title: Four Quartets

abstract: Four Quartets is a set of four poems written by T. S. Eliot that were published over a six-year period. The first poem, Burnt Norton, was published with a collection of his early works. After a few years, Eliot composed the other three poems, East Coker, The Dry Salvages, and Little Gidding, which were written during World War II and the air-raids on Great Britain. They were first published as a series by Faber and Faber in Great Britain between 1940 and 1942 towards the end of Eliot's poetic career. The poems were not collected until Eliot's New York publisher printed them together in 1943. Four Quartets are four interlinked meditations with the common theme being man's relationship with time, the universe, and the divine. In describing his understanding of the divine within the poems, Eliot blends his Anglo-Catholicism with mystical, philosophical and poetic works from both Eastern and Western religious and cultural traditions, with references to the Bhagavad-Gita and the Pre-Socratics as well as the Christian mystics, John of the Cross and Julian of Norwich. Although many critics find the Four Quartets to be Eliot's last great work, some of Eliot's contemporary critics were dissatisfied with Eliot's overt religiosity. George Orwell argued that religion was not a worthy topic for Eliot's poems. Later critics disagreed with Orwell's claims about the poems and argued instead that the religious themes made the poem stronger. Overall, reviews of the poem within Great Britain were favourable while reviews in the United States were split between those who liked Eliot's later style and others who felt he had abandoned positive aspects of his earlier poetry.

text:
# Four Quartets

***Four Quartets*** is a set of four poems written by T. S. Eliot that were published over a six-year period. The first poem, *Burnt Norton*, was published with a collection of his early works (1936's *Collected Poems 1909–1935*). After a few years, Eliot composed the other three poems, *East Coker*, *The Dry Salvages*, and *Little Gidding*, which were written during World War II and the air-raids on Great Britain. They were first published as a series by Faber and Faber in Great Britain between 1940 and 1942 towards the end of Eliot's poetic career (*East Coker* in September 1940, *Burnt Norton* in February 1941, *The Dry Salvages* in September 1941 and *Little Gidding* in 1942). The poems were not collected until Eliot's New York publisher printed them together in 1943.

*Four Quartets* are four interlinked meditations with the common theme being man's relationship with time, the universe, and the divine. In describing his understanding of the divine within the poems, Eliot blends his Anglo-Catholicism with mystical, philosophical and poetic works from both Eastern and Western religious and cultural traditions, with references to the *Bhagavad-Gita* and the Pre-Socratics as well as the Christian mystics, John of the Cross and Julian of Norwich.

Although many critics find the *Four Quartets* to be Eliot's last great work, some of Eliot's contemporary critics were dissatisfied with Eliot's overt religiosity. George Orwell argued that religion was not a worthy topic for Eliot's poems. Later critics disagreed with Orwell's claims about the poems and argued instead that the religious themes made the poem stronger. Overall, reviews of the poem within Great Britain were favourable while reviews in the United States were split between those who liked Eliot's later style and others who felt he had abandoned positive aspects of his earlier poetry.

## Background

While working on his play *Murder in the Cathedral*, Eliot came up with the idea for a poem that was structured similarly to *The Waste Land*. The resulting poem, *Burnt Norton*, named after a manor house, was published in Eliot's 1936 edition of *Collected Poems 1909–1935*. Eliot decided to create another poem similar to *Burnt Norton* but with a different location in mind. This second poem, *East Coker*, was finished and published by Easter 1940. (Eliot visited East Coker in Somerset in 1937, and his ashes now repose there at St Michael and All Angels' Church.)

As Eliot was finishing his second poem, World War II began to disrupt his life and he spent more time lecturing across Great Britain and helping out during the war when he could. It was during this time that Eliot began working on *The Dry Salvages*, the third poem, which was put together near the end of 1940. This poem was published in February 1941 and Eliot immediately began to plot out his fourth poem, *Little Gidding*. Eliot's health declined and he stayed in Shamley Green to recuperate. His illness and the war disrupted his ability to write and he became dissatisfied with each draft. He believed that the problem with the poem was with himself and that he had started the poem too soon and written it too quickly. By September 1941, he stopped writing and focused on his lecturing. It was not until September 1942 that Eliot finished the last poem and it was finally published.

While writing *East Coker* Eliot thought of creating a "quartet" of poems that would reflect the idea of the four elements and, loosely, the four seasons. As the first four parts of *The Waste Land* have each been associated with one of the four classical elements so has each of the constituent poems of *Four Quartets*: air (*BN*), earth (*EC*), water (*DS*), and fire (*LG*). However, there is little support for the poems matching with individual seasons. Eliot described what he meant by "quartet" in a 3 September 1942 letter to John Hayward:

> ... these poems are all in a particular set form which I have elaborated, and the word "quartet" does seem to me to start people on the right track for understanding them ("sonata" in any case is *too* musical). It suggests to me the notion of making a poem by weaving in together three or four superficially unrelated themes: the "poem" being the degree of success in making a new whole out of them.

The four poems comprising *Four Quartets* were first published together as a collection in New York in 1943 and then London in 1944. The original title was supposed to be the *Kensington Quartets* after his time in Kensington. The poems were kept as a separate entity in the United States until they were collected in 1952 as Eliot's *Complete Poems and Plays*, and in the United Kingdom until 1963 as part of Eliot's *Complete Poems 1909–62*. The delay in collecting the *Four Quartets* with the rest of Eliot's poetry separated them from his other work, even though they were the result of a development from his earlier poems.

### World War II

The outbreak of World War II, in 1939, pushed Eliot further into the belief that there was something worth defending in society and that Germany had to be stopped. There is little mention of the war in Eliot's writing except in a few pieces, like "Defence of the Islands". The war became central to *Little Gidding* as Eliot added in aspects of his own experience while serving as a watchman at the Faber building during the London blitz. The *Four Quartets* were favoured as giving hope during the war and also for a later religious revival movement. By *Little Gidding*, WWII is not just the present time but connected also to the English Civil War.

## Poems

Each poem has five sections. The later poems connect to the earlier sections, with *Little Gidding* synthesising the themes of the earlier poems within its sections. Within Eliot's own poetry, the five sections connect to *The Waste Land*. This allowed Eliot to structure his larger poems, which he had difficulty with.

According to C. K. Stead, the structure is based on:

1. The movement of time, in which brief moments of eternity are caught.
2. Worldly experience, leading to dissatisfaction.
3. Purgation in the world, divesting the soul of the love of created things.
4. A lyric prayer for, or affirmation of the need of, intercession.
5. The problem of attaining artistic wholeness, which becomes an analogue for and merges into the problem of achieving spiritual health.

These points can be applied to the structure of *The Waste Land*, though there is not necessarily a fulfilment of these but merely a longing or discussion of them.

### Burnt Norton

The poem begins with two epigraphs taken from the fragments of Heraclitus:

> τοῦ λόγου δὲ ἐόντος ξυνοῦ ζώουσιν οἱ πολλοί
> ὡς ἰδίαν ἔχοντες φρόνησιν
>
> I. p. 77. Fr. 2.

> ὁδὸς ἄνω κάτω μία καὶ ὡυτή
>
> I. p. 89 Fr. 60.

The first may be translated, "Though wisdom is common, the many live as if they have wisdom of their own"; the second, "the way upward and the way downward is one and the same."

The concept and origin of *Burnt Norton* is connected to Eliot's play *Murder in the Cathedral*. The poem discusses the idea of time and the concept that only the present moment really matters because the past cannot be changed and the future is unknown.

In Part I, this meditative poem begins with the narrator trying to focus on the present moment while walking through a garden, focusing on images and sounds like the bird, the roses, clouds, and an empty pool. In Part II, the narrator's meditation leads him to reach "the still point" in which he doesn't try to get anywhere or to experience place and/or time, instead experiencing "a grace of sense." In Part III, the meditation experience becomes darker as night comes on, and by Part IV, it is night and "Time and the bell have buried the day." In Part V, the narrator reaches a contemplative end to his/her meditation, initially contemplating the arts ("Words" and "music") as they relate to time. The narrator focuses particularly on the poet's art of manipulating "Words \[which\] strain,/Crack and sometimes break, under the burden \[of time\], under the tension, slip, slide, perish, decay with imprecision, \[and\] will not stay in place, /Will not stay still." By comparison, the narrator concludes that "Love is itself unmoving,/Only the cause and end of movement,/Timeless, and undesiring." For this reason, this spiritual experience of "Love" is the form of consciousness that most interests the narrator (presumably more than the creative act of writing poetry).

### East Coker

Eliot started writing *East Coker* in 1939, and modelled the poem after *Burnt Norton* as a way to focus his thoughts. The poem served as a sort of opposite to the popular idea that *The Waste Land* served as an expression of disillusionment after World War I, though Eliot never accepted this interpretation. The poem focuses on life, death, and continuity between the two. Humans are seen as disorderly and science is viewed as unable to save mankind from its flaws. Instead, science and reason lead mankind to warfare, and humanity needs to become humble in order to escape the cycle of destruction. To be saved, people must recognize Christ as their saviour as well as their need for redemption.

### The Dry Salvages

Eliot began writing *The Dry Salvages* at the end of 1940 during air-raids on London, and managed to finish the poem quickly. The poem included many personal images connecting to Eliot's childhood, and emphasised the image of water and sailing as a metaphor for humanity. According to the poem, there is a connection to all of mankind within each man. If we just accept drifting upon the sea, then we will end up broken upon rocks. We are restrained by time, but the Annunciation gave mankind hope that it will be able to escape. This hope is not part of the present. What we must do is understand the patterns found within the past in order to see that there is meaning to be found. This meaning allows one to experience eternity through moments of revelation.

### Little Gidding

*Little Gidding* was started after *The Dry Salvages* but was delayed because of Eliot's declining health and his dissatisfaction with early drafts of the poem. Eliot was unable to finish the poem until September 1942. Like the three previous poems of the *Four Quartets*, the central theme is time and humanity's place within it. Each generation is seemingly united and the poem describes a unification within Western civilisation. When discussing World War II, the poem states that humanity is given a choice between the bombing of London or the Holy Spirit. God's love allows humankind to redeem itself and escape the living hell through purgation by fire; he drew the affirmative coda "All shall be well" from medieval mystic Julian of Norwich. The end of the poem describes how Eliot has attempted to help the world as a poet, and he parallels his work in language with working on the soul or working on society.

## Motifs

Eliot believed that even if a poem can mean different things to each reader, the "absolute" meaning of the poem needs to be discovered. The central meaning of the *Four Quartets* is to connect to European literary tradition in addition to its Christian themes. It also seeks to unite with European literature to form a unity, especially in Eliot's creation of a "familiar compound ghost" who is supposed to connect to those like Stéphane Mallarmé, Edgar Allan Poe, Jonathan Swift, and W. B. Yeats.

