate projects, the team eventually merged the proposed remake of *Shadow Dragon and the Blade of Light* with the original story content of *Mystery of the Emblem*. The gameplay, which had veered away from the first game's tactical RPG routes in *Gaiden*, returned to its more traditional stance. The difficulty was lowered to encourage new players to try the series.

The game has been positively received by video game journalists; much praise went to its gameplay refinements and technical quality. It also set the best first-week sales for the series until *Fire Emblem Awakening* in 2012, and with 776,338 units by 2002 was the best-selling title in the series to that date. A derivative title for the Satellaview, *BS Fire Emblem*, was released during 1997. A full remake for the Nintendo DS, *Fire Emblem: New Mystery of the Emblem*, was released in 2010. In 2017, it was rereleased in Japan as part of the Japanese retailer versions of Classic SNES Edition.

## Gameplay

*Fire Emblem: Mystery of the Emblem* is a tactical role-playing video game where players take control of Marth's army and Marth himself, the main protagonist of *Fire Emblem: Shadow Dragon and the Blade of Light*, across story-driven missions on the continent of Archanea. In between battles, characters engage in conversations with each other in cutscenes, which advances the story.

Battles are turn-based and take place on grid-based maps. Victory is achieved when an enemy base is captured or all enemies are defeated. Each character holds four weapons and four items, and each has an assigned character class, which affects their movement range, damage and what weapons can be used. Mounted units also have the option to dismount, which changes their abilities and stats while reducing movement range.

When combat is initiated, a separate screen shows the battle play out: attack power is based on the strength of weapons and their units, while damage is calculated based on both the type of attack used and the opposing unit's physical and magical defense. Critical hits triple the damage of normal attacks. Each battle awards experience points, which raise a unit's experience level: their level and statistics cap at 20. When a character changes class, their experience level returns to 1 while their stats increase slightly. Unit abilities can be influenced through a Support system: when two characters have a story-based relationship such as being lovers or friends, they boost stats such as attack power or dodging ability.

## Plot

*Mystery of the Emblem* is set on the continent of Archanea, and is split into two halves dubbed "Books". "Book 1" is a retelling of the events of *Shadow Dragon and the Blade of Light*: Marth, the prince of Altea, is forced into exile when his homeland is attacked by the neighboring kingdom of Gra. With his father killed and his sister Elice captive, Marth must muster a force to defeat the will driving the invasion: the dark dragon Medeus and his ally Gharnef. Marth's allies include the princess and Pegasus knight Caeda, Marth's mentor Jagen, Prince Hardin of Aurelis, kindly Princess Nyna of Archanea's Royal Family, and the Archsage Gotoh. His quest leads him to recovering Falchion, a magical sword which can defeat Medeus and which only Marth can wield due to his ancient heritage as a descendant of Anri, the warrior who defeated Medeus. Having recovered both Falchion and the magical Fire Emblem shield, Marth confronts Gharnef and Medeus, the latter of whom is leader of the last surviving tribe of Manakete, an ancient tribe which could shapeshift into dragons. In the end, Marth defeats Medeus and restores peace, surrendering the Fire Emblem to Archanea for safekeeping. Hardin marries Nyna and becomes the king of Archanea.

"Book 2" takes place two years after Book 1. Hardin begins the forceful military occupation of neighboring countries, with Marth's army being used as part of the conquests. When Marth grows suspicious of his role in Hardin's plans, he is branded as a traitor to Archanea and is relentlessly hunted down by Hardin's forces. Receiving the Fire Emblem from Nyna by way of a courier, Marth and his army escapes to the desert of Khadein and meets with Gotoh. He explains that Hardin has become possessed by the evil power of the Darksphere, which Gharnef secretly gave to him, and that only the Lightsphere can counter its power and save Hardin. Marth is also tasked with locating three other magical spheres in his quest: the Lifesphere, the Geosphere, and the Starsphere (the latter of which must be reassembled through the collection of Starshards). Marth and his allies journey through the icy mountains to obtain the Lightsphere, then stage a final assault on Archanea to liberate the continent from Hardin's madness. Though the Lightsphere nullifies the Darksphere's power, Hardin is critically wounded in his battle and can only apologize to Marth for his actions before he dies. If the player has not collected the five spheres, the game ends prematurely at this point; Marth is duped into believing Gharnef has been defeated, and soon has to fight another war against Medeus. If the player did collect the spheres, Marth inserts all five into the Fire Emblem and unlocks its full power as the Binding Shield.

Gotoh then arrives to inform Marth that Gharnef has kidnapped several female clerics, including Princess Nyna and his own sister Elice, to serve as sacrifices for the revival of Medeus. Marth leads his army to an ancient temple where Gharnef holds the ceremony. After killing Gharnef, retrieving Falchion, and rescuing the clerics, Marth confronts Medeus, who has taken the form of an enormous dark dragon. Using the Falchion and Binding Shield, Marth slays Medeus. With peace restored to the land, Marth and Caeda, now married, become the rulers of all Archanea.

## Development and release

*Mystery of the Emblem* was developed by Intelligent Systems, the original creators of the *Fire Emblem* series, under supervision from publisher and studio owner Nintendo. Development began in 1992 during the development of *Fire Emblem Gaiden*, with production lasting almost three years. Shouzou Kaga returned as designer and writer. Keisuke Terasaki acted as director, while Gunpei Yokoi returned as producer. The characters were designed by Katsuyoshi Koya, who would go on to work on *Fire Emblem: Genealogy of the Holy War*. The music was composed by Yuka Tsujiyoko, who worked on the soundtrack with sound designer Masaya Kuzume. She would later refer to the game as her favorite title out of the *Fire Emblem* games she had worked on.

Due to the increased hardware capabilities, the team were able to increase both the content and graphical quality. With the aim of encouraging new players to buy the game, the overall difficulty was reduced compared to previous entries. After the unconventional gameplay of *Gaiden*, *Mystery of the Emblem* returned to the traditional gameplay used for *Shadow Dragon and the Blade of Light*, in addition to continuing the story of Marth after focusing on different characters for *Gaiden*. *Mystery of the Emblem* was initially only going to include original story content, but after consideration, it was decided to include an upgraded version of *Shadow Dragon and the Blade of Light* for those who had not played the original. Another proposed plan was to split the release into two parts: a remake of *Shadow Dragon and the Blade of Light* and *Mystery of the Emblem*. Due to space limitations, some characters featured in the original version of *Shadow Dragon and the Blade of Light* needed to be cut. The romance between Marth and Caeda was introduced as a refined version of a similar plot featured in *Gaiden*. As with previous games set in Archanea, the series' titular Fire Emblem took the form of a shield inset with five magical gems. According to Kaga, *Mystery of the Emblem* was intended as the last major title to be set on the continent of Archanea. However, Archenea later provided the setting for *Fire Emblem Awakening*. Released overseas in 2013, *Awakening* is set over a thousand years after the events of *Shadow Dragon and the Blade of Light*.

*Mystery of the Emblem* was released for the Super Famicom on January 21, 1994. It was the first *Fire Emblem* title for the system, and the first to use a 24-megabit cartridge. It would later receive multiple releases on Nintendo's digital Virtual Console platform: the version for the Wii released on December 26, 2006; the version for the Wii U on April 27, 2014; and the version for the Nintendo 3DS on June 22, 2016. Like other early *Fire Emblem* titles, it did not receive a Western release, though a full fan translation was released in 2008.

## Reception

While no exact figure is available, *Mystery of the Emblem* stood as the best first-week debut for the series until the Nintendo 3DS title *Fire Emblem Awakening* in 2012. As of 2002, *Mystery of the Emblem* had sold 776,338 units. This made *Mystery of the Emblem* the best-selling title in the *Fire Emblem* series to that date.

*Famitsu* was generally positive about *Mystery of the Emblem*, citing both its overall quality and the improvements made to the gameplay and presentation of content from *Shadow Dragon and the Blade of Light*. Mike Moehnke of *RPGamer* felt that the story was "fine without being great", especially as it was a partial remake of the first game. While he enjoyed the gameplay, he noted that it felt like a precursor to the more refined and expanded mechanics of later titles in the series, despite praising the dismounting mechanic. The graphics he found unimpressive for the platform, while he found the audio a mixed effect with a lack of tunes in the first half and more variety and strength for the second half. He finished that the game was worth seeking out for series and genre fans, but that the language barrier and advances of subsequent *Fire Emblem* titles made it less appealing.

*Nintendo Life*'s Gonçalo Lopes praised the general narrative, technical improvements and overall gameplay. He generally called it one of the best entries for the system and the series as a whole. In a retrospective on the game for its 20th anniversary, *Dengeki Online* called it both one of the best entries in the series, the genre and the system. *Destructoid* later ranked *Mystery of the Emblem* among the five best titles in the *Fire Emblem* series.

## Legacy

### Anime

| Fire Emblem: Mystery of the Emblem | |
| --- | --- |
| ファイアーエムブレム 紋章の謎
(*Faiā Emuburemu Monshō no Nazo*) | |
| Genre | Adventure, Fantasy |
| Original video animation | |
| Directed by | Shin Misawa |
| Produced by | Ayumi Enomoto
Masao Mochizuki |
| Written by | Yōsuke Kuroda |
| Music by | Hiroyuki Kōzu |
| Studio | Studio Fantasia |
| Released | January 26, 1996  April 26, 1996 |
| Runtime | 30 minutes |
| Episodes | 2 |

*Mystery of the Emblem* was adapted into an original video animation (OVA): two episodes were produced by KSS and released in 1996, but no further episodes have been produced following poor sales, leaving the OVA series unfinished. Marth's Japanese voice actor, Hikaru Midorikawa, would go on to voice the character in subsequent appearances in spin-off and crossover media. These episodes were dubbed into English by A.D. Vision and released in North America on April 14, 1998, five years before *Fire Emblem: Rekka no Ken* was localized.

### *BS Fire Emblem*

***BS Fire Emblem: Archanea Senki-hen*** commonly referred to as *BS Fire Emblem*, is an episodic tactical role-playing game developed by Intelligent Systems and released in 1997 following the release of *Genealogy of the Holy War*. It acts as a prequel to the events of the first *Fire Emblem* title and *Mystery of the Emblem*. The four episodes of *BS Fire Emblem* were broadcast between September and October 1997 on the Satellaview peripheral service, a system where short games were downloaded via satellite at given times of day. While it employs the same tactical gameplay as the mainline titles, it throws waves of enemies at the main party during a three-hour time limit.

*BS Fire Emblem* was directed and designed by Kaga, while the music was composed by Tsujiyoko in her role as composer and sound director. The character artwork was done by Rika Suzuki, a newcomer to the *Fire Emblem* series who would later go on to create character illustrations for *Fire Emblem Awakening*. It was the first title in the *Fire Emblem* series to include voice acting, created using livestreaming during the original broadcast. The game used the technology created for *Mystery of the Emblem*.