### Time

Time is viewed as unredeemable and problematic, whereas eternity is beautiful and true. Living under time's influence is a problem. Within *Burnt Norton* section 3, people trapped in time are similar to those stuck in between life and death in Dante's *Inferno* Canto Three. When Eliot deals with the past in *The Dry Salvages*, he emphasises its importance to combat the influence of evolution as encouraging people to forget the past and care only about the present and the future. The present is capable of always reminding one of the past. These moments also rely on the idea of Krishna in the *Bhagavad-Gita* that death can come at any moment, and that the divine will is more important than considering the future.

The Jesuit critic William F. Lynch, who believed that salvation happens within time and not outside of it, explained what Eliot was attempting to do in the *Four Quartets* when he wrote: "it is hard to say no to the impression, if I may use a mixture of my own symbols and his, that the Christian imagination is finally limited to the element of fire, to the day of Pentecost, to the descent of the Holy Ghost upon the disciples. The revelation of eternity and time is of an intersection ... It seems not unseemly to suppose that Eliot's imagination (and is this not a theology?) is alive with points of intersection and of descent." He continued with a focus on how time operated within the poem: "He seems to place our faith, our hope, and our love, not in the flux of time but in the points of time. I am sure his mind is interested in the line and time of Christ, whose Spirit is his total flux. But I am not so sure about his imagination. Is it or is it not an imagination which is saved from time's nausea or terror by points of intersection? ... There seems little doubt that Eliot is attracted above all by the image and the goal of immobility, and that in everything he seeks for approximations to this goal in the human order." Lynch went on to point out that this understanding of time includes Asian influences.

Throughout the poems, the end becomes the beginning and things constantly repeat. This use of circular time is similar to the way Dante uses time in his *Divine Comedy**Little Gidding* ends with a rose garden image that is the same as the garden beginning *Burnt Norton*. The repetition of time affects memory and how one can travel through their own past to find permanency and the divine. Memory within the poem is similar to how Augustine of Hippo discussed it, in that memory allows one to understand words and life. The only way to discover eternity is through memory, understanding the past, and transcending beyond time. Likewise, in the Augustinian view that Eliot shares, timeless words are connected to Christ as the Logos and how Christ calls upon mankind to join him in salvation.

### Music

The title *Four Quartets* connects to music, which appears also in Eliot's poems "Preludes", "Rhapsody on a Windy Night", and "A Song for Simeon" along with a 1942 lecture called "The Music of Poetry". Some critics have suggested that there were various classical works that Eliot focused on while writing the pieces. In particular, within literary criticism there is an emphasis on Beethoven serving as a model. Some have disputed this claim. However, Lyndall Gordon's biography of T. S. Eliot establishes that Eliot had Beethoven in mind while writing them. The purpose of the quartet was to have multiple themes that intertwined with each other. Each section, as in the musical image, would be distinct even though they share the same performance. *East Coker* and *The Dry Salvages* are written in such a way as to make the poems continuous and create a "double-quartet".

Eliot focused on sounds or "auditory imagination", as he called it. He doesn't always keep to this device, especially when he is more concerned with thematic development. He did fix many of these passages in revision.

### Dante and Christianity

Critics have compared Eliot to W. B. Yeats. Yeats believed that we live in a cyclical world, saying, "If it be true that God is a circle whose centre is everywhere, the saint goes to the centre, the poet and the artist to the ring where everything comes round again." Eliot believed that such a system is stuck within time. Eliot was influenced by Yeats's reading of Dante. This appears in Eliot's *Ash Wednesday* by changing Yeats's "desire for absolution" away from a humanistic approach. When Eliot wrote about personal topics, he tended to use Dante as a reference point. He also relied on Dante's imagery: the idea of the "refining fire" in the *Four Quartets* and in *The Waste Land* comes from *Purgatorio*, and the celestial rose and fire imagery of *Paradiso* makes its way into the series.

The *Four Quartets* abandons time, as per Dante's conception of the Empyrean, and allows for opposites to co-exist together. As such, people are able to experience God directly as long as they know that they cannot fully understand or comprehend him. Eliot tries to create a new system, according to Denis Donoghue, in which he is able to describe a Christianity that is not restricted by previous views that have fallen out of favour in modern society or contradicted by science. Eliot reasoned that he is not supposed to preach a theological system as a poet, but expose the reader to the ideas of religion. As Eliot stated in 1947: "if we learn to read poetry properly, the poet never persuades us to believe anything" and "What we learn from Dante, or the *Bhagavad-Gita*, or any other religious poetry is what it feels like to believe that religion."

According to Russell Kirk, "Nor is it possible to appreciate Eliotwhether or not one agrees with himif one comes to *Four Quartets* with ideological blinders. Ideology, it must be remembered, is the attempt to supplant religious dogmas by political and scientistic dogmas. If one's first premise is that religion must be a snare and a delusion, for instance, then it follows that Eliot becomes an enemy to be assaulted, rather than a pilgrim whose journal one may admire-even if one does not believe in the goal of that quest."

### Krishna

Eliot's poetry is filled with religious images beyond those common to Christianity: the *Four Quartets* brings in Hindu stories with a particular emphasis on the *Bhagavad-Gita* of the *Mahabharata*. Eliot went so far as to mark where he alludes to Hindu stories in his editions of the *Mahabharata* by including a page added which compared battle scenes with *The Dry Salvages*.

## Critical responses

Reviews were favourable for each poem. The completed set received divided reviews in the United States while it was received overall favourably by the British. The American critics liked the poetry but many did not appreciate the religious content of the work or that Eliot abandoned philosophical aspects of his earlier poetry. The British response was connected to Eliot's nationalistic spirit, and the work was received as a series of poems intended to help the nation during difficult times. Santwana Haldar went so far as to assert that the "*Four Quartets* has been universally appreciated as the crown of Eliot's achievement in religious poetry, one that appeals to all including those who do not share Orthodox Christian creed."

George Orwell believed just the opposite. He argued: "It is clear that something has departed, some kind of current has been switched off, the later verse does not contain the earlier, even if it is claimed as an improvement upon it \[...\] He does not really feel his faith, but merely assents to it for complex reasons. It does not in itself give him any fresh literary impulse." Years later, Russell Kirk wrote, "I cannot agree with Orwell that Eliot gave no more than a melancholy assent to doctrines now quite unbelievable. Over the past quarter of a century, most serious critics—whether or not they find Christian faith impossible—have found in the Quartets the greatest twentieth-century achievements in the poetry of philosophy and religion." Like Orwell, Stead also noticed a difference between the *Four Quartets* and Eliot's earlier poetry, but he disagreed with Orwell's conclusion: "*Four Quartets* is an attempt to bring into a more exact balance the will and the creative imagination; it attempts to harness the creative imagination which in all Eliot's earlier poetry ran its own course, edited but not consciously directed. The achievement is of a high order, but the best qualities of *Four Quartets* are inevitably different from those of *The Waste Land*."

Early American reviewers were divided on discussing the theological aspects of the *Four Quartets*. F. R. Leavis, in *Scrutiny* (Summer 1942), analysed the first three poems and discussed how the verse "makes its explorations into the concrete realities of experience below the conceptual currency" instead of their Christian themes. Muriel Bradbrook, in *Theology* (March 1943), did the opposite of F. R. Leavis and emphasised how Eliot captured Christian experience in general and how it relates to literature. D. W. Harding, in the Spring 1943 issue of *Scrutiny*, discussed the Pentecostal image but would not discuss how it would relate to Eliot's Christianity. Although he appreciated Eliot's work, Paul Goodman believed that the despair found within the poem meant that Eliot could not be a Christian poet. John Fletcher felt that Eliot's understanding of salvation could not help the real world whereas Louis Untermeyer believed that not everyone would understand the poems.

Many critics have emphasised the importance of the religious themes in the poem. Vincent Buckley stated that the *Four Quartets* "presuppose certain values as necessary for their very structure as poems yet devote that structure to questioning their meaning and relevance. The whole work is, in fact, the most authentic example I know in modern poetry of a satisfying religio-poetic meditation. We sense throughout it is not merely a building-up of an intricate poetic form on the foundation of experiences already over and done with, but a constant energy, an ever-present activity, of thinking and feeling." In his analysis of approaches regarding apocalypse and religious in British poetry, M. H. Abrams claimed, "Even after a quarter-century, T. S. Eliot's *Four Quartets* has not lost its status as a strikingly 'modern' poem; its evolving meditations, however, merely play complex variations upon the design and motifs of Romantic representation of the poets educational progress."

Late 20th century and early 21st century critics continued the religious emphasis. Craig Raine pointed out: "Undeniably, *Four Quartets* has its faults—for instance, the elementary tautology of 'anxious worried women' in section I of *The Dry Salvages*. But the passages documenting in undeniable detail 'the moment in and out of time' are the most successful attempts at the mystical in poetry since Wordsworth's spots of time in *The Prelude*—themselves a refiguration of the mystical." Michael Bell argued for the universality within the poems' religious dimension and claimed that the poems "were genuinely of their time in that, while speaking of religious faith, they did not assume it in the reader." John Cooper, in regard to the poem's place within the historical context of World War II, described the aspects of the series appeal: "*Four Quartets* spoke about the spirit in the midst of this new crisis and, not surprisingly, there were many readers who would not only allow the poem to carry them with it, but who also hungered for it."

In a more secular appreciation, one of Eliot's biographers, the critic Peter Ackroyd, has stated that "the most striking characteristic of *The Four Quartets* is the way in which these sequences are very carefully structured. They echo and re-echo each other, and one sequence in each poem, as it were, echoes its companion sequence in the next poem. . . *The Four Quartets* are poems about a nation and about a culture which is very severely under threat, and in a sense, you could describe *The Four Quartets* as a poem of memory, but not the memory of one individual but the memory of a whole civilization."

In a 2019 interview, conservative philosopher Roger Scruton stated that "...(T. S. Eliot influenced) my vision of culture. And that’s from school days: I came across Four Quartets aged 16 and that made sense of everything for the first time." American author Ross Douthat writes of the poem: "This is a poetic counterpart to Chesterton's prose. Eliot's verse makes no argument, but distills the religious impulse and his own Christian hope to eloquent perfection."

## Adaptation

In 2021 Ralph Fiennes directed a theatrical production of *Four Quartets*. The production toured UK regional theatres and ran at the Harold Pinter Theatre, London, in November and December 2021.

A film adaptation, directed by Sophie Fiennes, Ralph’s sister, was filmed in three days using one camera, preserving the atmosphere of Tim Lutkin’s design for the theatre. In 2023, the recorded recitation of *Four Quartets* was released by Kino Lorber.

Endnotes Bibliography  * Abrams, Meyer Howard. *Natural Supernaturalism: Tradition and Revolution in Romantic Literature*. W.W Norton and Company, 1973. ISBN 0-393-00609-3
* Ackroyd, Peter. *T. S. Eliot: A Life*. New York: Simon and Schuster, 1984. ISBN 0-671-53043-7
* Bell, Michael. *Literature, Modernism, and Myth Belief and Responsibility in the Twentieth Century*. Cambridge: Cambridge University Press, 1997. ISBN 0-585-00052-2
* Bergonzi, Bernard. *T. S. Eliot*. New York: Macmillan Company, 1972. OCLC 262820
* Cooper, John. *T. S. Eliot and the ideology of Four Quartets*. Cambridge: Cambridge University Press, 2008. ISBN 978-0-521-06091-2
* Gallup, Donald. *T. S. Eliot: A Bibliography (A Revised and Extended Edition)*. New York: Harcourt, Brace & World, 1969. OCLC 98808
* Gardner, Helen. *The Composition of "Four Quartets"*. New York: Oxford University Press, 1978. ISBN 0-19-519989-8
* Gordon, Lyndall. *T. S. Eliot: An Imperfect Life*. New York: W. W. Norton & Company, 2000. ISBN 0-393-04728-8
* Grant, Michael, *T. S. Eliot: The Critical Heritage*. New York: Routledge, 1997. ISBN 0-7100-9224-5
* Haldar, Santwana. *T. S. Eliot : A Twenty-first Century View*. New Delhi: Atlantic Publishers & Distributors, 2005. ISBN 81-269-0414-3
* Howard, Thomas. *Dove Descending: A Journey Into T. S. Eliot's Four Quartets*. Ignatius Press, 2006. ISBN 1-58617-040-6
* Kirk, Russell. *Eliot and His Age: T. S. Eliot's Moral Imagination in the Twentieth Century*. Wilmington: ISI Books, 2008. OCLC 80106144
* Manganiello, Dominic. *T. S. Eliot and Dante*. New York: St. Martin's Press, 1989. ISBN 0-312-02104-6
* Moody, A. David. "*Four Quartets*: Music, Word, Meaning and Value" in *The Cambridge Companion to T. S. Eliot*, ed. A. David Moody, 142157. Cambridge: Cambridge University Press, 2006. ISBN 0-521-42080-6
* Newman, Barbara. "Eliot's Affirmative Way: Julian of Norwich, Charles Williams, and *Little Gidding*." *Modern Philology* 108 (2011): 427–61. doi:10.1086/658355 JSTOR 10.1086/658355
* Oser, Lee. "Coming to Terms with *Four Quartets*." *Blackwell Companion to T. S. Eliot*. Ed. David Chinitz. Oxford: Wiley-Blackwell, 2009: 216-227. doi:10.1002/9781444315738
* Pinion, F. B. *A T. S. Eliot Companion*. London: MacMillan, 1986. OCLC 246986356
* Raine, Craig. *T. S. Eliot*. Oxford: Oxford University Press, 2006.
* Stead, Christian. *The New Poetic: Yeats to Eliot*. Harmondsworth: Pelican Books, 1969. OCLC 312358328

## InfoBox

Four Quartets
| First US edition published by Harcourt | |
| --- | --- |
| Author | T. S. Eliot |
| Language | English |
| Genre | Poetry |
| Publisher | Harcourt (US) |
| Publication date | 1943 |
| Media type | Print |
| Pages | 40 |


title: Peary caribou

abstract: The Peary caribou is a subspecies of caribou found in the High Arctic islands of Nunavut and the Northwest Territories in Canada. They are the smallest of the North American caribou, with the females weighing an average of 60 kg (130 lb) and the males 110 kg (240 lb). In length the females average 1.4 m and the males 1.7 m. Like other caribou, both the males and females have antlers. The males grow their antlers from March to August and the females from June to September, and in both cases the velvet is gone by October. The coat of the caribou is white and thick in the winter. In the summer it becomes short and darker, almost slate-grey in color. The coat is made up of hollow hair which helps to trap warmer air and insulate the caribou. The males become sexually mature after two years and the females after three years. Breeding is in the fall and depends on the female having built up sufficient fat reserves. The gestation period last for seven to eight months and one calf is produced. Peary caribou feed on most of the available grasses, Cyperaceae (sedges), lichen and mushrooms. In particular they seem to enjoy the purple saxifrage and in summer their muzzles become purple from the plants. Their hooves are sharp and shaped like a shovel to enable them to dig through the snow in search of food. The caribou rarely travel more than 150 km (93 mi) from their winter feeding grounds to the summer ones. They are able to outrun the Arctic wolf, their main predator, and are good swimmers. They usually travel in small groups of no more than twelve in the summer and four in the winter. The Peary caribou population has dropped from above 40,000 in 1961 to an estimated 13,000 adults in 2016, according to the Committee on the Status of Endangered Wildlife in Canada (COSEWIC). During this period, the number of days with above freezing temperatures has increased significantly, resulting in ice layers in the snow pack. These ice layers hinder foraging and are the likely cause for dramatic drops in caribou population in the future. The Peary caribou, called tuktu in Inuinnaqtun/Inuktitut, and written as ᕐᑯᑦᓯᑦᑐᒥ ᑐᒃᑐ in Inuktitut syllabics, is a major food source for the Inuit and was named after the American explorer Robert Peary.

text:
# Peary caribou

The **Peary caribou** (***Rangifer arcticus pearyi***) is a subspecies of caribou found in the High Arctic islands of Nunavut and the Northwest Territories in Canada. They are the smallest of the North American caribou, with the females weighing an average of 60 kg (130 lb) and the males 110 kg (240 lb). In length the females average 1.4 m (4 ft 7 in) and the males 1.7 m (5 ft 7 in).

Like other caribou, both the males and females have antlers. The males grow their antlers from March to August and the females from June to September, and in both cases the velvet is gone by October. The coat of the caribou is white and thick in the winter. In the summer it becomes short and darker, almost slate-grey in color. The coat is made up of hollow hair which helps to trap warmer air and insulate the caribou.

The males become sexually mature after two years and the females after three years. Breeding is in the fall and depends on the female having built up sufficient fat reserves. The gestation period last for seven to eight months and one calf is produced.

Peary caribou feed on most of the available grasses, Cyperaceae (sedges), lichen and mushrooms. In particular they seem to enjoy the purple saxifrage and in summer their muzzles become purple from the plants. Their hooves are sharp and shaped like a shovel to enable them to dig through the snow in search of food.

The caribou rarely travel more than 150 km (93 mi) from their winter feeding grounds to the summer ones. They are able to outrun the Arctic wolf, their main predator, and are good swimmers. They usually travel in small groups of no more than twelve in the summer and four in the winter.

The Peary caribou population has dropped from above 40,000 in 1961 to an estimated 13,000 adults in 2016, according to the Committee on the Status of Endangered Wildlife in Canada (COSEWIC). During this period, the number of days with above freezing temperatures has increased significantly, resulting in ice layers in the snow pack. These ice layers hinder foraging and are the likely cause for dramatic drops in caribou population in the future.

The Peary caribou, called *tuktu* in Inuinnaqtun/Inuktitut, and written as *ᕐᑯᑦᓯᑦᑐᒥ ᑐᒃᑐ* in Inuktitut syllabics, is a major food source for the Inuit and was named after the American explorer Robert Peary.

## Morphology

### Pelage

During the winter, the fur of the Peary caribou becomes thicker and whiter. In the summer it is shorter and darker. The pelage of the Peary caribou is white in winter and slate-grey with white legs and underparts in summer like the barren-ground caribou in the Dolphin-Union caribou herd. The Dolphin-Union caribou are slightly darker.

Like all caribou the hollow hairs help trap warm air and insulate their bodies.

## Antlers

The Peary caribou and the Dolphin-Union caribou herd both have light slate-grey antler velvet. The antler velvet of the barren-ground caribou and the boreal woodland caribou are both dark chocolate brown.

## Habitat

The Peary caribou may move seasonally up to 150 km (93 mi) each way, not necessarily on fixed migration routes that are used habitually, but rather broad migration zones that individuals use to travel from winter ranges to calving areas and summer ranges. They occupy High Arctic islands, including Banks Island, the northwest corner of Victoria Island, Prince of Wales Island, Somerset Island and the Queen Elizabeth Islands. In summer they search for the richest vegetation which is found "on the upper slopes of river valleys and uplands." In the winter, they "inhabit areas where the snow is not too deep such as rugged uplands, beach ridges and rocky outcrops."

Aulavik National Park at the northern end of Banks Island is also home to the Peary caribou. The Thomsen River runs through the park and is the northernmost navigable river (by canoe) in North America. Aulavik National Park, a fly-in park, protects about 12,274 km2 (4,739 sq mi) of Arctic lowlands at the northern end of the island. In Inuvialuktun Aulavik means "place where people travel" and caribou have been hunted there for more than 3,400 years, from Pre-Dorset cultures to contemporary Inuvialuit.

Archaeologists have found bones of *pearyi*-sized caribou that occupied Greenland in the Illinoian-Wisconsin interglacial and through the LGM and early Holocene (Meldgaard 1986).  Degerbøl (1957) described *R. t. eogroenlandicus*, a small caribou that became extinct about 1900, from a relict enclave in north-eastern Greenland (Fig. 2). However, Anderson (1946) thought that the small caribou that were occasionally found in northwest Greenland were Peary caribou and implied the same for east Greenland caribou. Bennike (1988), comparing bones and noting that Peary caribou have been documented crossing Nares Strait to Greenland, doubted that *pearyi* and *eogroenlandicus* were subspecifically distinct. That Peary caribou shared certain mtDNA haplotypes and morphological similarities with it (Kvie et al. 2016) casts further doubt on the validity of *R. t. eogroenlandicus*. Inuit Qaujimajatuqangit (traditional or community knowledge) records that Peary caribou do, occasionally, cross to Greenland. In any case, the last live caribou reported from northern Greenland were most likely Peary caribou that had strayed from Ellesmere Island. They were last seen in Hall Land in 1922.

## Conservation

It was assigned a status of threatened in April 1979. In May 2004 the Committee on the Status of Endangered Wildlife in Canada (COSEWIC) listed the Peary caribou as endangered. In 2015, COSEWIC returned the status to threatened, noting:

> "This subspecies of caribou is endemic to the Canadian Arctic Archipelago, living on the edge of plant growth in polar desert and arctic tundra environments. The current population is estimated at 13,200 mature individuals. From a population high of 22,000 in 1987, the species experienced a catastrophic die-off in the mid-1990s related to severe icing events in some parts of its range. The population was ca. 5,400 mature individuals in 1996, the lowest since surveys first commenced in 1961. Of four subpopulations, two are currently showing an increasing trend, one is stable, and the fourth had fewer than 10 individuals at the last count in 2005, with no evidence of any recovery. The overall population has experienced an estimated three-generation decline of 35%, but has been increasing over the past two decades. The highest-impact threats derive from a changing climate, including increased intensity and frequency of rain-on-snow events negatively affecting forage accessibility in winter, and decreased extent and thickness of sea ice causing shifts in migration and movement patterns"
>
> COSEWIC (Committee on the Status of Endangered Wildlife in Canada), COSEWIC assessment and status report on the Peary Caribou Rangifer tarandus pearyi in Canada, 2015:iii

## Taxonomy

Originally named *Rangifer pearyi* Allen, 1902, it was made a subspecies of barren-ground caribou in 1960 as *R. arcticus pearyi*. When all caribou and reindeer in the world were made conspecific, the name became *R. tarandus pearyi*. A recent revision returned the name to *R. arcticus pearyi*.