The first episode, "Episode 1: Fall of the Palace", was broadcast on September 28; "Episode 2: Crimson Dragoon Knight" released on October 5; "Episode 3: Thieves of Justice" released on October 12; and the finale, "Episode 4: Time of Beginning", released on October 19. Since broadcast, the original game became very rare due to the method of release and the discontinuation of Satellaview service, requiring a cartridge with the game installed to be available. Even then, the original streamed voice acting is unavailable. While forming part of the *Fire Emblem* series and technically the fifth entry, *BS Fire Emblem* is frequently not counted among the main entries. Instead, it is seen as an extension of *Mystery of the Emblem*. Despite being included in the official timeline of its fictional setting, it is considered an "unofficial" part of the series.

### Remake

*Mystery of the Emblem* was remade and released in 2010 for the Nintendo DS titled *Fire Emblem: New Mystery of the Emblem*, it was built upon the gameplay systems of the first game's DS remake *Fire Emblem: Shadow Dragon*, and incorporated a customizable avatar as the main character alongside Marth. The story content of *BS Fire Emblem* was eventually re-released as additional content for *New Mystery of the Emblem*, dubbed "New Archanea Chronicles". It was the first time a Satellaview title has been re-released in any form by Nintendo.

1. ファイアーエムブレムワールド 【FIRE EMBLEM WORLD】 – Series. Fire Emblem World. Archived from the original on April 17, 2015. Retrieved July 17, 2015.
2. 社長が訊く『ファイアーエムブレム 新・紋章の謎 ～光と影の英雄～』. Nintendo. 2010. Archived from the original on July 13, 2015. Retrieved June 16, 2016.
3. *ファイアーエムブレム 紋章の謎* マニュアル \[*Fire Emblem: Mystery of the Emblem Manual*\] (in Japanese). Nintendo. 1994.
4. Lopes, Gonçalo (March 14, 2016). "Review: Fire Emblem: Mystery Of The Emblem". *Nintendo Life*. Archived from the original on March 15, 2016. Retrieved August 29, 2016.
5. Moehnke, Mike (2009). "Fire Emblem: Monshou no Nazo – Staff Retroview". RPGamer. Archived from the original on March 4, 2016. Retrieved August 29, 2016.
6. 『ファイアーエムブレム 紋章の謎』20周年記念。攻略しがいのある手強いSRPGの金字塔を振り返る【周年連載】. Dengeki Online. September 8, 2014. Archived from the original on July 30, 2016. Retrieved August 30, 2016.
7. ファイアーエムブレム紋章の謎PROFESSIONAL (in Japanese). Shogakukan. May 20, 1994. ISBN 4-09-102476-9.
8. East, Thomas (April 13, 2013). "Fire Emblem through the ages". *Official Nintendo Magazine*. Archived from the original on April 16, 2013. Retrieved July 17, 2015.
9. "Developer Interview". ファイアーエムブレム紋章の謎PROFESSIONAL (in Japanese). Shogakukan. May 20, 1994. ISBN 4-09-102476-9.
10. Intelligent Systems (January 21, 1994). *Fire Emblem: Mystery of the Emblem* (Super Famicom). Nintendo. Scene: Credits.
11. Ward, Robert (July 8, 2015). "Fire Emblem Artist Spotlight: Katsuyoshi Koya". Siliconera. Archived from the original on July 18, 2015. Retrieved July 18, 2015.
12. "Interview with Yuka Tsujiyoko". RocketBaby. 2001. Archived from the original on August 21, 2002. Retrieved July 17, 2015.
13. ファイアーエムブレム ザ・コンプリート \[*Fire Emblem: The Complete*\] (in Japanese). NTT Publishing. 1996. ISBN 4-87188-822-3.
14. Brown, Mark (April 18, 2013). "Pocket Primer: A complete history of Fire Emblem". Pocket Gamer. Archived from the original on March 4, 2016. Retrieved June 6, 2016.
15. Uzuki, Ayu (October 3, 2008). Game level 1 – ファイアーエムブレム. *Game Side Level* (in Japanese) (1). Micro Magazine.
16. "World Guide". 任天堂公式ガイドブック 20th Anniversary 『ファイアーエムブレム大全』が発売中です (in Japanese). Shogakukan. June 30, 2010. ISBN 978-4-09-106467-7.
17. "Iwata asks "Fire Emblem Awakening"". Nintendo UK. March 21, 2012. Archived from the original on July 7, 2013. Retrieved March 26, 2015.
18. Romano, Sal (September 13, 2012). "Monster Hunter 4, Bravely Default, more announced at Nintendo 3DS showcase". Gematsu. Archived from the original on August 22, 2012. Retrieved March 28, 2015.
19. Parish, Jeremy (January 10, 2013). "Fire Emblem Awakening: Killing for Keeps". *1UP.com*. Archived from the original on April 2, 2015. Retrieved March 26, 2015.
20. インテリジェントシステムズ – ファイアーエムブレム 紋章の謎. Intelligent Systems. Archived from the original on February 10, 1998. Retrieved August 29, 2016.
21. "International Outlook". *Electronic Gaming Monthly*. No. 53. EGM Media, LLC. December 1993. p. 100.
22. バーチャルコンソールWii – ファイアーエムブレム 紋章の謎. Nintendo. Archived from the original on March 8, 2016. Retrieved August 29, 2016.
23. バーチャルコンソールWii U – ファイアーエムブレム 紋章の謎. Nintendo. Archived from the original on April 4, 2016. Retrieved August 29, 2016.
24. バーチャルコンソール3DS – ファイアーエムブレム 紋章の謎. Nintendo. Archived from the original on August 9, 2016. Retrieved August 29, 2016.
25. ファイアーエムブレム 紋章の謎 (SFC). Famitsu. Archived from the original on March 4, 2016. Retrieved August 29, 2016.
26. Dutton, Fred (April 25, 2012). "Japan chart: big debut for new 3DS Fire Emblem". *Eurogamer*. Archived from the original on April 20, 2013. Retrieved November 23, 2016.
27. 日本ユニ著作権センター／判例全文・2002/11/14d. Translan. November 14, 2002. Archived from the original on April 2, 2015. Retrieved July 18, 2015.
28. Carter, Chris (February 5, 2013). "Ranked: The five best Fire Emblem games". *Destructoid*. Archived from the original on March 27, 2015. Retrieved July 18, 2015.
29. Fahey, Mike (November 2, 2014). "Ten Things You Might Not Know About Fire Emblem". Kotaku. Archived from the original on November 6, 2014. Retrieved July 18, 2015.
30. "Fire Emblem". ADV Films. January 2, 1998. Archived from the original on February 21, 1998. Retrieved June 20, 2023.
31. McGrath, Patricia (September 4, 2011). "The surprising American origins of Fire Emblem". Nintendo Everything. Archived from the original on August 31, 2016. Retrieved August 31, 2016.
32. "The Best In The Wonderful World of SNES RPGs". RacketBoy. September 14, 2008. Archived from the original on March 22, 2016. Retrieved June 6, 2016.
33. "History's Hidden Hardware: BS-X (Broadcast Satellaview) / 1995". *Nintendo Power*. No. 225. Future US. February 2008. p. 61.
34. 20th Anniversary ファイアーエムブレム大全 (in Japanese). Shogakukan. June 30, 2010. ISBN 978-4-09-106467-7.
35. ファイアーエムブレム 覚醒発売一周年記念 開発者インタビュー. *Nintendo Dream* (in Japanese) (230). Mainichi. April 20, 2013. ASIN B00C6FBIS0.
36. ファイアーエムブレム メモリアルブック アカネイア・クロニクル (in Japanese). ASCII Media Works. December 17, 2010. ISBN 978-4-04-868941-0.
37. メイキング オブ ファイアーエムブレム 開発秘話で綴る25周年、覚醒そしてif (in Japanese). Tokuma Shoten. November 28, 2015. ISBN 978-4-19-864056-9.
38. "BS Fire Emblem Akaneia Senki 1: Palace Kanraku". *GameSpot*. Archived from the original on June 6, 2016. Retrieved June 6, 2016.
39. "BS Fire Emblem Akaneia Senki 2: Akai Ryuuki Shi". *GameSpot*. Archived from the original on June 6, 2016. Retrieved June 6, 2016.
40. "BS Fire Emblem Akaneia Senki 3: Seigi no Tozokudan". *GameSpot*. Archived from the original on June 6, 2016. Retrieved June 6, 2016.
41. "BS Fire Emblem Akaneia Senki 4: Hajimari no Toki". *GameSpot*. Archived from the original on June 6, 2016. Retrieved June 6, 2016.
42. 8–4 Inc. "Fire Emblem Awakening Developer Interview". Fire Emblem Official Website. Archived from the original on February 10, 2015. Retrieved March 26, 2015.`{{cite web}}`: CS1 maint: numeric names: authors list (link)
43. Gantayat, Anoop (May 25, 2010). "DS Gets Another Fire Emblem Remake". Andriasang.com. Archived from the original on December 25, 2012. Retrieved July 12, 2016.
44. 『BSファイアーエムブレム アカネイア戦記』を収録、DS『ファイアーエムブレム 新・紋章の謎』. Inside Games. June 23, 2010. Archived from the original on November 10, 2013. Retrieved June 6, 2016.
45. "Une surprise dans Fire Emblem : Monshou No Nazo" (in French). JeuxVideo. June 22, 2010. Archived from the original on March 4, 2016. Retrieved January 9, 2014.
* "Official website" (in Japanese). Archived from the original on October 15, 2013. Retrieved July 24, 2016.`{{cite web}}`: CS1 maint: bot: original URL status unknown (link)

## InfoBox

| Fire Emblem: Mystery of the Emblem | |
| --- | --- |
|  | |
| Developer(s) | Intelligent Systems |
| Publisher(s) | Nintendo |
| Director(s) | Shouzou Kaga |
| Producer(s) | Gunpei Yokoi |
| Designer(s) | Shouzou Kaga |
| Programmer(s) | Toru Narihiro |
| Artist(s) | Katsuyoshi Koya |
| Writer(s) | Shouzou Kaga |
| Composer(s) | Yuka Tsujiyoko |
| Series | *Fire Emblem* |
| Platform(s) | Super Famicom |
| Release | * JP: January 21, 1994 |
| Genre(s) | Tactical role-playing |
| Mode(s) | Single-player |


title: Fine bubble diffusers

abstract: Fine bubble diffusers are a pollution control technology used to aerate wastewater for sewage treatment.

text:
# Fine bubble diffusers

**Fine bubble diffusers** are a pollution control technology used to aerate wastewater for sewage treatment.

## Description

Fine bubble diffusers produce a plethora of very small air bubbles which rise slowly from the floor of a wastewater treatment plant or sewage treatment plant aeration tank and provide substantial and efficient mass transfer of oxygen to the water. The oxygen, combined with the food source, sewage, allows the bacteria to produce enzymes which help break down the waste so that it can settle in the secondary clarifiers or be filtered by membranes. A fine bubble diffuser is commonly manufactured in various forms: tube, disc, plate, and dome.