## Footnotes

## Further reading

* Larter, Nicholas C, and John A Nagy. 2001. "Variation between Snow Conditions at Peary Caribou and Muskox Feeding Sites and Elsewhere in Foraging Habitats on Banks Island in the Canadian High Arctic". *Arctic, Antarctic, and Alpine Research*. 33, no. 2: 123.
* Maher, Andrew Ian. *Assessing Snow Cover and Its Relationship to Distribution of Peary Caribou in the High Arctic*. Ottawa: Library and Archives Canada = Bibliothèque et Archives Canada, 2006. ISBN 0-494-05053-5
* Manning, T. H. *The Relationship of the Peary and Barren Ground Caribou*. Montreal: Arctic Institute of North America, 1960.
* Miller, F. L., E. J. Edmonds, and A. Gunn. *Foraging Behaviour of Peary Caribou in Response to Springtime Snow and Ice Conditions*. \[Ottawa\]: Environment Canada, Canadian Wildlife Service, 1982. ISBN 0-662-12017-5
* Northwest Territories. (2001). *NWT peary caribou Rangifer tarandus pearyi. NWT species at risk fact sheets*. \[Yellowknife\]: Northwest Territories Resources, Wildlife and Economic Development.
* Tews, Joerg, Michael A D Ferguson, and Lenore Fahrig. 2007. "Potential Net Effects of Climate Change on High Arctic Peary Caribou: Lessons from a Spatially Explicit Simulation Model". *Ecological Modelling*. 207, no. 2: 85.

## InfoBox

| Peary caribou | |
| --- | --- |
|  | |
| Peary caribou | |
| Conservation status | |
|
Endangered  (IUCN 3.1) | |
|
Imperiled  (NatureServe) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Mammalia |
| Order: | Artiodactyla |
| Family: | Cervidae |
| Subfamily: | Capreolinae |
| Genus: | *Rangifer* |
| Species: | *R. arcticus* |
| Subspecies: | ***R. a. pearyi*** |
| Trinomial name | |
| ***Rangifer arcticus pearyi***
(Allen, 1902) | |
|  | |
| Approximate range of Peary caribou in light pink. Overlap with other subspecies of caribou is possible for contiguous range. 1. *Rangifer caribou caribou*, which is subdivided into ecotypes: woodland (boreal), woodland (migratory) and Arctic (montane), 2. *R. a. dawsoni* (extinct 1908), 3. *R. a. arcticus*, 4. *R. a. arcticus*, 5. *R. a. arcticus*, **6. *R. a. pearyi*** | |


title: Pendria

abstract: Pendria is a genus of moths in the subfamily Lymantriinae. The genus was erected by Charles Swinhoe in 1906.

text:
# Pendria

***Pendria*** is a genus of moths in the subfamily Lymantriinae. The genus was erected by Charles Swinhoe in 1906.

## Species

## InfoBox

| *Pendria* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Erebidae |
| Subfamily: | Lymantriinae |
| Tribe: | Lymantriini |
| Genus: | ***Pendria***<br>C. Swinhoe, 1906 |
|


title: Peniophoraceae

abstract: The Peniophoraceae are a family of fungi in the order Russulales. Species of this family have a cosmopolitan distribution and are mostly saprobic, causing rots of standing and fallen wood. According to a 2008 estimate, the family contains 7 genera and 88 species.

text:
# Peniophoraceae

The **Peniophoraceae** are a family of fungi in the order Russulales. Species of this family have a cosmopolitan distribution and are mostly saprobic, causing rots of standing and fallen wood. According to a 2008 estimate, the family contains 7 genera and 88 species.

## InfoBox

| Peniophoraceae | |
| --- | --- |
|  | |
| *Peniophora incarnata* growing on the underside of a log of *Acer pensylvanicum* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Basidiomycota |
| Class: | Agaricomycetes |
| Order: | Russulales |
| Family: | Peniophoraceae
Lotsy (1907) |
|
| Type genus | |
| *Peniophora*
Cooke (1879) | |
| Genera | |
| *Amylofungus*
*Dendrophora*
*Duportella*
*Entomocorticium*
*Gloiothele*
*Peniophora*
*Vesiculomyces* | |


title: Penion sulcatus

abstract: Penion sulcatus is a species of medium-to-large predatory marine snail or whelk, commonly called the northern siphon whelk or kākara nui in Māori, belonging to the whelk family Austrosiphonidae.

text:
# Penion sulcatus

***Penion sulcatus*** is a species of medium-to-large predatory marine snail or whelk, commonly called the **northern siphon whelk** or **kākara nui** in Māori, belonging to the whelk family Austrosiphonidae.

## Description

*Penion sulcatus* is a medium-to-large species of *Penion* siphon whelk. Shells are highly variable in sculpture and colouration, but shells are often dark with a white aperture.

The extinct species *Penion exoptatus*, *Penion clifdenensis*, and potentially also *Penion marwicki*, may belong to the same evolutionary lineage as the extant species *Penion sulcatus*. This hypothesis is based on geometric morphometric analysis of shell shape and size for all four taxa, as well as the analysis of morphometric variation exhibited all living species of *Penion*.

## Distribution

*Penion sulcatus* is endemic to New Zealand. The species is found of the entire North Island and northern South Island coasts. The species has an abundant fossil record in the North Island of New Zealand.

*P. sulcatus* is benthic and is common on soft-sediments on the continental shelf or within the subtidal rocky shore environment.

## Ecology

*Penion sulcatus* is a carnivore and is known to feed on mussels and *Dosina zelandica zelandica*.

## Human use

Shells found in middens of historic Māori settlements indicate that *P. sulcatus* may have been intentionally foraged as a food-source.

## InfoBox

| *Penion sulcatus*
Temporal range: Early Pliocene to Recent, | |
| --- | --- |
|  | |
| Dorsal view of a shell of *Penion sulcatus* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Family: | Austrosiphonidae |
| Genus: | *Penion* |
| Species: | ***P. sulcatus*** |
| Binomial name | |
| ***Penion sulcatus***
(Lamarck, 1816) | |
|
| Synonyms | |
| *Fusus sulcatus* Lamarck, 1816
*Fusus zelandicus* Quoy and Gaimard, 1833
*Fusus adustus* Philippi, 1845 | |


title: Peniophora sacrata

abstract: Peniophora sacrata is a species of fungus in the family Peniophoraceae. A plant pathogen, the fungus causes Peniophora root and stem canker on apple trees.

text:
# Peniophora sacrata

***Peniophora sacrata*** is a species of fungus in the family Peniophoraceae. A plant pathogen, the fungus causes *Peniophora* root and stem canker on apple trees.

## InfoBox

| *Peniophora sacrata* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Basidiomycota |
| Class: | Agaricomycetes |
| Order: | Russulales |
| Family: | Peniophoraceae |
| Genus: | *Peniophora* |
| Species: | ***P. sacrata*** |
| Binomial name | |
| ***Peniophora sacrata***<br>G.Cunn. (1955) | |
|
| Synonyms | |
| * *Phanerochaete sacrata* (G.Cunn.) J.B.Taylor (1981) * *Amylostereum sacratum* (G.Cunn.) Burds. (1985) * *Gloeocystidiellum sacratum* (G.Cunn.) Stalpers & P.K.Buchanan (1991) * *Dextrinocystidium sacratum* (G.Cunn.) Sheng H.Wu (1996) | |


title: Penelope Dudley-Ward

abstract: Penelope Ann Rachel, Lady Reed, known as Penelope Dudley-Ward, was an English actress. Born in London, she was the elder daughter of William Dudley Ward and the leading socialite Freda Dudley Ward, her mother being best remembered for being the long-time mistress of the Prince of Wales, the future King Edward VIII. She was a leading lady in several British films during the 1930s and 1940s. She retired from the screen following her second marriage. Her first marriage, to Anthony Pelissier, lasted from 29 December 1939, until their divorce in 1944; the couple had one daughter, the actress Tracy Reed. Dudley-Ward married film director Carol Reed on 24 January 1948. They had one son, Max Reed, born 14 September 1948. Dudley-Ward and Reed remained married until he died in 1976.

text:
# Penelope Dudley-Ward

**Penelope Ann Rachel, Lady Reed** (born **Penelope Anne Rachel Dudley Ward**; 4 August 1914  21 January 1982), known as **Penelope Dudley-Ward**, was an English actress.

Born in London, she was the elder daughter of William Dudley Ward and the leading socialite Freda Dudley Ward, her mother being best remembered for being the long-time mistress of the Prince of Wales, the future King Edward VIII. She was a leading lady in several British films during the 1930s and 1940s. She retired from the screen following her second marriage.

Her first marriage, to Anthony Pelissier, lasted from 29 December 1939, until their divorce in 1944; the couple had one daughter, the actress Tracy Reed. Dudley-Ward married film director Carol Reed on 24 January 1948. They had one son, Max Reed, born 14 September 1948. Dudley-Ward and Reed remained married until he died in 1976.

## Death

Lady Reed died from a brain tumour on 21 January 1982 at the age of 67, fourteen months before her mother.

## Filmography

| Year | Title | Role | Notes |
| --- | --- | --- | --- |
| 1935 | *Escape Me Never* | Fenella McClean |  |
| 1935 | *Moscow Nights* | Natasha Kovrin |  |
| 1938 | *The Citadel* | Toppy LeRoy |  |
| 1939 | *Hell's Cargo* | Annette Lestailleur |  |
| 1940 | *Dangerous Comment* | Mrs. Conway | Short |
| 1940 | *Convoy* | Mabel |  |
| 1940 | *The Case of the Frightened Lady* | Isla Crane |  |
| 1941 | *Major Barbara* | Sarah Undershaft |  |
| 1942 | *We Serve* | ATS Driver | Short |
| 1942 | *In Which We Serve* | Maureen |  |
| 1943 | *The Demi-Paradise* | Ann Tisdall |  |
| 1944 | *The Way Ahead* | Mrs. Perry |  |
| 1944 | *English Without Tears* | Joan Heseltine | (final film role) |