## Bubble size

The subject of bubble size is important because the aeration system in a wastewater or sewage treatment plant consumes an average of 50 to 70 percent of the energy of the entire plant. Increasing the oxygen transfer efficiency decreases the power the plant requires to provide the same quality of effluent water. Furthermore, fine bubble diffusers evenly spread out (often referred to as a 'grid arrangement') on the floor of a tank, provide the operator of the plant a great deal of operational flexibility. This can be used to create zones with high oxygen concentrations (oxic or aerobic), zones with minimal oxygen concentration (anoxic) and zones with no oxygen (anaerobic). This allows for more precise targeting and removal of specific contaminants.

The importance of achieving ever smaller bubble sizes has been a hotly debated subject in the industry as ultra fine bubbles (micrometre size) are generally perceived to rise too slowly and provide too little "pumpage" to provide adequate mixing of sewage in an aeration tank. On the other hand, the industry standard "fine bubble" with a typical discharge diameter of 2 mm is probably larger than it needs to be for many plants. Average bubble diameters of 0.9 mm are possible nowadays, using special polyurethane (PUR) or special recently developed EPDM membranes.

Fine bubble diffusers have largely replaced coarse bubble diffusers and mechanical aerators in most of the developed world and in much of the developing world. The exception would be in secondary treatment phases, such as activated sludge processing tanks, where 85 to 90 percent of any remaining solid materials (floating on the surface) are removed through settling or biological processes. The biological process uses air to encourage bacterial growth that would consume many of these waste materials, such as phosphorus and nitrogen that are dissolved in the wastewater. The larger air release openings of a coarse bubble diffuser helps to facilitate a higher oxygen transfer rate and bacterial growth. One disadvantage of using fine bubble diffusers in activated sludge tanks is the tendency of floc (particle) clogging the small air release holes.


abstract: The First Women's Basketball League of North Macedonia is the highest women's professional club basketball competition in North Macedonia.

text:
# First Women's Basketball League of North Macedonia

The **First Women's Basketball League of North Macedonia** is the highest women's professional club basketball competition in North Macedonia.

## History

## Current season teams (2013–2014)

| Team | City | Venue (Capacity) |
| --- | --- | --- |
| Badel 1862 | Skopje | . |
| Klubski | Delčevo | . |
| Krosig | Skopje | Boris Trajkovski Sports Center (8.000) |
| Pelister | Bitola | Sports Hall Mladost (5.000) |
| Struga 2009 | Struga | Sports Center Jane Sandanski (5.000) |
| Vajs Profil | Kavadarci | Jasmin Sports Hall (2.500) |
| WBC Vardar | Skopje | SRC Kale (3.000) |
|

## Champions

| Season | Winner | Runner-up | Result |
| --- | --- | --- | --- |
| 1992–93 | Student Skopje | . | . |
| 1993–94 | . | . | . |
| 1994–95 | Student Skopje | . | . |
| 1995–96 | . | . | . |
| 1996–97 | . | . | . |
| 1997–98 | Vigor Skopje | . | . |
| 1998–99 | Vigor Skopje | . | . |
| 1999–00 | Vigor Skopje | . | . |
| 2000–01 | . | . | . |
| 2001–02 | . | . | . |
| 2002–03 | . | . | . |
| 2003–04 | . | . | . |
| 2004–05 | . | . | . |
| 2005–06 | Kimiko | Vardar | . |
| 2006–07 | Vigor Skopje | Biljana | 3:1 |
| 2007–08 | Vigor Skopje | Vardar | 2:0 |
| 2008–09 | Vigor Skopje | Skopje Biljana | . |
| 2009–10 | Vardar | Vigor Skopje | . |
| 2010–11 | Vigor Skopje | Klubski | 3:0 |
| 2011–12 | Vigor Skopje | Baden | 3:0 |
| 2012–13 | Krosig | Vigor Skopje | 3:1 |
| 2013–14 | Badel 1862 | Krosig | 3:0 |
| 2014–15 | Badel 1862 | Kožuvčanka | 2:0 |
| 2015–16 | Badel 1862 | Klubski Delčevo | 2:0 |
| 2016–17 | Badel 1862 | Vardar | 3:0 |
| 2017–18 | Badel 1862 | Vardar | 3:0 |
| 2018–19 | Vardar | Badel 1862 | 3:0 |
| 2019–20 | Vardar (14-1) | Badel 1862 (14-1) | stopped due COVID-19 |
| 2020–21 | ŽKK Basket Kam | Badel 1862 | 3:1 |
| 2021–22 | WBC Badel 1862 | WBC Basket Kam | 3:1 |

## List of champions

## InfoBox

First Women's Basketball League of North Macedonia
| Sport | Basketball |
| --- | --- |
| Founded | 1992 |
| First season | 1992-93 |
| No. of teams |  |
| Country | North Macedonia |
| Continent | Europe |
| Most recent<br>champion(s) | Badel 1862 (12th title) |
| Level on pyramid | 1 |
| Domestic cup(s) | Macedonian Women's Basketball Cup |


title: Passemant astronomical clock

abstract: The Passemant astronomical clock is an astronomical clock designed by Claude-Simeon Passemant in the eighteenth century. It is displayed in the Salon de la pendule in the petit appartement du roi on the first floor of Versailles, France. The clock set the official time in France for the first time in the kingdom's history.

text:
# Passemant astronomical clock

The **Passemant astronomical clock** is an astronomical clock designed by Claude-Simeon Passemant in the eighteenth century. It is displayed in the *Salon de la pendule* in the petit appartement du roi on the first floor of Versailles, France. The clock set the official time in France for the first time in the kingdom's history.

## Description

The clock is an exceptional rococo work over 2 metres (6 ft 7 in) in height, crowned with a moving celestial sphere. It shows the date, time, real time average phases of the moon and Copernican planetary motion. The large astronomical dials mark the rising and setting of the sun and moon every day. Earth is represented by a bronze globe on which all countries are engraved with the main cities. This globe is placed among the rocks and waterfalls, which serve as a universal horizon.

The mechanism is designed to be able to display the date until the end of the year 9999.

## Creators

The clock mechanism was designed by engineer Claude-Siméon Passemant (1702–1769) and executed by the clockmaker Louis Dauthiau (1730–1809). The rococo-style gilt-bronze box protecting the mechanism was made in 1753 by sculptor Jean-Jacques Caffieri (1735–1792) and bronze-founder Philippe Caffieri.

## History

After being reviewed and approved by the French Academy of Sciences in August 1749, the clock was presented to Louis XV in Choisy by the duc de Chaulnes on 7 September 1750. The King acquired it the same year. In January 1754, the clock took its place among the astronomical clocks of Versailles. The fact that it was placed in the *Salon de la pendule* demonstrates the interest that Louis XV had in the mechanical arts through clockmaking. Indeed, the room was so named because the dials of clocks were set into the wall panelling.


title: Fiorenza (play)

abstract: Fiorenza is Thomas Mann's only completed play. It premiered on 11 May 1907 at the Frankfurt Playhouse.

text:
# Fiorenza (play)

***Fiorenza*** is Thomas Mann's only completed play. It premiered on 11 May 1907 at the Frankfurt Playhouse.

## Plot

The play takes place in 1492 in Florence. It features the eloquent preacher Girolamo Savonarola. He had once courted Fiorenza, but was rejected. Now Savonarola preaches asceticism. Fiorenza is an allegory for the city of Florence, and is the mistress of the dying Lorenzo de' Medici, the secular ruler of the city.

Fiorenza cannot escape the charismatic Savonarola, even if she had rejected him as a lover. She confronts the dying Lorenzo de' Medici with this. The art-loving, secular ruler recognizes the religious leader as an equal and calls him brother.

## Reception

The play was not a success in the theater; it was strongly criticized by Alfred Kerr. Other critics such as Theodor Lessing and Richard Schaukal stated the weakness of the play was the allegorical figure of Fiore Fiorenza. Mann's failure as a playwright probably brought him to the judgment that theater can be justified only as a popular entertainment.

## Text

* Berlin: S. Fischer, 1906, 170 pages. First Edition (Potempa E 20.2, Burgin I, 4, Wilpert / Guhring ² 6)


title: Fifth year

abstract: Fifth Year refers to the fifth year of schooling in secondary schools in Scotland and Ireland. It was also the traditional term for the same year group in England and Wales, until about 1990 when most schools replaced it with Year Eleven and Year Twelve. It is also equivalent to 11th grade.

text:
# Fifth year

**Fifth Year** refers to the fifth year of schooling in secondary schools in Scotland and Ireland. It was also the traditional term for the same year group in England and Wales, until about 1990 when most schools replaced it with Year Eleven and Year Twelve. It is also equivalent to 11th grade.

## Scotland

In Scotland this is also known as **S5**. During this year pupils will generally sit Higher exams, essential for entry to a Scottish university. Other exams that can be taken are National 5's and National 4's. Fifth Year is now an "optional" year which pupils choose to remain at school to be part of unless the student would enter the fifth year at an age less than 16 in which case they are required to stay on until the end of the winter term. Most pupils are 16 or 17 years of age by the end of their Fifth Year.

Fifth Year is commonly known to be the most stressful school year in the Scottish education system due to the great increase in difficulty of the courses being taken as well as the increase the amount of work required to be completed.

## Ireland

Fifth year is the first mandatory year of the Leaving Certificate cycle. It is usually preceded by the optional Transition Year. Most pupils are 17 or 18 years of age by the end of their Fifth Year. Many secondary schools have Summer exams at the end of Fifth Year to test the student on what they have learned throughout the year. Fifth year requires students to work more independently and requires more responsibility than in the Junior Certificate cycle. This is the penultimate year in their schooling.


title: Pastoral council

abstract: A pastoral council is a consultative body in dioceses and parishes of the Catholic Church that serves to advise the parish priest or bishop about pastoral issues. The council's main purpose is to investigate, reflect and reach conclusions about pastoral matters to recommend to the parish priest or bishop as appropriate.

text:
# Pastoral council

A **pastoral council** is a consultative body in dioceses and parishes of the Catholic Church that serves to advise the parish priest or bishop about pastoral issues. The council's main purpose is to investigate, reflect and reach conclusions about pastoral matters to recommend to the parish priest or bishop as appropriate.

## Number

A 2003 survey by the U.S. Conference of Catholic Bishops found half of U.S. dioceses and three-quarters of U.S. parishes had councils. Council guidelines have different recommendations about the size of the council. The average is 15 members.

## Scope

Bishops and priests may consult their councils about practical matters. On the diocesan level, this may include "missionary, catechetical and apostolic undertakings within the diocese, concerning the promotion of doctrinal formation and the sacramental life of the faithful; concerning pastoral activities to help the priests in the various social and territorial areas of the diocese; concerning public opinion on matters pertaining to the Church as it is more likely to be fostered in the present time; etc." ("Circular Letter on 'Pastoral Councils,'" (Omnes Christifideles) published in 1973 by the Sacred Congregation for the Clergy, no 9).

## Vatican II origins

The concept of the pastoral council was first articulated in the 1965 Vatican II *Decree on Bishops* (*Christus Dominus*, par. 27). The decree recommended that bishops establish diocesan pastoral councils with a threefold purpose. The purpose is to investigate pastoral matters, to ponder or reflect over them, and to reach conclusions that the council can recommend to the bishop.

Six other official documents of the Church define the diocesan pastoral council in this threefold way:

* Paul VI, "Ecclesiae Sanctae I" (1966) no. 16;
* the 1971 Synod of Bishops' "The Ministerial Priesthood," art. 2, II, section 3;
* the 1973 "Directory on the Pastoral Ministry of Bishops," no. 204;
* the 1973 "Circular Letter on 'Pastoral Councils'" by the Sacred Congregation for the Clergy, no 9;
* the 2002 "Instruction" by the Congregation for the Clergy, "The Priest, Pastoral and Leader" (par 26); and
* the 2004 "Directory" by the Congregation for Bishops, "Apostolorum successores" (par. 184).

In a 1988 address to the bishops of Chile, Cardinal Joseph Ratzinger spoke of Vatican II as a "pastoral council" with a modest intent, and not as a "rupture with tradition" as described by Marcel Lefebvre.

## Canon law

Canon 511 of the 1983 Code of Canon Law speaks about *diocesan* pastoral councils: "In each diocese, to the extent that pastoral circumstances recommend it, a pastoral council is to be established whose responsibility it is to investigate under the authority of the bishop all those things which pertain to pastoral works, to ponder them and to propose practical conclusions about them." This reflects the threefold purpose of the pastoral council as first described in the Vatican II *Decree on Bishops* at paragraph 27.

Canon 536 of the 1983 Code legislates about *parish* pastoral councils. It states that "§1. If the diocesan bishop judges it opportune after he has heard the presbyteral council, a pastoral council is to be established in each parish, over which the pastor presides and in which the Christian faithful, together with those who share in pastoral care by virtue of their office in the parish, assist in fostering pastoral activity. §2. A pastoral council possesses a consultative vote only and is governed by the norms established by the diocesan bishop."

Consequently, the establishment of parish pastoral councils depends upon the judgment of the diocesan bishop, after having consulted his presbyteral council. If he judges it appropriate, a pastoral council is established in each parish of his diocese.

## More recent documents

The purpose of the parish pastoral council, as described in Canon 536, is the "fostering" of "pastoral activity" in the parish. Because the pastor is the proper shepherd of the parish, it follows that his pastoral council possesses a consultative vote only. In fact, the 1997 *Instruction on Certain Questions Regarding the Collaboration of the Non-Ordained Faithful in the Sacred Ministry of Priest* states that, "It is for the Parish Priest to preside at parochial councils. They are to be considered invalid, and hence null and void, any deliberations entered into, (or decisions taken), by a parochial council which has not been presided over by the Parish Priest or which has assembled contrary to his wishes" (Article 5, § 3).

According to *The Priest, Pastor and Leader of the Parish Community*, the 2002 Instruction of the Sacred Congregation for the Clergy, "The basic task of such a council is to serve, at institutional level, the orderly collaboration of the faithful in the development of pastoral activity which is proper to priests. The pastoral council is thus a consultative organ in which the faithful, expressing their baptismal responsibility, can assist the parish priest, who presides at the council, by offering their advice on pastoral matters. The lay faithful ought to be ever more convinced of the special meaning that their commitment to the apostolate takes on in their parish; hence it is necessary to have a more convinced, extensive and decided appreciation for 'Parish Pastoral Councils'. There are clear reasons for such: In the present circumstances the lay faithful have the ability to do very much and, therefore, ought to do very much towards the growth of an authentic ecclesial communion in their parishes in order to reawaken missionary zeal towards nonbelievers and believers themselves who have abandoned the faith or grown lax in the Christian life".

"All of the faithful have the right, sometimes even the duty, to make their opinions known on matters concerning the good of the Church. This can happen through institutions which have been established to facilitate that purpose: \[...\]the pastoral council can be a most useful aid...providing proposals and suggestions on missionary, catechetical and apostolic initiatives \[..\] as well as on the promotion of doctrinal formation and the sacramental life of the faithful; on the assistance to be given to the pastoral work of priests in various social and territorial situations; on how better to influence public opinion etc. The pastoral council is to be seen in relation to the context of the relationship of mutual service that exists between a parish priest and his faithful. It would therefore be senseless to consider the pastoral council as an organ replacing the parish priest in his government of the parish, or as one which, on the basis of a majority vote, materially constrains the parish priest in his direction of the parish."

## United States

In American Roman Catholic parishes, the **parish council** arose after Vatican II in the new era of lay participation in parish decision making. It was a response to the Vatican II Decree on the Apostolate of Lay People (Apostolicam actuositatem, par. 26). This decree, published in 1965, recommended the establishment of councils at all levels of the Catholic Church (including the parish) with one purpose, namely, to assist in the Church's "apostolate" or mission. The decree also said that such apostolic councils "may coordinate" lay initiatives, so long as they do not interfere with the autonomy of such initiatives. Many Catholics throughout the world interpreted the decree as calling for parish councils that would coordinate parish committees or commissions. This was the genesis of the "parish council".

### Development into pastoral councils

In 1983, the revised Code of Canon Law was published. It did not refer to par. 26 of the Decree on the Laity, nor did it speak of "apostolic" councils or "parish councils" per se. Instead, in canon 536, it recommended (but did not mandate) "pastoral" councils at the parish level \[see the article on "pastoral" councils\].

The idea of the "pastoral" council had its genesis in the 1965 Vatican II Decree on Bishops (Christus Dominus, par. 27). This decree recommended "pastoral" councils at the diocesan level (but not at the parish level). Canon 536 applied the "pastoral" council idea to parishes. The "pastoral" council (according to the decree) has a threefold purpose. It (1) investigates pastoral matters, (2) ponders or reflects on them, and (3) reaches conclusions, conclusions that are recommended to the pastor. When the new Code was promulgated, it clarified the identity of what had hitherto been called the "parish" councils. These councils were now "parish pastoral" councils with a "consultative only" vote.

### Threefold purpose

Canon 536 (which recommends parish pastoral councils) defines the purpose of councils in an extremely brief way. It says that they "give their help in fostering parish activity." Canon 536 does not mention the threefold task of the pastoral council – the task of investigating, reflecting, and reaching conclusions – but canon 511 does (in a reference to diocesan pastoral councils).

Four other Vatican documents define the "pastoral" councils in terms of this threefold task (Paul VI, "Ecclesiae Sanctae I," no. 16; the 1971 Synod of Bishops' "The Ministerial Priesthood," art 2, II, section 3; the 1973 "Directory on the Pastoral Ministry of Bishops," no. 204; and the 1973 "Circular Letter on 'Pastoral Councils'" by the Sacred Congregation for the Clergy, no 9). Those who read canon 536 without referring to these other Vatican documents that speak of the "pastoral" council may not realize that investigating, pondering, and reaching conclusions is precisely what defines the pastoral council.

### Confusion with "pastoral" councils

Parish councils are sometimes mistakenly distinguished from parish pastoral councils, as if the two were separate parish entities. The first parish councils were, properly speaking, "apostolate" councils of the type recommended in the Decree on Laity, par. 26. When the Code of Canon Law was revised, it did not refer to apostolate councils, but called for pastoral councils.

Those who do not know about the development of the "pastoral" council idea in the Vatican documents of 1971, 1973, and 1984 may mistakenly believe that the "parish" councils that emerged immediately after Vatican II are separate from pastoral councils. They may wrongly suppose that "parish" councils are bureaucratically structured decision-making bodies, independent of the pastor, that oversee such parish matters as the annual plan, schedule and budget, capital improvements, and the like. But councils do not make decisions independently of the pastor and have a consultative vote only.

* Mark F. Fischer, *Pastoral Councils in Today's Catholic Parish* (Mystic, CT: Twenty-Third Publications - Bayard, 2001), ISBN 1-58595-168-4.


title: Pastoral elegy

abstract:
The pastoral elegy is a poem about both death and idyllic rural life. Often, the pastoral elegy features shepherds. The genre is actually a subgroup of pastoral poetry, as the elegy takes the pastoral elements and relates them to expressing grief at a loss. This form of poetry has several key features, including the invocation of the Muse, expression of the shepherd's, or poet's, grief, praise of the deceased, a tirade against death, a detailing of the effects of this specific death upon nature, and eventually, the poet's simultaneous acceptance of death's inevitability and hope for immortality. Additional features sometimes found within pastoral elegies include a procession of mourners, satirical digressions about different topics stemming from the death, and symbolism through flowers, refrains, and rhetorical questions.
The pastoral elegy is typically incredibly moving and in its most classic form, it concerns itself with simple, country figures. In ordinary pastoral poems, the shepherd is the poem's main character. In pastoral elegies, the deceased is often recast as a shepherd, despite what his role may have been in life. Further, after being recast as a shepherd, the deceased is often surrounded by classical mythology figures, such as nymphs, fauns, etc. Pastoral elegy is one of the forms of poems in Elizabethan poetry.

text:
# Pastoral elegy

The **pastoral elegy** is a poem about both death and idyllic rural life. Often, the pastoral elegy features shepherds. The genre is actually a subgroup of pastoral poetry, as the elegy takes the pastoral elements and relates them to expressing grief at a loss. This form of poetry has several key features, including the invocation of the Muse, expression of the shepherd's, or poet's, grief, praise of the deceased, a tirade against death, a detailing of the effects of this specific death upon nature, and eventually, the poet's simultaneous acceptance of death's inevitability and hope for immortality. Additional features sometimes found within pastoral elegies include a procession of mourners, satirical digressions about different topics stemming from the death, and symbolism through flowers, refrains, and rhetorical questions. The pastoral elegy is typically incredibly moving and in its most classic form, it concerns itself with simple, country figures. In ordinary pastoral poems, the shepherd is the poem's main character. In pastoral elegies, the deceased is often recast as a shepherd, despite what his role may have been in life. Further, after being recast as a shepherd, the deceased is often surrounded by classical mythology figures, such as nymphs, fauns, etc. Pastoral elegy is one of the forms of poems in Elizabethan poetry.

## Explanation of the elegy

An elegy is a meditative lyric poem that has a very mournful and melancholy tone. It is usually written to mourn the death of a close friend or loved one, but also occasionally mourns humanity as a whole. Although this form of poetry reflects on the notion of death, it is not to be confused with a “eulogy,” which is a speech that gives tribute to a person, usually after the person has died.

Originally, in Greek and Roman poetry, an elegy was a poem written in elegiac verse, which included couplets consisting of a hexameter line followed by a pentameter line. A hexameter line contains six metrical feet while a pentameter line contains five metrical feet. Dating back to the 7th century BC, the elegy was used to write about various topics, including love, lamentation, and politics. This form of poetry was widely used by poets such as Archilochus, Mimnermus, Tytraeus, Catullus, and Ovid.