## InfoBox

| Penelope Dudley-Ward | |
| --- | --- |
|  | |
| Born | Penelope Anne Rachel Dudley Ward
(1914-08-04)4 August 1914
London, England |
| Died | 21 January 1982(1982-01-21) (aged 67)
London, England |
| Occupation | Actress |
| Years active | 1935–1944 |
| Spouses | *   Anthony Pelissier  (m. 1939; div. 1944) *   Sir Carol Reed  (m. 1948; died 1976) |
| Children | 2, including Tracy Reed |
| Parents |  |


title: Fort Mason, Arizona Territory

abstract: Following the Gadsden Purchase, the United States Army sent Major Enoch Steen and four companies of the 1st U. S. Dragoons to occupy the former site of the Mexican Presidio de Calabasas. Major Steen arrived on November 27, 1856, and named his post Camp Moore. The dragoons put roofs on the old adobe structures and added a few new ones. Camp Moore was abandoned in March 1857 after another location in the San Rafael Valley was chosen for a permanent fort that was christened Fort Buchanan. With the coming of the American Civil War all military posts in western New Mexico Territory were abandoned. Old Camp Moore at Calabasas was briefly occupied by the Confederates in March 1862, just before the arrival of the California Column in April. The California Volunteers posted troops at Tucson and Tubac, and established Fort Bowie. In September 1865 the garrison at Tubac, Arizona was transferred to Old Camp Moore at Calabasas and it was first named Post at Calabasas, then renamed Fort Mason in honor of General Mason, who was commander of the California Volunteers in Arizona. In 1866 it was briefly renamed Camp McKee. The 1st Battalion of Native Cavalry, California Volunteers and 7th Regiment California Volunteer Infantry occupied the post until they were relieved by troops of the United States Army in May 1866. Due to persistent malaria, the Regulars abandoned Fort Mason in 1866 and established Camp Cameron. Camp Moore and Fort Mason were collocated south of the confluence of Potrero Creek and the Santa Cruz River. Camp Cameron was about 16 miles northeast of Fort Mason and existed from October 1, 1866 to March 7, 1867.

text:
# Fort Mason, Arizona Territory

Following the Gadsden Purchase, the United States Army sent Major Enoch Steen and four companies of the 1st U. S. Dragoons (now the 1st U. S. Cavalry) to occupy the former site of the Mexican Presidio de Calabasas. Major Steen arrived on November 27, 1856, and named his post **Camp Moore**. The dragoons put roofs on the old adobe structures and added a few new ones. Camp Moore was abandoned in March 1857 after another location in the San Rafael Valley was chosen for a permanent fort that was christened Fort Buchanan.

With the coming of the American Civil War all military posts in western New Mexico Territory (now Arizona) were abandoned. Old Camp Moore at Calabasas was briefly occupied by the Confederates in March 1862, just before the arrival of the California Column in April. The California Volunteers posted troops at Tucson and Tubac, and established Fort Bowie. In September 1865 the garrison at Tubac, Arizona was transferred to Old Camp Moore at Calabasas and it was first named **Post at Calabasas**, then renamed Fort Mason in honor of General Mason, who was commander of the California Volunteers in Arizona. In 1866 it was briefly renamed **Camp McKee**. The 1st Battalion of Native Cavalry, California Volunteers and 7th Regiment California Volunteer Infantry occupied the post until they were relieved by troops of the United States Army in May 1866. Due to persistent malaria, the Regulars abandoned Fort Mason (now Camp McKee) in 1866 and established Camp Cameron.

Camp Moore and Fort Mason were collocated south of the confluence of Potrero Creek and the Santa Cruz River. Camp Cameron was about 16 miles northeast of Fort Mason and existed from October 1, 1866 to March 7, 1867.

## InfoBox

| Fort Mason | |
| --- | --- |
| Rio Rico, Arizona | |
| Coordinates | 31°27′25″N 110°58′10″W / 31.4570390°N 110.9695323°W / 31.4570390; -110.9695323 |
| Type | Army fortification |
| Site information | |
| Controlled by | Arizona |
| Site history | |
| Built by |  |
| In use | 1865–1866 |
| Garrison information | |
| Occupants | California Volunteers and United States Army |


title: Fort Mason, Florida

abstract: Fort Mason is an unincorporated community in Lake County, Florida, United States.

text:
# Fort Mason, Florida

**Fort Mason** is an unincorporated community in Lake County, Florida, United States.

## Notable people

## InfoBox

| Fort Mason, Florida | |
| --- | --- |
| Unincorporated community | |
| Fort MasonFort Mason | |
| Coordinates: 28°52′37″N 81°42′03″W / 28.87694°N 81.70083°W / 28.87694; -81.70083 | |
| Country | United States |
| State | Florida |
| County | Lake |
| Elevation | 69 ft (21 m) |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| Area code | 352 |
| GNIS feature ID | 305696 |


abstract: The Pennsylvania Governor's School for the Agricultural Sciences (PGSAS) is one of the eight Pennsylvania Governor's Schools of Excellence, a group of five-week summer programs for gifted high school students in the state of Pennsylvania.

text:
# Pennsylvania Governor's School for the Agricultural Sciences

**The Pennsylvania Governor's School for the Agricultural Sciences** (**PGSAS**) is one of the eight Pennsylvania Governor's Schools of Excellence, a group of five-week summer programs for gifted high school students in the state of Pennsylvania .

## History and notable features

The Penn State University main campus hosts the agricultural sciences as well as the information technology Schools of Excellence. Participants are required to be Pennsylvania high school students who have just completed their sophomore or junior years.

Admission into the program is selective with sixty-four available spots. The aim of PGSAS is to provide a sampling of many different branches of agricultural science and to encourage continuing studies in the discipline. The curriculum includes coursework, laboratories, and field experiences in:

Webpage development, genetics, leadership, professional development, reproductive physiology, waste management, contemporary agriculture issues, natural resource conservation, nuclear science, poultry science, lactation science, food science, horticulture, environmental resources engineering, agribusiness, food engineering, agronomy

In addition to classes and lab experience, each student must complete an Independent Study Project (ISP) for which they are assigned a topic (scholars rank their preferences in advance) and an advisor. Scholars present their research at an annual symposium and are evaluated by their advisors and peers. During their time at PGSAS, scholars also complete webpages to summarize their experiences, reflect on the program, and provide personal and academic information.

Students take numerous trips to various facilities on or around Penn State Campus, including the Swine Barns, Beef & Sheep Barns, Chicken Facilities, and Penn State Spikes Field.

Former Pennsylvania Governor Ed Rendell has proposed cutting fund for all the PGSEs, including PGSAS, from the 2009-2010 budget.


title: Fortepiano (musical dynamic)

abstract: The expression fortepiano is a sudden dynamic change used in a musical score, usually with the abbreviation fp, to designate a section of music in which the music should be played loudly (forte), then immediately softly (piano). It is not unusual for it to be followed by a crescendo, a gradual increase in dynamics. The word is of Italian etymology literally translated as 'loudsoft'.

text:
# Fortepiano (musical dynamic)

The expression **fortepiano** (sometimes called **forte piano**) is a sudden dynamic change used in a musical score, usually with the abbreviation ***fp***, to designate a section of music in which the music should be played loudly (*forte*), then immediately softly (*piano*). It is not unusual for it to be followed by a crescendo, a gradual increase in dynamics. The word is of Italian etymology literally translated as 'loudsoft'.

## Examples

Beethoven's Piano Sonata No. 8 begins with a *fortepiano*:


title: Penzance Open

abstract: The Penzance Open tournament was originally called the Penzance LTC Tournament as a combined grass court tennis tournament staged at by the Penzance LTC,Penzance, Cornwall, England in 1881, that ran until 1887. In 1950 the Penzance Open was established as a senior international tour level event that ran until 1978. The Penzance Open is still being staged today as a local tournament.

text:
# Penzance Open

The **Penzance Open** tournament was originally called the **Penzance LTC Tournament** as a combined grass court tennis tournament staged at by the Penzance LTC,Penzance, Cornwall, England in 1881, that ran until 1887.

In 1950 the Penzance Open was established as a senior international tour level event that ran until 1978. The Penzance Open is still being staged today as a local tournament.

## History

On 15 August 1881 the Penzance LTC Tournament was held for the first time at Penzance, Cornwall, England as a tennis event for men only that ended on 16 August. The first edition was won by a Mr. P. H. Fernandez. On 11 August 1882 the second edition of the tournament was concluded, the men's singles event was won by Arthur Stanhope Rashleigh, and the women's singles was won by a Miss M. Jackson.

The first Penzance LTC Tournament was staged up to 1887, when both the club and event ended the with men's event being won by the American player A. K. Andrews. In the summer of 1950 saw the first Penzance Open Tournament was staged by the new Penzance Lawn Tennis Club at Penlee Park, Penzance, Cornwall. Former winners of the men's singles title include; the Polish player Ernest Whittmann (1953–1954), Roger Taylor (1959), The women's singles title has been won by Joan Curry (1955), Billie Woodgate (1957–1958), a Wimbledon quarter finalist in the women's doubles, and mixed doubles events.

## Venue

In 1947 a new Penzance Lawn Tennis Club was established at the promenade, Penzance and consisted of 2 hard courts. In 1950 Penzance LTC moved to a permanent location at Penlee Park. The club then consisted of 4 ‘En Tout Cas’ shale courts, plus 2 existing grass courts. Today the club has 4 floodlit artificial grass courts and 3 floodlit macadam hard courts.

## Sources

* Penzance 71st Open Tournament 2021". tennis-cornwall.co.uk. Tennis Cornwall.
* Penzance Tennis Club. "Our History". penzancetennisclub.co.uk.
* Player Profile: Ernest Wittmann". ATP Tour. ATP.
* Player Profile: Billie Woodgate". www.wimbledon.com. LTA.
* Routledges Sporting Annual. (1882). Lawn Tennis in 1881. George Routledge and Sons.
* Routledge's Sporting Annual. (1883). London: George Routledge and Sons.

## InfoBox

| Penzance Open | |
| --- | --- |
| Defunct tennis tournament | |
| Tour | Men's Amateur Tour (1877-1912)
Women's Amateur Tour (1877-1912)
ILTF Men's Amateur Tour (1913-1967)
ILTF Women's Amateur Tour (1913-1967) |
| Founded | 1881, 1950 |
| Abolished | 1887, 1978 |
| Location | Penzance, Cornwall, England. |
| Venue | Penzance Lawn Tennis Club |
| Surface | Grass |


title: Fort Steele, British Columbia

abstract: Fort Steele is a heritage site in the East Kootenay region of southeastern British Columbia. This visitor attraction lies on the east shore of the Kootenay River between the mouths of the St. Mary River and Wild Horse River. The locality, on the merged section of highways 93 and 95, is by road about 17 kilometres (11 mi) northeast of Cranbrook and 230 kilometres (143 mi) southeast of Golden.

text:
# Fort Steele, British Columbia

**Fort Steele** is a heritage site in the East Kootenay region of southeastern British Columbia. This visitor attraction lies on the east shore of the Kootenay River between the mouths of the St. Mary River and Wild Horse River. The locality, on the merged section of highways 93 and 95, is by road about 17 kilometres (11 mi) northeast of Cranbrook and 230 kilometres (143 mi) southeast of Golden.

## Ferry and bridges

In 1864, John Galbraith arrived to prospect for gold on Wild Horse Creek but soon switched to more lucrative business opportunities. Later that year, he was granted a charter for a toll ferry across the Kootenay River, commencing in the new year. John also established a general store, which with the ferry, greatly profited from the early goldfield traffic to the Fisherville mining camp. He sent for two of his brothers and his two sisters with their families. Marrying Sarah Larue, John, and his brother Robert Galbraith (known as R.L.T.), purchased land at Joseph's Prairie (later called Cranbrook), where John operated a ranch from 1867.