In English literature, it was not until the 16th century that the term “elegy” began to refer to the content of the poem as opposed to the metrical form of the poem. Since then, the term elegy usually refers to a meditative poem of lamentation with no set metrical form. Examples of modern elegies include Walt Whitman's "When Lilacs Last in the Dooryard Bloom'd,” which reflects on the death of Abraham Lincoln, and Thomas Gray's "Elegy Written in a Country Churchyard", which mourns humanity as a whole. Other examples include e e cumming's “my father moved through dooms of love,” John Peale Bishop's “Hours,” A E Housman'sTo an Athlete Dying Young,” and W H Auden's “In Memory of W.B. Yeats."

## Explanation of Pastoral poetry

Pastoral poetry is a genre that typically relates to country/rural life and often depicts the lives of shepherds. This sort of poetry describes the simple and pure lives of shepherds, who exist free from the corruptions of city life. Rural life is depicted as being “pure” in pastoral poetry and is usually idealized. The most common themes that are written about in pastoral poetry are love and death, although religion, politics, and other social issues are common as well. Often, the poet and his friends are represented by the characters in the poem. Through these characters, the poet expresses his or her own social, moral, political, and literary views.

Pastoral poetry was first introduced by the Greek poet Theocritus in his Idylls. Set in the countryside, his poems reflect on folk traditions and involve dialogue between shepherds. This style of poetry was later adapted by the Roman poet Virgil, who frequently set his poems in Arcadia. Over time, the genre was adapted by a variety of different poets to include various themes, including romance, drama, courtship, seduction, and death. One of the most popular subgroups of pastoral poetry is the elegy, in which the poet mourns the death of a friend, often a fellow shepherd.

Eventually, pastoral poetry became popular among English poets, especially through Edmund Spenser's “The Shepherd’s Calendar,” which was published in 1579. One of the most famous examples of pastoral poetry is John Milton's “Lycidas.” Written in 1637, the poem is written about Edward King, a fellow student of Milton's who had died.

## Historical overview

**History of pastoral poetry**

Pastoral elegy, a subcategory of the elegy form of poetry, has its roots in Hellenistic Greek poetry of the 3rd and 2nd centuries BCE. Pastoral poetry itself, which deals heavily with shepherds and other forms of rustic life, dates back to the 3rd century BC when Theocritus, a Greek poet, wrote his idylls about rustic life in Sicily. The Roman poet Virgil was known for writing poems that depicted his sophisticated colleagues and himself as shepherds in simple, rustic settings. Virgil was also the first poet to set his elegies in Arcadia, a favorite location of pastoral literature to come. Developed over centuries, pastoral elegies mourn a subject by representing the mourner and the subject as shepherds. Shakespeare and his contemporaries were known to imitate some of the conventions of traditional pastoral poetry, and many hundreds of years later, the pastoral elegy was still practiced by 19th-century Romantic and Victorian poets.

**History of elegies**

In classic literature, an elegy was simply any poem written in elegiac meter and was not restricted by its subject. Elegiac meter was considered alternating lines of dactylic hexameter and pentameter. Most classical elegies were actually love poems, not laments. In English literature since the 16th century CE, the elegy has come to mean specifically a poem of lamentation. Additionally, it may be written in any meter the poet chooses.

**Key poets who shaped the genre**

After Theocritus' first idyll (early 3rd century BCE), the earliest Greek pastoral elegy is Bion of Smyrna's poem lamenting the death of the mythological figure Adonis. The next earliest example is by an anonymous author, probably of the 1st century BCE, lamenting the death of Bion; this poem has sometimes been attributed to the Hellenistic poet Moschus.

Virgil's "Eclogue 5," written in the 1st century BCE, is the most imitated ancient model of the pastoral elegy. Virgil has two shepherd-poets, Mopsus and Menalcus, commemorate their dead friend and fellow poet Daphnis. Mopsus first laments Daphnis as a godlike figure whose death has caused all of nature to mourn (a pathetic fallacy conventional in pastoral elegies). Mopsus concludes his lament, however, by immortalizing Daphnis with the epitaph “known from here unto the stars” (line 43). Menalcas then describes Daphnis’ deification and nature's rejoicing and praise for Daphnis’ generosity—he is now a tutelary spirit for the pastoral world. Virgil provides hints that Daphnis represents Julius Caesar. Christians also interpreted Daphnis’ death and deification as an allegory of Christ. "Eclogue 5" thus became a model for elegies for public figures and for Christian celebrations of death and resurrection.

Some say the best known elegy in English is "Elegy Written in a Country Churchyard," by Thomas Gray, a well-known English poet. This elegy discusses the actual condition of death, not just the death of a single individual. John Milton’s "Lycidas," considered the most famous pastoral elegy, mourns the death of the poet’s good friend Edward King. In the 17th century, John Donne, a contemporary of Milton’s, explored the genre further and addressed matters of human love, which to his metaphysically inclined mind often resembled death.

In the English language some of the greatest pastoral elegies are "Adonaïs" by Percy Bysshe Shelley, which mourns the death of poet John Keats, and "Thyrsis" by Matthew Arnold, which mourns the poet Arthur Hugh Clough. In 17th century England, Andrew Marvell was a great exponent of the pastoral form, contributing such works as "The Nymph Complaining for the Death of her Faun." In this poem, a nymph or spirit of nature speaks an elegy for her dead pet deer.

**The pastoral elegy in contemporary poetry**

Pastoral elegy poetry flourished in Europe between the Renaissance and the 19th century. However, modern poets, such as J.V. Cunningham and Alan Dugan, have re-imaged the elegy in both subject and form, and pastoral elegies have recently shown up in more satirical forms. However, other modern poets, such as William Carlos Williams and W. H. Auden, have written poems that maintain the traditional form and features of the pastoral elegy. Andrew Hudgins has an interesting elegy in which he mourns the lonely gap that exists between him and his still-living father.

The poem is considered an elegy in the original sense of the Greek word elegeia, because it laments the fact that the father and son diverge in life, so they will most likely diverge in death as well. Though in its prime, the pastoral elegy had wide appeal, it is now sometimes considered dead.

## Examples of definitive pastoral elegies

**“Lycidas”**

Written by John Milton, "Lycidas" is a pastoral elegy that first appeared in a 1638 collection of elegies in English and Latin entitled *Justa Edouardo King Naufrago*. Lycidas serves as Milton's commemoration of his Cambridge college mate, Edward King, who drowned when his ship sank off the coast of Wales in August 1637.

In the poem, Milton gives King the name Lycidas, a common name for shepherds in the pastoral poetry of both Theocritus and Virgil. King was both a poet and an aspiring minister, who had died on his way to Ireland to take up a religious posting. Milton uses the shepherd's traditional association with both the poet and the minister to portray the death of King as a grievous waste of poetic and spiritual potential. Milton's persona is the "uncouth swain," a rustic shepherd with lofty poetic aspirations. The poet engages intensely with the pastoral tradition as he works through the crisis King's death evidently posed for him, considering the similarities between Milton and King.

In its opening, "Lycidas" reflects the typical pastoral image of nature and country life tarnished by death. The swain describes seeing laurels and “Myrtle brown, with ivy never-sear,” an image of peace and tranquility that is disturbed when the speaker announces the death of Lycidas. This marks the beginning of the elegy and its subsequent presence throughout the poem. The poem rehearses the typical conventions of the pastoral elegy: nature's lament, the questioning of nymphs, repeated invocations of the muses, descriptions of flowers, and an apotheosis of the deceased. A series of other speakers interrupt the swain's mourning to interject their own thoughts and concerns into the poem. These speakers include Phoebus, the classical sun god, who also represents poetry; and "the pilot of the Galilean Sea," St. Peter, whose "dread voice" momentarily banishes the pastoral mood of the poem while prophesying against the "corrupted clergy" of the Laudian church in England. The balance between conventional pastoral imagery and these other elements has, over time, created the impression that *Lycidas* is one of the most innovative pastoral elegies.

In "The Life of Milton," the 18th-century literary critic and polymath Samuel Johnson infamously called the pastoral form "easy, vulgar, and therefore disgusting," and said of "Lycidas":

It is not to be considered as the effusion of real passion; for passion runs not after remote allusions and obscure opinions. Passion plucks no berries from the myrtle and ivy, nor calls upon Arethuse and Mincius, nor tells of rough satyrs and fauns with cloven heel. Where there is leisure for fiction there is little grief.

Johnson was reacting to what he saw as the irrelevance of the pastoral idiom in Milton's age and his own, and to its ineffectiveness at conveying genuine emotion. Johnson said that conventional pastoral images—for instance, the representation of the speaker and the deceased as shepherds—were "long ago exhausted," and so improbable that they "always forces dissatisfaction on the mind." Johnson also criticized the blending of Christian and pagan images and themes in "Lyciads," which he saw as the poem's "grosser fault." He said "Lycidas" positions the “trifling fictions” of “heathen deities—Jove and Pheobus, Neptune and Æolus” alongside “the most awful and sacred truths, such as ought never to be polluted with such irreverend combinations.

Johnson concludes: "Surely no man could have fancied that he read *Lycidas* with pleasure had he not known its author."

**“Adonaïs”**

Percy Bysshe Shelley's *Adonaïs* is a pastoral elegy written by Shelley immediately after hearing about the death of John Keats. The elegy is 495 lines long, consisting of a total of 55 Spenserian stanzas. *Adonaïs* was composed during the spring of 1821 and was eventually published in July 1821. Studying the works of many classical pastoral elegies himself, Shelley admired Milton's poetic voice and form in *Lycidas*. Thus, Shelley composed *Adonaïs* specifically in the tradition of Milton's *Lycidas*

Introduced to each other by their mutual friend Leigh Hunt in late 1816, Shelley and Keats often exchanged letters of advice about their works of poetry. With the maturation of Keats's genius, Shelly eventually became a devout and enthusiastic admirer of Keats. Keats's eventual illness, believed by Shelley to be directly related to the harsh criticism and negative reviews of Keats's poetry, prompted Shelley to invite Keats to stay with him in Italy. Keats declined Shelley's request, traveling instead with his companion Joseph Severn. Later proven to be suffering from tuberculosis, Keats died on February 23, 1821. Mourning the death of his friend, Shelley's grief is captured in the first stanza of the poem where the death of Adonaïs, who represents Keats, is announced. Shelley's grief is also palpable in the subsequent mourning:

> "I weep for Adonaïs - he is dead!
>
> Oh, weep for Adonaïs! though our tears Thaw not the frost which binds so dear a head! And thou, sad Hour, selected from all years To mourn our loss, rouse thy obscure compeers, And teach them thine own sorrow, say: ‘With me Died Adonaïs; till the Future dares Forget the Past, his fate and fame shall be
>
> An echo and a light unto eternity!"

***Thyrsis***

Written by Matthew Arnold in December 1865, *Thyrsis* is a personal elegy that mourns the death of Matthew's friend Arthur Hugh Clough. Clough died in November 1861 at the age of 42. The poem's plot revolves around the main character Thyrsis, a shepherd in Virgil's seventh Eclogue, who loses a singing match against Corydon. Matthew Arnold's character Thyrsis represents Matthew's friend Arthur Clough. Keeping with the tradition of pastoral elegy poetry, Arnold displays pastoral elements in the poem as he describes the nature surrounding Oxford.

## Brief summaries of literary criticisms

**Literary criticism on Pastoral Literature in the English Renaissance**

The pastoral is a literary style that presents a conventionalized picture of rural life, the naturalness and innocence of which is seen in contrast to the corruption and artificiality of city and court. Although pastoral works are written from the point of view of shepherds or rustics, they are always penned by highly sophisticated, urban poets. Some of the criticism towards this genre stems from its tensions between nature and art, the real and the ideal, and the actual and the mythical. English Renaissance pastoral has classical roots, but contains distinctly contemporary English elements, including humanism, sentimentality, depictions of courtly reality, a concern with real life, and the use of satire and comedy

**Literary Criticism on Milton's *Lycidas***

> "One way of describing more precisely that sense of mingled familiarity and strangeness is to consider what Milton has done with the most formal and conspicuous of the devices by which the pastoral elegist places sorrow: the frame. Some Renaissance elegists (among them Sannazaro, Marot, and Spenser) continue in the classical manner, framing the sorrowful lament within a dialogue between two happier, or at least more detached, herdsmen. Others (as Castiglione and Scève) expose their speakers’ sufferings to our more immediate view by dispensing with the frame altogether. And still others (as Petrarch and Boccaccio) convey sorrow’s gradual encroachment by placing it in a sweet, framing world at the outset but then permitting that world to merge with the world of lament at the close. Milton is, to my knowledge, the only pastoral elegist to dispense with the opening frame while retaining the closing one. And the effect of this maneuver is to reveal the elegist only gradually discovering through the course of the poem itself those assurances of order traditionally conferred by the frame: the poise, the detachment, the knowledge that our sorrows have a place in nature’s world of death and regeneration. We can no longer assume these things at the start. The happy outcome of this elegist’s journey toward his consolation must remain in doubt right up to the final stage of that journey. Milton’s handling of the frame epitomizes his handling of the convention as a whole and his synthesis of the two main Renaissance approaches to the tradition. He brings the self-consciousness, the isolation of the Petrarchan elegist, or of Scève’s Arion on his lonely shore, home to his own version of that consoling pastoral landscape rediscovered and revitalized by Sannazaro, Marot, Ronsard, and Spenser. Milton brings the anguish and singularity of an individual mourner’s grief into nature’s round and into the consolations of an aesthetic order. But he brings them in gradually and not without a struggle."

Ellen Lambert

## Bibliography

* "Glossary of Poetic Terms, Letter E". Retrieved 18 Mar 2013.
* C. John Holcombe (2004–2012). "ANALYZING THE PASTORAL ELEGY". Retrieved 18 Mar 2013.
* "John Keats". Retrieved 18 Mar 2013.
* G Kim Blank & Margot K. Louis, eds. (1993). *Influence and Resistance in Nineteenth-Century English Poetry*. Palgrave Macmillan. ISBN 978-0312102111.


title: Pastoral lease

abstract: A pastoral lease, sometimes called a pastoral run, is an arrangement used in both Australia and New Zealand where government-owned Crown land is leased out to graziers for the purpose of livestock grazing on rangelands.

text:
# Pastoral lease

A **pastoral lease**, sometimes called a **pastoral run**, is an arrangement used in both Australia and New Zealand where government-owned Crown land is leased out to graziers for the purpose of livestock grazing on rangelands.

## Australia

### Historical background

In the Australian states and territories, leases constitute a land apportionment system created in the mid-19th century to facilitate the orderly division and sale of land to European colonists. Legislation ensured that certain Aboriginal rights were embodied in pastoral leases. However, according to historian Henry Reynolds, several colonial leaders ran roughshod over these rights, including Sir John Downer (when the Northern Territory was governed by the colonial government of South Australia); Sir John Forrest in the colony of Western Australia; and Sir Samuel Griffith in Queensland.

### Today

Pastoral leases exist in both Australian commonwealth law and state jurisdictions. They do not give all the rights that attach to freehold land: there are usually conditions which include a time period and the type of activity permitted. According to Austrade, such leases cover about 44% of mainland Australia (3,380,000 km2 (1,310,000 sq mi)), mostly in arid and semi-arid regions and the tropical savannahs. They usually allow people to use the land for grazing traditional livestock, but more recently have been also used for non-traditional livestock (such as kangaroos or camels), tourism and other activities. Management of the leases falls mainly to state and territory governments. Leases within state jurisdictions have variations as to applicability from state to state.

Under Commonwealth of Australia law, applicable only in the Northern Territory, they are agreements that allow for the use of Crown land by farmers.

Native title can co-exist with pastoral leases, and Indigenous land use agreements may be made between the leaseholder and the affected native title group.

#### Relevant legislation and management

Australian jurisdictions have land management legislation that affects the administration of pastoral leases. As of November 2023 the legislation and management arrangements are as follows:

## New Zealand

The statutory provisions of pastoral leases are covered by the New Zealand *Crown Pastoral Land Act 1998* and the *Land Act 1948*. The holder of the lease has:

* the exclusive right of pasturage
* a perpetual right of renewal of the lease for terms of 33 years
* no right to the soil, and
* no right to acquire the fee simple of any of the land.

## Further reading

* Alick, Terrence (Terrence J.); Alick, Rosemary; Queensland. Department of Natural Resources (2010), *Atlas of Queensland and Northern Territory pastoral stations etc* (8th ed.), Terrence Alick Mapping Services, ISBN 978-0-9756998-2-9
* Queensland. Land Administration Commission (1989), *Index of pastoral leases*, Brisbane, retrieved 6 September 2014 (Queensland)
* Donovan, P. F (1995), *In the interest of the country: a history of the Pastoral Board of South Australia, 1893–1993*, Pastoral Management Branch of the South Australian Department of Environment and Natural Resources, ISBN 978-0-646-26803-3


title: Filippo Reef

abstract: Filippo Reef is a reef that is asserted to be in the Pacific Ocean at 05°30′S 151°50′W, 450 kilometres (280 mi) east of Starbuck Island in the Line Islands. The reef was reported by the master of the Italian barque Filippo as having been seen on 28 June 1886. From an unidentified report of breakers dated 1926, it was estimated to have a water depth of only 0.6 to 0.9 metres, and appeared to be about 1.6 kilometres (1.0 mi) long northwest to southeast, and less in width. The only sighting referenced shows a date of 1926. The topographic data supplied by the General Bathymetric Chart of the Oceans (GEBCO), however, shows a sea depth of 3.3 miles (5.3 km). It is therefore likely that this 1926 report is an error, and that Filippo Reef is a phantom island, and that therefore any maps showing it are relying on the 1926 report and are also in error. Nevertheless, it is marked in the 2015 edition of the National Geographic Atlas of the World.

text:
# Filippo Reef

**Filippo Reef** is a reef that is asserted to be in the Pacific Ocean at 05°30′S 151°50′W / 5.500°S 151.833°W / -5.500; -151.833, 450 kilometres (280 mi) east of Starbuck Island in the Line Islands. The reef was reported by the master of the Italian barque *Filippo* as having been seen on 28 June 1886. From an unidentified report of breakers dated 1926, it was estimated to have a water depth of only 0.6 to 0.9 metres (2 to 3 ft), and appeared to be about 1.6 kilometres (1.0 mi) long northwest to southeast, and less in width.

The only sighting referenced shows a date of 1926. The topographic data supplied by the General Bathymetric Chart of the Oceans (GEBCO), however, shows a sea depth of 3.3 miles (5.3 km). It is therefore likely that this 1926 report is an error, and that Filippo Reef is a phantom island, and that therefore any maps showing it are relying on the 1926 report and are also in error.

Nevertheless, it is marked in the 2015 edition of the *National Geographic Atlas of the World*.

## InfoBox

| Filippo Reef | |
| --- | --- |
| Filippo Reef and the Line Islands. | |
| In-universe information | |
| Type | Phantom island |


title: Passione (company)

abstract: Passione Co., Ltd. is a Japanese animation studio founded in 2011.

text:
# Passione (company)

**Passione Co., Ltd.** (Japanese: 株式会社パッショーネ, Hepburn: *Kabushiki-gaisha Passhōne*) is a Japanese animation studio founded in 2011.

## History

Passione was founded on January 26, 2011 by Kazuhiro Saitō, former production manager of Studio Fantasia.

On July 24, 2022, publisher MF Bunko J announced that Passione would produce the anime adaptation of the light novel series *The Demon Sword Master of Excalibur Academy*, with Hiroyuki Morita and Yuji Nomi revealed in March 2023 to be the series director and composer, respectively. The series is Morita and Nomi's first collaboration and television work in over a decade, having previously worked together on *The Cat Returns* (2002) under Studio Ghibli and *Bokurano* (2007) under Gonzo.

Passione, alongside anime studios Hayabusa Film and Saetta, currently operates an anime themed bar in Osaka named "Anime Cafe&Bar CUE LAMP", which opened on April 10, 2023.