Horses could ford the river about 370 metres (1,200 ft) downstream from the ferry, which crossed by the mouth of the St. Mary River. The ferry charter was renewed in 1871, 1876, 1880, and 1882. The ferry could carry livestock, but did not appear to have the capacity for a wagon. The annual ferry licence, which was initially $500, was lowered to $200 by 1867, because most miners had abandoned the creek for brighter prospects. In 1874, Robert Galbraith took over the operation, which continued until replaced in 1888 by a lift span bridge. The 1894 flood destroyed this 140-metre (450 ft) structure, which was superseded by Howe truss approaches and an opening span. The 1909 bridge had three spans, the western one being a Howe truss. The 1934 bridge comprised three Howe trusses. When the highway was realigned in 1966, a concrete span was chosen.

## Name origin

Once the crossing became known as **Galbraith's Ferry**, the place assumed the same name. In 1887, Superintendent Sam Steele arrived with a detachment of the NWMP to defuse tensions between settlers and local First Nations. No actual fort existed, but the police compound, erected that year, had the appearance of a fort, because of the few windows. Four constables did not survive the typhoid that struck the contingent. In 1888, the community adopted the rename of Fort Steele.

## Waterway and roads

Early supplies came in by pack train from Walla Walla, Washington. A wagon road northward to Canal Flats opened in 1886. In summertime, the Golden–Fort Steele passenger service encompassed riverboat, tramway and stage modes.

In 1895, a wagon road to the Elk River was completed, providing a link with Montana. By the late 1890s, two riverboat companies served the Jennings, Montana–Fort Steele run. From 1898, a jitney service connected with the Eager train station.

The highway, which followed Main St, was diverted to the present position in 1965.

## Community

In 1864, the population numbered over 3,000, but five years later, few remained, except the numerous mosquitos in summer. By July 1888, the NWMP had been reassigned to Fort Macleod and the detachment buildings abandoned. The settlers, who numbered about 11 Caucasians and 60 Chinese, occupied the few buildings by the river. Chas. Clark was the inaugural postmaster from 1888 to 1897.

In 1892, the commercial centre comprised the government buildings, a hotel, and two stores.

In 1894, the townsite was surveyed, Miss Adelaide Bailey became the inaugural teacher, and two hotels were erected. By 1895, Fort Steele was developing into a mining centre. That year, a mining association formed, and the *Prospector*, the local newspaper, was founded. The infrastructure included two general stores, three hotels, and a sawmill.

In 1897, an annex was added to the Dalgardno Hotel, five further hotels were opened, and the Government Building was erected. On the ground floor were three cells and a courtroom, while upstairs were several offices. Also opened were a hospital, opera house (which soon became a men's club), and a Roman Catholic church. Across the river, warehouses and a bottling plant sprang up. Several new business premises were added to the town, which joined the US telegraph network. A Board of Trade was established. During the first six months of that year, the population grew from about 300 to 3,000.

In 1898, a 91,000-litre; 24,000-US-gallon (20,000 imp gal) water tank was placed atop a 15-metre (50 ft) tower, water mains were installed, a volunteer fire department was founded, and a Presbyterian church erected. When the railway bypassed the town, the exodus of residents began. The Anglicans bought a surplus school building for a church. Henry Kershaw opened a general store and ice cream parlour. In 1899, W.A. Prest established a photo studio.

Census population:
Fort Steele
| Year | Pop. | ±% |
| --- | --- | --- |
| 1951 | 349 |  |
| 1956 | 105 | −69.9% |
| 1961 | 125 | +19.0% |
| 1966 | 56 | −55.2% |
| 1971 | 53 | −5.4% |
| 1976 | 40 | −24.5% |
| 1981 |  |  |
| 1986 | 118 |  |
| 1991 | 99 | −16.1% |
| Source: Statistics Canada<br> | | |

In 1900, the men's club built their own clubhouse, and the opera house became the Masonic Lodge. By 1901, businesses were relocating to Cranbrook or Fernie. Cranbrook acquired the government offices in 1904 and the newspaper in 1905. The town was unable to meet the cost of filling the water tank. Lacking this fire protection resource, most of the business section burned to the ground in the December 1906 blaze.

The town soldiered on for decades. The hospital, now a private residence, likely experienced a brief existence beyond the death of Dr. Hugh Watt in 1914. The school closed in 1954, the Windsor Hotel in 1958, the general store in 1961, and the post office in 1997.

## CP Railway

Robert Galbraith, who owned much of the land around Fort Steele, sold a key part of his Joseph's Prairie holdings to Colonel James Baker in 1885.

The B.C. Southern was a Canadian Pacific Railway (CP) subsidiary. In constructing westward from the Crowsnest Pass, many assumed that Fort Steele, the only suitable place of any substance, would be the divisional point. The simple story was that Colonel James Baker willingly gave CP every second townsite lot and the railyard land from his Joseph's Prairie property, knowing he would profit from the development of Cranbrook. Robert Galbraith refused to make a similar concession for a line passing though Fort Steele. The deeper story is that a syndicate, which included Baker and Galbraith, acquired land from them at both locations. By the mid-1890s, the public believed the railway would pass through each location, which increased buyer demand for subdivision lots. In 1898, the railway track crossed the Kootenay River at Wardner, bypassing Fort Steele on the way to Cranbrook.

The Kootenay Central Railway (KCR) was a CP subsidiary. The northward advance of the rail head from Colvalli was near Fort Steele in August 1914. That November, the last spike was driven near the north end of Columbia Lake. Through train service commenced in January 1915.

In 1931, the twice weekly service was reduced to once weekly.

In the early 1970s, the creation of the Lake Koocanusa reservoir behind the Libby Dam necessitated the removal of the Wardner bridge and rerouting the respective track across the Kootenay on the replacement rail bridge built in 1970 at Fort Steele.

## Heritage site

### Overview

Being the first NWMP post in BC, Fort Steele was designated a National Historic Site of Canada in 1925. In 1961, the province acquired the site to be a historic park. In 1981, the government released a concept plan. In 1972, the Queen, Prince Phillip, and Princess Anne visited the park. In 2004, the non-profit Friends of Fort Steele Society took over full management.

Authentic Fort Steele buildings, some of which were moved to within the present site, include the schoolhouse, two churches, the Opera House, and Windsor hotel. The site includes some reconstructed replicas, smaller buildings salvaged from the region, a selection of early machinery, and railway artifacts. Actors wander the town in period costumes. The Wildhorse Theatre stages live productions. Visitors can have their images captured in old-time brownish tones at the photo studio, practise gold panning, take horse-drawn rides, and watch demonstrations, such as blacksmithing. Meals are available in the International Hotel restaurant and snacks at the City Bakery.

### Railway

During summer, steam train rides are offered on a 2.5-mile (4 km) return journey, with a short stop at the "St. Mary's look-out".

The locomotive fleet is the following:

* A Pacific Coast Shay locomotive ("115") built for logging operations on Vancouver Island. The 115 is unusual because it was constructed out of two damaged shays. The 115 is currently the largest shay class locomotive in Canada. Owing to major issues with the boiler, the 115 is not in operation.
* A 2-6-2 prairie class locomotive ("1077") built in 1923 for logging work on Vancouver Island. The 1077 is the main locomotive used at the fort. The 1077 was retired by its owner in 1969, making it one of the last steam locomotives in active service in Canada. After being sold to the B.C government, The 1077 was rebuilt and used as a rolling museum train until it was put into storage in 1979. The 1077 was moved to Fort Steele in 1989 to replace the 115 Shay. The 1077 has featured in several movies, including *The Grey Fox*, *The Journey of Natty Gann*, and *Shanghai Noon*.
* Two vintage 1950s diesel switching locomotives, both in near-derelict condition. Originally slated for restoration, these units are currently for sale.

Other rolling stock includes three flat cars (two of which that have been modified for use as open air passenger cars), a British Rail Mark 1, a small parlour car (originally used as the main car but retired due to interior damage), a Morrissey, Fernie & Michel Railway (MF&M) baggage trolley, a CP caboose, MF&M snow plows, and two tank cars used for fuel storage.

## Notable people

* William Astor Drayton (1888–1973), mining magnate, was an intermittent resident 1924–1944.

## Footnotes

## InfoBox

| Fort Steele, British Columbia | |
| --- | --- |
| Commercial buildings, Fort Steele, 2006 | |
| Location | East Kootenay, British Columbia, Canada |
| Founded | 1864 |
| Governing body | Friends of Fort Steele Society (non-profit), Heritage Branch, Province of British Columbia |
| Website | www.fortsteele.ca |
|  | |
| Invalid designation | |
|  | |


title: Fort Steilacoom

abstract: Fort Steilacoom was founded by the U.S. Army in 1849 near Lake Steilacoom. It was among the first military fortifications built by the U.S. north of the Columbia River in what was to become the State of Washington. The fort was constructed due to civilian agitation about the massacre in 1847 at the Whitman mission. The indigenous Nisqually tribe attacked white settlers in the area on October 29, 1855, as a result of their dissatisfaction with the Treaty of Medicine Creek that had been imposed on them the previous year, particularly angered that their assigned reservation curtailed the traditional fishing economy. The fort was headquarters for the U.S. 9th Infantry Regiment during this "Indian War" of 1855–56. In the course of the conflict, Volunteer U.S. Army Colonel Abram Benton Moses was killed. At the conclusion of the war, Territorial Governor Isaac Stevens brought Chief Leschi of the Nisqually tribe to trial for the death of Moses during a skirmish at Connell's Prairie on October 31, 1855. Since the death had occurred in combat, the United States Army refused to carry out the sentence of death on the grounds of Fort Steilacoom, maintaining that he was a prisoner of war. The territorial legislature therefore passed a law authorizing Leschi's execution at the hands of civilian authorities. On February 19, 1858, Leschi was hanged in what is today the city of Lakewood. He was exonerated in 2004. Fort Steilacoom was decommissioned as a military post in 1868. In 1871 Washington Territory repurposed the fort as an insane asylum, with the barracks serving as patient and staff housing. Fort Steilacoom is now Western State Hospital. Four cottages from the fort remain on the site, and serve as a living history museum. The post cemetery also remains, containing civilian burials from the fort era. All known military burials were relocated to the San Francisco National Cemetery in the 1890s.

text:
# Fort Steilacoom

**Fort Steilacoom** was founded by the U.S. Army in 1849 near Lake Steilacoom. It was among the first military fortifications built by the U.S. north of the Columbia River in what was to become the State of Washington. The fort was constructed due to civilian agitation about the massacre in 1847 at the Whitman mission.