## Works

### Television series

| # | Title | Series director(s) | Series writer(s) | Year(s) | Network | Co-production(s) | Notes |
| --- | --- | --- | --- | --- | --- | --- | --- |
| 2010s | | | | | | | |
| 1 | *Haitai Nanafa* | Hiroshi Kimura | Kenji Konuta | 2012–2013 | QAB |  |  |
| 2 | *Rail Wars!* | Yoshifumi Sueda | Masashi Suzuki | 2014 | TBS |  |  |
| 3 | *Rokka: Braves of the Six Flowers* | Takeo Takahashi | Tatsuhiko Urahata | 2015 | MBS |  |  |
| 4 | *Hinako Note* | Takeo Takahashi
Tooru Kitahata | Tatsuhiko Urahata | 2017 | AT-X |  |  |
| 5 | *Citrus* | Takeo Takahashi | Naoki Hayashi | 2018 | AT-X |  |  |
| 6 | *High School DxD Hero* | Yoshifumi Sueda | Kenji Konuta | 2018 | AT-X |  | Season four of *High School DxD* |
| 7 | *Wasteful Days of High School Girls* | Takeo Takahashi
Hijiri Sanpei | Masahiro Yokotani | 2019 | AT-X |  |  |
| 8 | *Z/X Code reunion* | Yoshifumi Sueda | Tatsuhiko Urahata | 2019 | Tokyo MX |  |  |
| 2020s | | | | | | | |
| 9 | *Interspecies Reviewers* | Yuki Ogawa | Kazuyuki Fudeyasu | 2020 | AT-X |  |  |
| 10 | *Higurashi: When They Cry – Gou* | Keiichiro Kawaguchi | Naoki Hayashi | 2020–2021 | Tokyo MX
BS11 |  |  |
| 11 | *Higurashi: When They Cry – Sotsu* | Keiichiro Kawaguchi | Naoki Hayashi | 2021 | Tokyo MX
BS11 |  |  |
| 12 | *Mieruko-chan* | Yuki Ogawa | Kenta Ihara | 2021 | AT-X
Tokyo MX
KBS Kyoto
SUN
BS NTV |  |  |
| 13 | *Harem in the Labyrinth of Another World* | Naoyuki Tatsuwa | Kurasumi Sunayama | 2022 | AT-X
Tokyo MX |  |  |
| 14 | *Love Flops* | Nobuyoshi Nagayama | Ryō Yasumoto | 2022 | AT-X
Tokyo MX
KBS Kyoto
SUN
BS11 |  |  |
| 15 | *Yuri Is My Job!* | Hijiri Sanpei | Naoki Hayashi | 2023 | AT-X
Tokyo MX | Studio Lings |  |
| 16 | *The Demon Sword Master of Excalibur Academy* | Hiroyuki Morita | Kunihiko Okada | 2023 | TV Tokyo
BS Fuji |  |  |
| 17 | *Ishura* | Takeo Takahashi
Yuki Ogawa | Kenta Ihara | 2024 | Tokyo MX
BSNTV | Sanzigen (CG animation) |  |
| 18 | *Spice and Wolf: Merchant Meets the Wise Wolf* | Takeo Takahashi
Hijiri Sanpei | Tatsuhiko Urahata
Yukito Kizawa
Yuki Nekota | 2024 | TV Tokyo |  |  |
| 19 | *Loner Life in Another World* | Akio Kazumi | Kenta Ihara | 2024 | TBA | Hayabusa Film
Frontier Engine (Production cooperation) |  |
| 20 | *From Old Country Bumpkin to Master Swordsman* | Akio Kazumi | Kunihiko Okada | 2025 | TBA | Hayabusa Film |  |
| TBA | *Chained Soldier* (season 2) | Masafumi Tamura | TBA | TBA | TBA |  |  |
| TBA | *Nukitashi the Animation* | Nobuyoshi Nagayama | Kenta Ihara | TBA | TBA |  |  |

| Title | Director(s) | Year(s) | Network | Notes |
| --- | --- | --- | --- | --- |
| *Rinshi!! Ekoda-chan* | Takeo Takahashi | 2019 | Tokyo MX | Episode 9 only |

### Original video animation

| Year | Title | Director(s) | Eps. | Note(s) | Refs. |
| --- | --- | --- | --- | --- | --- |
| 2018 | *God Eater Rezo Nantoka Gekijou* | Paraco Sasahara | 8 | Co-production with Creators in Pack |  |
| 2019 | *The Island of Giant Insects* | Takeo Takahashi
Naoyuki Tatsuwa | 1 | Later expanded into a feature-length film |  |
| 2021 | *Bean Bandit* | Kenichi Sonoda | 1 | Based on Sonoda's 1989 OVA *Riding Bean* |  |

### Films

| Film | Release date | Director(s) | Writer(s) | Based on/Inspired by | Producer(s) | Composer(s) | Notes |
| --- | --- | --- | --- | --- | --- | --- | --- |
| *The Island of Giant Insects* | January 10, 2020 | Takeo Takahashi
Naoyuki Tatsuwa | Shigeru Morita | Manga by Yasutaka Fujimi | Tatsuya Ishiguro
Yūki Yamaoka
Jun Itō
Fumihiro Ozawa
Yukari Kuwayama | Akinari Suzuki
Nilsson Johannes |  |
| *Ōmuro-ke: Dear Sisters* | February 2, 2024 | Naoyuki Tatsuwa | Masahiro Yokotani | Manga by Namori |  | Yūsuke Shirato | Co-production with Studio Lings |
| *Ōmuro-ke: Dear Friends* | June 21, 2024 | Naoyuki Tatsuwa | Masahiro Yokotani | Manga by Namori |  | Yūsuke Shirato | Co-production with Studio Lings |

1. 企業情報 (in Japanese). Passione official website. April 2013.
2. Hodgkins, Crystalyn (July 24, 2023). "Passione Animates The Demon Sword Master of Excalibur Academy TV Anime". *Anime News Network*. Passione Animates The Demon Sword Master of Excalibur Academy TV Anime. Retrieved October 9, 2023.
3. Hazra, Adriana (March 25, 2023). "The Demon Sword Master of Excalibur Academy TV Anime Reveals Staff, Streams New Promo Video". *Anime News Network*. Anime News Network LLC. Retrieved October 9, 2023.
4. Loo, Egan (November 25, 2012). "One Piece Episode of Luffy: Hand Island no Bōken Ad Aired". *Anime News Network*. Anime News Network LLC. Retrieved October 9, 2023. Hiroyuki Morita and Mitsuru Hongo are co-directing the special...
5. Loo, Egan (June 25, 2012). "Suki-tte Ii na yo. Anime's Cast, Staff Revealed". *Anime News Network*. Anime News Network LLC. Retrieved October 9, 2023. ...and Yuuji Nomi \[...\] is handling the music.
6. MacDonald, Christopher (December 4, 2006). "Bokurano Anime". *Anime News Network*. Anime News Network LLC. Retrieved October 9, 2023.
7. "「Anime Cafe&Bar CUE LAMP（アニメ カフェバー キューランプ）」 4月10日（月）OPEN！ | AnimeCafeBar キューランプ" (in Japanese). 2023-04-08. Retrieved 2024-07-05.
8. 作品 (in Japanese). Passione official website.
9. "Citrus Anime's 1st Promo Video Reveals Staff, More Cast, January Premiere". *Anime News Network*. Retrieved January 27, 2018.
10. "High School DxD Anime's 4th Season Reveals Title, Staff, 2018 Premiere". *Anime News Network*. Retrieved January 27, 2018.
11. "Wasteful Days of High School Girl Anime Reveals July 5 Premiere". *Anime News Network*. Retrieved June 10, 2019.
12. "Z/X Code reunion Anime Reveals Staff, Fall 2019 Debut Plans". *Anime News Network*. Retrieved February 7, 2018.
13. "Interspecies Reviewers Manga Gets TV Anime in Winter 2020". *Anime News Network*. Retrieved June 27, 2019.
14. "New Higurashi: When They Cry Anime's Video Unveils Returning Cast, Staff, July TV Premiere". *Anime News Network*. March 21, 2020. Retrieved March 21, 2020.
15. Friedman, Nicholas (October 8, 2020). "Higurashi: When They Cry Scores Special Commissioned Key Visual, "True" Anime Title". *Funimation*. Retrieved October 8, 2020.
16. "Higurashi: When They Cry Franchise Continues With SOTSU TV Anime in July". *Anime News Network*. March 18, 2021. Retrieved March 18, 2021.
17. "Mieruko-chan Horror Comedy Manga Gets TV Anime This Year". *Anime News Network*. March 17, 2021. Retrieved March 17, 2021.
18. "Isekai Meikyū de Harem o Anime Reveals Cast, Staff, July Debut". *Anime News Network*. March 24, 2022. Retrieved March 24, 2022.
19. "Love Flops Anime's 1st Promo Video Reveals October Debut". *Anime News Network*. July 26, 2022. Retrieved July 26, 2022.
20. "Yuri Is My Job! Anime Reveals 4 More Cast Members, 2023 Debut". *Anime News Network*. November 11, 2022. Retrieved November 11, 2022.
21. "The Demon Sword Master of Excalibur Academy Anime Reveals 2nd Video, More Cast, Staff, Theme Songs, October Debut". *Anime News Network*. July 23, 2023. Retrieved July 23, 2023.
22. "Ishura Anime's 2nd Teaser Reveals More Cast, Staff, January 2024 Debut". *Anime News Network*. July 16, 2023. Retrieved July 16, 2023.
23. Harding, Daryl (June 29, 2023). "Spice and Wolf's New Anime Project to Broadcast in 2024". *Crunchyroll*. Retrieved June 29, 2023.
24. 「ひとりぼっちの異世界攻略」放送は10月から、追加キャスト5人とティザーPV公開. *Comic Natalie* (in Japanese). Natasha, Inc. April 21, 2024. Retrieved April 21, 2024.
25. "Shigeru Sagazaki's From Old Country Bumpkin to Master Swordsman Light Novels Get TV Anime in April 2025". *Anime News Network*. August 1, 2024. Retrieved August 1, 2024.
26. "Chained Soldier Anime's 2nd Season Reveals New Staff, Studio". *Anime News Network*. July 21, 2024. Retrieved July 21, 2024.
27. "Nukitashi The Animation Series Reveals Main Staff, Character Visuals". *Anime News Network*. July 21, 2024. Retrieved July 21, 2024.
28. "The Island of Giant Insects Survival Horror Manga Gets Anime DVD". *Anime News Network*. Retrieved December 26, 2018.
29. "Passione Works on Kenichi Sonoda's 'Project \[B.B\]' Anime". *Anime News Network*. Retrieved April 17, 2018.
30. @Anime\_ProjectBB (December 27, 2019). "I'm very sorry. We will deliver..." (Tweet)  via Twitter.
31. "The Island of Giant Insects Anime's Theatrical Film Version Reveals Promo Video, Visual, January 10 Premiere". *Anime News Network*. October 28, 2019. Retrieved October 28, 2019.
32. "Yuruyuri Spinoff Manga Ōmuro-ke Gets 2 Theatrical Anime in 2024". *Anime News Network*. August 3, 2023. Retrieved August 3, 2023.

## InfoBox

Passione Co., Ltd.
|
|  |
| Native name | 株式会社パッショーネ |
| Romanized name | Kabushiki-gaisha Passhōne |
| Company type | Kabushiki gaisha |
| Industry | Japanese animation |
| Founded | January 26, 2011 (2011-01-26) |
| Founders | Kazuhiro Saitō |
| Headquarters | Musashino, Tokyo, Japan |
| Key people | Kazuhiro Saitō (CEO)
Takeo Takahashi (director) |
| Total equity | ¥9,500,000 |
| Number of employees | 25 |
| Website | passione-anime.com |


title: Pat Donnellan

abstract: Pat Donnellan is an Irish former sportsperson. He played Gaelic football with his local club Dunmore McHales and was a member of the Galway senior inter-county team from 1960 until 1967. Donnellan is a member of a famous football dynasty from Galway. His father, Michael Donnellan, won an All-Ireland medal with Galway in 1925. Donnellan's brother, John, captained Galway to the All-Ireland title in 1964. His nephew, Michael Donnellan, won All-Ireland medals with Galway in 1998 and 2001.

text:
# Pat Donnellan

**Pat Donnellan** (born 1941 in Dunmore, County Galway) is an Irish former sportsperson. He played Gaelic football with his local club Dunmore McHales and was a member of the Galway senior inter-county team from 1960 until 1967.

Donnellan is a member of a famous football dynasty from Galway. His father, Michael Donnellan, won an All-Ireland medal with Galway in 1925. Donnellan's brother, John, captained Galway to the All-Ireland title in 1964. His nephew, Michael Donnellan, won All-Ireland medals with Galway in 1998 and 2001.

## InfoBox

Pat Donnellan
| Personal information | | | |
| --- | --- | --- | --- |
| Irish name | *Pádraig Ó Dónalláin* | | |
| Sport | Gaelic football | | |
| Position | Midfield | | |
| Born | 1941<br>Dunmore, County Galway | | |
| Height | 5 ft 8 in (1.73 m) | | |
| Club(s) | | | |
| Years | **Club** | | |
| 1950s-1970s | Dunmore McHales | | |
| Club titles | | | |
| Galway titles | 6 | | |
| Inter-county(ies) | | | |
| Years | **County** | | |
| 1960-1967 | Galway | | |
| Inter-county titles | | | |
| Connacht titles | 4 | | |
| All-Irelands | 2 | | |
| NFL | 1 | | |


title: Patagonia: Earth's Secret Paradise

abstract: Patagonia: Earth's Secret Paradise is a nature documentary series exploring the landscapes and wildlife of Patagonia. The series was broadcast in three parts in the United Kingdom, where it premiered on September and October 2015 on BBC Two and BBC Two HD.

text:
# Patagonia: Earth's Secret Paradise

***Patagonia: Earth's Secret Paradise*** is a nature documentary series exploring the landscapes and wildlife of Patagonia. The series was broadcast in three parts in the United Kingdom, where it premiered on September and October 2015 on BBC Two and BBC Two HD.

## Episodes

| No. | Title | Produced and directed by | Original air date |
| --- | --- | --- | --- |
| 1 | "Fire and Ice" | Tuppence Stone | 25 September 2015 (2015-09-25) |
| A glimpse at the rarely seen South American wilderness, home to a range of creatures from terrain as varied as the Andes to Cape Horn. Cameras reveal the secret lives of pumas and hummingbirds, soar with condors over glacial peaks and explore monkey puzzle forests dating back to the time of the dinosaurs. The extreme kayakers who gain thrills and excitement from traversing the area's raging waterfalls are observed, as are the native cowboys, known as gauchos, as they round up wild horses. | | | | |
| 2 | "Heat and Dust" | Nick Smith-Baker | 2 October 2015 (2015-10-02) |
| This episode follows the path of the relentless wind sweeping east through Patagonia's dry desert from the Andes' peaks. The programme reveals a weird world of maras—a large relative of the guinea pig—and penguins, and witnesses the first faltering steps of baby guanacos—Patagonia's very own camels. Cameras also observe the people who have taken on this inhospitable environment and carved out a home for themselves. | | | | |
| 3 | "Life on the Edge" | Evie Wright | 9 October 2015 (2015-10-09) |
| The final instalment looks at the 4,000-mile coast that stretches from the cold waters of Cape Horn—where rockhopper penguins overcome huge challenges to raise their young—to the far north's much warmer climate, where huge elephant seals battle for position in the heat of the desert. Orcas ram-raid the beaches, grabbing seal pups to feed their young, and fishermen are also incentivised to gather the sea's bounty. | | | | |

## Reception

A review in *The Guardian* wrote " It’s beautiful and moving and also sad. And that’s about right for Patagonia."

### Controversy

*The Independent* recalled that, as *The Observer* had revealed, "Impressive footage of a volcano eruption used in the *BBC* series*Patagonia: Earth’s Secret Paradise* has been revealed as fake." The BBC admitted the facts, but responded: "This particular sequence would be impossible to film in the wild."

## InfoBox

| *Patagonia: Earth's Secret Paradise* | |
| --- | --- |
| Series title card from UK broadcast | |
| Also known as | *Wild Patagonia* |
| Genre | Nature documentary |
| Narrated by | Santiago Cabrera |
| Composer | Will Slater |
| Country of origin | United Kingdom |
| Original language | English |
| No. of episodes | 3 |
| Production | |
| Executive producer | James Honeyborne |
| Production location | Patagonia |
| Running time | 59-60 minutes |
| Production companies |  |
| Original release | |
| Network | BBC Two
BBC Two HD |
| Release | 25 September (2015-09-25)
9 October 2015 (2015-10-09) |
| Related | |
|  | |


title: First Flight Baseball Complex

abstract: The TowneBank OBX Park at First Flight Athletic Complex is a baseball venue in Kill Devil Hills, North Carolina at First Flight High School. It is the home playing-field to the Outer Banks Daredevils of the Tidewater Summer League, a collegiate summer baseball league. The team, which was founded for the 1997 season, began playing at the field in the 2006 season. Prior, the Daredevils had played at Coy Tillett Memorial Field in Manteo, North Carolina. In 2018, the Daredevils temporarily relocated to Virginia Beach while the complex underwent renovation. Their temporary home venue was Lakewood Park in Norfolk, Virginia. The venue re-opened in 2020. The field street address is 111 Veterans Drive, Kill Devils Hills, North Carolina. The field's dimensions are 355 ft. down the foul lines, 368 ft. to the gaps, and 385 ft. to center field.

text:
# First Flight Baseball Complex

36°00′17″N 75°40′11″W / 36.004713°N 75.669751°W / 36.004713; -75.669751

The **TowneBank OBX Park at First Flight Athletic Complex** is a baseball venue in Kill Devil Hills, North Carolina at First Flight High School. It is the home playing-field to the Outer Banks Daredevils of the Tidewater Summer League, a collegiate summer baseball league. The team, which was founded for the 1997 season, began playing at the field in the 2006 season. Prior, the Daredevils had played at Coy Tillett Memorial Field in Manteo, North Carolina.

In 2018, the Daredevils temporarily relocated to Virginia Beach while the complex underwent renovation. Their temporary home venue was Lakewood Park in Norfolk, Virginia. The venue re-opened in 2020. The field street address is 111 Veterans Drive, Kill Devils Hills, North Carolina.

The field's dimensions are 355 ft. down the foul lines, 368 ft. to the gaps, and 385 ft. to center field.

1. About the Daredevils at obxdaredevils.com, URL accessed November 24, 2009. Archived 11/24/09
2. Outer Banks Daredevils Baseball Club Archived 2009-11-24 at the Wayback Machine at outerbanks.org, URL accessed November 24, 2009. 11/24/09


title: Fire United Christian F.C.

abstract: Fire United Christian Football Club was a football club based in Lewisham, London, England. They played at the Terence McMillan Stadium in Plaistow.

text:
# Fire United Christian F.C.

**Fire United Christian Football Club** was a football club based in Lewisham, London, England. They played at the Terence McMillan Stadium in Plaistow.

## History

The club was founded in 2012 as Fire United Christian by Gustavo Ferreira, and is owned by the Yehoshua Ministries, a Christian group of which Ferreira is the founder. The club has a Christian ethos, with the club's motto being "Worthy are you, our Lord and God, to receive glory and honor and power", which appears on the club badge. The club mainly contains players from the Brazilian community in London. They joined Division One Central & East of the Middlesex County League for the 2012–13 season. In 2013–14 the club were runners-up in the division. However, they finished bottom of the table the following season, and were inactive in 2015–16. After returning to Division One Central & East for the 2016–17 season, they won the Jim Rogers President's Division One Cup in 2017–18. The club subsequently successfully applied to join the new Division One South of the Eastern Counties League. The 2018–19 season saw the club enter the FA Vase for the first time. They resigned from the Eastern Counties League shortly before the start of the 2020–21 season.

## Ground

The club initially played at the Westway Sports Centre in Ladbroke Grove, before moving to the New River Stadium in Wood Green prior to the 2014–15 season. In 2018 they relocated to the Terence McMillan Stadium in Plaistow. The Terence McMillan Stadium has one stand with seats for 192 spectators. The stadium is named after the first Mayor of Newham. The club shared the ground with Lopes Tavares.

## Honours

## Records

* Highest league position: 19th in Eastern Counties League Division One South 2018–19
* Best FA Vase performance: First qualifying round 2018–19, 2019–20

51°31′11″N 0°02′12″E / 51.519818°N 0.036656276°E / 51.519818; 0.036656276

## InfoBox

Fire United Christian
|  | |
| --- | --- |
| Full name | Fire United Christian Football Club |
| Nickname(s) | The Samba Boys |
| Founded | 2012 |
| Dissolved | 2021 |
| Ground | Terence McMillan Stadium, Plaistow |
| Chairman | Gustavo Ferreira |
| Manager | Gustavo Ferreira |
| League | Eastern Counties League Division One South (season abandoned) |
| 2019–20 | 18th |
|  | |
|  | |
|  | |


title: Fire Underwriters Survey

abstract: Fire Underwriters Survey (FUS) a subsidiary of Opta Information Intelligence Corp., is a provider of data, underwriting, risk management and legal/regulatory services focusing on community fire-protection and fire prevention systems in Canada. Fire Underwriters Survey publishes the Canadian Fire Insurance Grading Index, which is utilized by the property-casualty insurers in that country. Opta Information Intelligence Corp. was acquired by Verisk Analytics Inc. in 2022.

text:
# Fire Underwriters Survey

**Fire Underwriters Survey** (FUS) a subsidiary of Opta Information Intelligence Corp., is a provider of data, underwriting, risk management and legal/regulatory services focusing on community fire-protection and fire prevention systems in Canada. Fire Underwriters Survey publishes the Canadian Fire Insurance Grading Index, which is utilized by the property-casualty insurers in that country. Opta Information Intelligence Corp. was acquired by Verisk Analytics Inc. in 2022.

## History

The organization was formed in 1883 as the Canadian Fire Underwriters' Association (CFUA), then became the Canadian Underwriters Association (CUA), the Insurers Advisory Organization and Fire Underwriters Survey.

The intent of the system of fire insurance grading is primarily to provide insurers with accurate information to base underwriting decisions on, however a significant benefit of the system is that it results in incentives for development of recognized forms of public fire protection by communities throughout Canada. Many Canadian communities organize and develop their public fire protection systems and organizations to strategically optimize the cost benefit to constituents.


title: Patricio Prato

abstract: Patricio Prato is a 194 cm tall Argentine basketballer. His father Fernando was a player as well. Currently he plays for NGC Cantu. He played his college ball in the United States for St. Bonaventure University.

text:
# Patricio Prato

**Patricio Prato** (born November 24, 1979, in Buenos Aires) is a 194 cm tall Argentine basketballer. His father Fernando was a player as well. Currently he plays for NGC Cantu. He played his college ball in the United States for St. Bonaventure University.

## Clubs

College

## Titles

With the Argentina national basketball team * 1996 South American Under-18 Championship
* 2003 South American Championship - 2nd place
* 2007 Pan American Games \- 4th place

He also played for the Cordoba select teams: cadets in 1995 and mayor in 2000, 2001 and 2002.