The indigenous Nisqually tribe attacked white settlers in the area on October 29, 1855, as a result of their dissatisfaction with the Treaty of Medicine Creek that had been imposed on them the previous year, particularly angered that their assigned reservation curtailed the traditional fishing economy. The fort was headquarters for the U.S. 9th Infantry Regiment during this "Indian War" of 1855–56. In the course of the conflict, Volunteer U.S. Army Colonel Abram Benton Moses was killed. At the conclusion of the war, Territorial Governor Isaac Stevens brought Chief Leschi of the Nisqually tribe to trial for the death of Moses during a skirmish at Connell's Prairie on October 31, 1855.

Since the death had occurred in combat, the United States Army refused to carry out the sentence of death on the grounds of Fort Steilacoom, maintaining that he was a prisoner of war. The territorial legislature therefore passed a law authorizing Leschi's execution at the hands of civilian authorities. On February 19, 1858, Leschi was hanged in what is today the city of Lakewood. He was exonerated in 2004.

Fort Steilacoom was decommissioned as a military post in 1868. In 1871 Washington Territory repurposed the fort as an insane asylum, with the barracks serving as patient and staff housing. Fort Steilacoom is now Western State Hospital.

Four cottages from the fort remain on the site, and serve as a living history museum. The post cemetery also remains, containing civilian burials from the fort era. All known military burials were relocated to the San Francisco National Cemetery in the 1890s.

47°10′44″N 122°33′50″W / 47.179°N 122.564°W / 47.179; -122.564

## InfoBox

|  | |
| --- | --- |
| Fort Steilacoom | |
| U.S. National Register of Historic Places | |
|  | |
| Silas Casey's Officer's Quarters | |
| Location | Lakewood, Washington, U.S. |
| Architect | A.V. Kautz |
| NRHP reference No. | 77001350 |
| Added to NRHP | November 11, 1977 |


title: Fossambault-sur-le-Lac

abstract: Fossambault-sur-le-Lac is a city in the south part of Quebec, Canada, in La Jacques-Cartier Regional County Municipality, just north of Quebec City. It had a population of 2,327 as of the Canada 2021 Census. It is located near Saint-Joseph Lake.

text:
# Fossambault-sur-le-Lac

**Fossambault-sur-le-Lac** is a city in the south part of Quebec, Canada, in La Jacques-Cartier Regional County Municipality, just north of Quebec City. It had a population of 2,327 as of the Canada 2021 Census. It is located near Saint-Joseph Lake.

## Demographics

Historical Census Data - Fossambault-sur-le-Lac, Quebec
| Year | Pop. | ±% |
| --- | --- | --- |
| 1991 | 817 |  |
| 1996 | 921 | +12.7% |
| 2001 | 1,055 | +14.5% |
| 2006 | 1,532 | +45.2% |
| 2011 | 1,613 | +5.3% |
| 2016 | 1,960 | +21.5% |
| 2021 | 2,327 | +18.7% |

In the 2021 Census of Population conducted by Statistics Canada, Fossambault-sur-le-Lac had a population of 2,327 living in 994 of its 1,282 total private dwellings, a change of 18.7% from its 2016 population of 1,960. With a land area of 11.49 km2 (4.44 sq mi), it had a population density of 202.5/km2 (524.5/sq mi) in 2021.

Canada census – Fossambault-sur-le-Lac community profile

|  | 2021 | 2016 | 2011 |
| --- | --- | --- | --- |
| Population | 2,327 (+18.7% from 2016) | 1,960 (+21.5% from 2011) | 1,613 (+5.3% from 2006) |
| Land area | 11.49 km2 (4.44 sq mi) | 11.53 km2 (4.45 sq mi) | 11.38 km2 (4.39 sq mi) |
| Population density | 202.6/km2 (525/sq mi) | 170.0/km2 (440/sq mi) | 141.7/km2 (367/sq mi) |
| Median age | 42.4 (M: 42.4, F: 42.4) | 42.7 (M: 43.7, F: 41.5) | 44.2 (M: 45.1, F: 43.1) |
| Private dwellings | 1,282 (total)  994 (occupied) | 1,283 (total) | 1,257 (total) |
| Median household income | $103,000 | $82,432 | $72,030 |

References: 2021 2016 2011 earlier

Mother tongue:

* English as first language: 2.1%
* French as first language: 95.5%
* English and French as first language: 1.5%
* Other as first language: 0.9%

## Places of interest

*Station Touristique Duchesnay* is one of the most attractive places of the town. The Jacques-Cartier River flows just nearby, and Route Fossambault links the town to Sainte-Catherine-de-la-Jacques-Cartier, where the Sainte Catherine's church is located. There is also a well-known hotel, called "Hotel de la Glace", with views overlooking the lake.

## InfoBox

| Fossambault-sur-le-Lac | |
| --- | --- |
| City | |
| Lake Saint-Joseph in Fossambault-sur-le-Lac | |
| Motto: *Crois en l'avenir* | |
| Location within La Jacques-Cartier RCM. | |
| Fossambault-sur-le-LacLocation in central Quebec. | |
| Coordinates: 46°52′N 71°37′W / 46.867°N 71.617°W / 46.867; -71.617 | |
| Country | Canada |
| Province | Quebec |
| Region | Capitale-Nationale |
| RCM | La Jacques-Cartier |
| Constituted | March 10, 1949 |
| Government | |
| Mayor | Jean Laliberté |
| Federal riding | Portneuf—Jacques-Cartier |
| Prov. riding | La Peltrie |
| Area | |
| Total | 13.80 km2 (5.33 sq mi) |
| Land | 11.49 km2 (4.44 sq mi) |
| Elevation | 367 m (1,204 ft) |
| Population (2021) | |
| Total | 2,327 |
| Density | 202.6/km2 (525/sq mi) |
| Pop 2016-2021 | 18.7% |
| Dwellings | 1,282 |
| Time zone | UTC−5 (EST) |
| Summer (DST) | UTC−4 (EDT) |
| Postal code(s) | G3N |
| Area code(s) | 418 and 581 |
| Highways | No major routes |
| Website | www.fossambault-
sur-le-lac.com |


title: Fossar de les Moreres

abstract: The Fossar de les Moreres is a memorial square in Barcelona, adjacent to the basilica of Santa Maria del Mar. The plaza was built over a cemetery where defenders of the city were buried following the Siege of Barcelona at the end of the War of the Spanish Succession in 1714. The plaza features a memorial to the fallen Catalans of the war, with a torch of eternal flame and a heroic poem by Frederic Soler, "El Fossar de les Moreres". In the aftermath of the War of Spanish Succession, Catalonia suffered a loss of autonomy. The subsequent royal decrees known as the Decretos de Nueva Planta abolished the furs (fueros) of Catalonia as well as institutions that dated back to the time of the Crown of Aragon and beyond. At a later date the public use of the Catalan language was banned for public documents. The Decretos dealt not only with Catalonia, but also with other parts of Spain and the empire as a whole. Given this tumultuous history connected with the decrees and the war, the Fossar de les Moreres is a place of remembrance every year during the National Day of Catalonia. The holiday commemorates the date on which Barcelona fell, 11 September, and Catalans yearly pay homage to the defenders of city who were killed and are buried at the memorial.

text:
# Fossar de les Moreres

41°23′01″N 2°10′56″E / 41.38361°N 2.18222°E / 41.38361; 2.18222

The **Fossar de les Moreres** (Catalan pronunciation: \[fuˈsa ðə ləz muˈɾeɾəs\], literally "Grave of the Mulberries") is a memorial square in Barcelona (Catalonia, Spain), adjacent to the basilica of Santa Maria del Mar. The plaza was built over a cemetery where defenders of the city were buried following the Siege of Barcelona at the end of the War of the Spanish Succession in 1714. The plaza features a memorial to the fallen Catalans of the war, with a torch of eternal flame and a heroic poem by Frederic Soler, "El Fossar de les Moreres".

In the aftermath of the War of Spanish Succession, Catalonia suffered a loss of autonomy. The subsequent royal decrees known as the *Decretos de Nueva Planta* abolished the *furs* (fueros) of Catalonia as well as institutions that dated back to the time of the Crown of Aragon and beyond. At a later date the public use of the Catalan language was banned for public documents. The *Decretos* dealt not only with Catalonia, but also with other parts of Spain and the empire as a whole.

Given this tumultuous history connected with the decrees and the war, the Fossar de les Moreres is a place of remembrance every year during the National Day of Catalonia (*Diada Nacional de Catalunya* in Catalan). The holiday commemorates the date on which Barcelona fell, 11 September, and Catalans yearly pay homage to the defenders of city who were killed and are buried at the memorial.


title: Penelope Princess of Pets

abstract: Penelope: Princess of Pets is a comedy series by comedy duo Kurt Braunohler and Kristen Schaal, in which Schaal stars as Penelope, a woman who can talk with animals. On a mission to save the world by killing a legislator named Stone before it's too late, Penelope is accompanied on her quest by her pet bird Ruby, and orphan friend Kyle. The theme song is written and performed by comedian/musician Reggie Watts. Originally a web series of 3- to 5-minute webisodes edited by Dan McNamara for comedy website Super Deluxe, Penelope premiered online in March 2007, with nine webisodes released, before the site was shut down in December 2008. It was picked up soon after to be adapted into a television show for the United Kingdom broadcaster Channel 4. Produced by Avalon Television and billed as a "one-off special", the half-hour television format backdoor pilot was first broadcast on Comedy Lab on 21 April 2010. Although including various elements and bits from the original web series, the television show has a number of key differences, including altered character back-stories. Whereas the web series title sequence states that Penelope has 3759 hours to save the world, the title sequence for the television show states that Penelope has 3769 hours. The television show features a legislator named Stone like in the web series, but since the TV show is set in the UK rather than the United States, Stone is a Member of Parliament (MP) rather than a senator. While Senator Stone is played by Ali Reza Farahnakian in the web series, in the television show MP Thomas Stone is played by Julian Barratt of The Mighty Boosh. The henchmen played by twin comedians Todd and Adam Stone in the web series are replaced by MP Stone's adopted sons, played by twin actors Sam and Matt Kennard. These secondary characters play a more prominent role in the television series, with MP Stone given main billing in the title sequence.

text:
# Penelope Princess of Pets

***Penelope: Princess of Pets*** is a comedy series by comedy duo Kurt Braunohler and Kristen Schaal, in which Schaal stars as Penelope, a woman who can talk with animals. On a mission to save the world by killing a legislator named Stone before it's too late, Penelope is accompanied on her quest by her pet bird Ruby, and orphan friend Kyle (played by Braunohler). The theme song is written and performed by comedian/musician Reggie Watts. Originally a web series of 3- to 5-minute webisodes edited by Dan McNamara for comedy website Super Deluxe, *Penelope* premiered online in March 2007, with nine webisodes released, before the site was shut down in December 2008. It was picked up soon after to be adapted into a television show for the United Kingdom broadcaster Channel 4.

Produced by Avalon Television and billed as a "one-off special", the half-hour television format backdoor pilot was first broadcast on Comedy Lab on 21 April 2010. Although including various elements and bits from the original web series, the television show has a number of key differences, including altered character back-stories. Whereas the web series title sequence states that Penelope has 3759 hours to save the world, the title sequence for the television show states that Penelope has 3769 hours. The television show features a legislator named Stone like in the web series, but since the TV show is set in the UK rather than the United States, Stone is a Member of Parliament (MP) rather than a senator. While Senator Stone is played by Ali Reza Farahnakian in the web series, in the television show MP Thomas Stone is played by Julian Barratt of *The Mighty Boosh*. The henchmen played by twin comedians Todd and Adam Stone in the web series are replaced by MP Stone's adopted sons, played by twin actors Sam and Matt Kennard. These secondary characters play a more prominent role in the television series, with MP Stone given main billing in the title sequence.


title: Penelope Rosemont

abstract:
Penelope Rosemont is a visual artist, writer, publisher, and social activist who attended Lake Forest College. She has been a participant in the Surrealist Movement since 1965. With Franklin Rosemont, Bernard Marszalek, Robert Green and Tor
Faegre, she established the Chicago Surrealist Group in 1966. She was in 1964-1966 a member of the Industrial Workers of the World (IWW), commonly known as the Wobblies, and was part of the national staff of Students for a Democratic Society (SDS) in 1967-68. Her influences include Andre Breton and Guy Debord of the Situationist International, Emma Goldman and Lucy Parsons.

text:
# Penelope Rosemont

**Penelope Rosemont** (born 1942 in Chicago, Illinois) is a visual artist, writer, publisher, and social activist who attended Lake Forest College. She has been a participant in the Surrealist Movement since 1965. With Franklin Rosemont, Bernard Marszalek, Robert Green and Tor Faegre, she established the Chicago Surrealist Group in 1966. She was in 1964-1966 a member of the Industrial Workers of the World (IWW), commonly known as the Wobblies, and was part of the national staff of Students for a Democratic Society (SDS) in 1967-68. Her influences include Andre Breton and Guy Debord of the Situationist International, Emma Goldman and Lucy Parsons.

## Visual art

In 1986, Penelope Rosemont's painting the "Marriage of Heaven and Hell" was included in the Venice Biennale, selected by Arturo Schwartz to be in the Art and Alchemy section. A painter, photographer, and collagist, Rosemont is credited with having invented a number of surrealist collage methods including the "landscapade" and "insect music" \[in which cut-out shapes are placed on the background of a musical score\]. Rosemont is a writer and graphic designer for Arsenal/Surrealist Subversion and other publications. Her painting *The Night Time is the Right Time* "was selected by the Chicago Jazz Institute for the 2000 Chicago Jazz Festival T-shirt". A number of Rosemont's drawings and artwork appear in her books and are particularly abundant in *Surrealist Experiences: 1001 Dawns, 221 Midnights*.

## Surrealism in and outside of Chicago

The Rosemonts write with enthusiasm about their meeting with Andre Breton and Surrealist group members during a stay in Paris in December 1965- May 1966. Penelope writes about this important period in her life in the books *Surrealist Experiences: 1001 Dawns, 221 Midnights* and in her autobiographical work *Dreams and Everyday Life: Andre Breton, Surrealism, Rebel Worker, SDS, & the Seven Cities of Cibola, A 1960s Notebook* while Franklin discusses it in his book, *An Open Entrance into the Shut Palace of Wrong Numbers*. In the  *Surrealist Experiences*, Penelope Rosemont writes about a nascent group of Surrealists that had already formed in Chicago, the Rebel Worker group, before they met Breton and in fact, this was the impetus to go to Paris, to meet the Surrealists they had been corresponding with. She writes that the initial plan was to go to London first and then to Paris. She writes "thanks to a mean-spirited British immigration bureaucrat," they were deported to Paris. That event was fortuitous because the surrealist exhibition L’Ecart absolu was taking place at the time; she attended a New Years Eve party organized by surrealists;and she was able to talk with Breton before he "became seriously ill a few months later."

The Rosemonts are referenced in Helena Lewis' 1988 book on Surrealism and Politics, *Dada Turns Red.*. There, Lewis wrote:

"There was also a group of young people in Chicago in the late 1960s who made a connection between Surrealism and the old IWW, *The Rebel Worker* in which translations of Surrealist writing appeared . . . and they also published an art anthology of Surrealist political texts, in which the editor, Franklin Rosemont, explained how Surrealism was relevant to his movement."

In his book Freedom Dreams published in Boston, 2002 Robin D.G. Kelley writes “my search for an even more elaborate, complete dream of freedom...thanks to the many wonderful chance encounters with Franklin Rosemont, Penelope Rosemont, Ted Joans, Laura Corsiglia and Jayne Cortez, I discovered surrealism...right under my nose, so to speak, buried in the rich black soil of Afrodiasporic culture.” p. 4

The Chicago Surrealist group, under their imprint Black Swan Press, published the journal Arsenal/Surrealist Subversion sporadically from 1970 to 1989 which featured the work of Richard Huelsenbeck, Andre Breton, Georges Bataille, Ted Joans Jayne Cortez and many other Surrealists, well-known and lesser known. Franklin and Penelope Rosemont were on the editorial board, along with (for issue 4), co-editors Paul Garon, Joseph Jablonski and Philip Lamantia.

## Books: poetry, memoirs, and history

Penelope Rosemont is the editor and wrote extensive introductions for her book *Surrealist Women: An International Anthology* (University of Texas, 1998), a book of over 500 pages of writing and art by women in the Surrealist movement, both past and present, dating back to the beginnings of Surrealism in the 1920s. It features Meret Oppenheim, Mary Low, Leonora Carrington, Nancy Cunard, Frida Kahlo, Dorothea Tanning, Elisa Breton, Kay Sage, Jayne Cortez, Rikki Ducornet and over one hundred more.

She is the author of *Surrealist Experiences: 1001 Dawns, 221 Midnights* (Black Swan Press, 2000), and books of poetry, including *Beware of the Ice*, and *Athanor* (1971).

In 1997, Black Swan Press released the book *The Forecast is Hot!, and Other Collective Declarations of the Surrealist Movement in the United States*, which Penelope co-authored with Franklin Rosemont and fellow Chicago Surrealist Paul Garon.

She also edited *The Story of Mary MacLane & Other Writings* by Mary MacLane in 1998, which was re-released by Charles H. Kerr, having originally been published in 1902. MacLane has been "hailed as the first 'New Woman' in literature, the first flapper and a precursor of surrealism."

In 2008 her memoir came out, *Dreams & Everyday Life, André Breton, Surrealism, Rebel Worker, SDS & the Seven Cities of Cibola*, about her life in the 1960s from moving to Chicago to meeting Andre Breton in Paris, to London and back again to Chicago in 1968.

A collection of true Chicago stories, *Armitage Avenue Transcendentalists* edited by Rosemont and Janina Ciezadlo came out in 2009. She also wrote a foreword to *Crime & Criminals: Address to the Prisoners in the Cook County Jail & Other Writings on Crime* by Clarence Darrow.

In 2018 “Make Love, Not War: Surrealism 1968!” co-authored with Don LaCoss and Michael Lowy, was published by Charles H. Kerr Publishing, Chicago.

*Surrealism: Inside the Magnetic Fields*, which recounts her experiences and historical perspective on the field of surrealism, was published by City Lights in 2019.

## Women and surrealism

In addition to editing the anthology *Surrealist Women,* Rosemont has written extensively about women, including Toyen, specifically, as well as many Surrealist women, who are often omitted from the history of Surrealism, in her book *Surrealist Experiences*

She has also been outspoken in public discussions and articles in the promotion and defense of the women of Surrealism. By her presence in the American Surrealist movement, her activism, and her publishing, she has been one of the people who have raised the profile of women in the movement.

## Charles H. Kerr Publishing

In 1983 she and Franklin Rosemont became directors of Charles H. Kerr & Company, a publisher of books on history and Chicago history

The Alternatives in Publication Task Force of the Social Responsibilities Round Table of the American Library Association awards the Jackie Eubanks Memorial Award, which "recognizes outstanding achievement in promoting the acquisition and use of alternative materials in libraries.". In 2001, the Rosemonts and Carlos Cortez received the award for their work "rescuing and re-charging" Charles H. Kerr Publishing."

## Social activism

Penelope Rosemont was a member of the IWW (Wobblies) and SDS in the 1960s. With Franklin Rosemont she compiled a collection of pamphlets, wall posters, and periodicals focusing on the IWW acquired by the Newberry Library in 2008 Her book *Armitage Avenue Transcendentalists* details stories in the lives of a number of activists, including famous Chicagoan Studs Terkel.

In 1977, continuing the Surrealist tradition of protesting bourgeois art, Penelope Rosemont and other surrealists were arrested for handing out leaflets as part of a Surrealist action protesting the "giant billy club" called the "bat column" on which Chicago spent $100,000 to erect the Claes Oldenburg Batcolumn.

## InfoBox

| Penelope Rosemont | |
| --- | --- |
| Penelope Rosemont signing at Chicago's *Women and Children First*, 2007. | |


title: Penelope Riboldi

abstract: Penelope Riboldi is an Italian football forward, currently playing for Pink Bari of Italy's Serie A. She was the third top scorer of the 2010–11 season with 19 goals while playing for UPC Tavagnacco, with whom she played in the 2011–12 Champions League, scoring a winner over LdB Malmö.

text:
# Penelope Riboldi

**Penelope Riboldi** (2 July 1986) is an Italian football forward, currently playing for Pink Bari of Italy's Serie A.

She was the third top scorer of the 2010–11 season with 19 goals while playing for UPC Tavagnacco, with whom she played in the 2011–12 Champions League, scoring a winner over LdB Malmö.

## InfoBox

Penelope Riboldi
|  | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Penelope Riboldi | | |
| Date of birth | (1986-07-02) July 2, 1986 | | |
| Place of birth | Brescia, Italy | | |
| Height | 1.58 m (5 ft 2 in) | | |
| Position(s) | Striker | | |
| Team information | | | |
| Current team | Pink Bari | | |
| Number | 27 | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2004–2006 | Atalanta | 79 | (61) |
| 2006–2007 | Bardolino | 22 | (8) |
| 2007–2010 | Atalanta | 59 | (16) |
| 2010–2012 | Tavagnacco | 50 | (32) |
| 2012–2013 | Napoli | 7 | (0) |
| 2013–2015 | Mozzanica | 51 | (8) |
| 2015–2016 | Pink Bari | 20 | (3) |
| 2016–2017 | Chieti | 14 | (2) |
| 2017–2018 | Valpolicella | 19 | (1) |
| 2018–2019 | ChievoVerona Valpo | 13 | (0) |
| 2019–2020 | Roma CF | 13 | (0) |
| 2020–2021 | Pomigliano | 13 | (1) |
| 2021– | Pink Bari | 0 | (0) |
| International career | | | |
| 2004–2006 | Italy U-19 | 10 | (4) |
| 2004–2005 | Italy U-20 | 3 | (0) |
| \*Club domestic league appearances and goals | | | |