title: Stephen I of Hungary

text: Stephen occupied Koppány's duchy and granted large estates to his own partisans. He also prescribed that Koppány's former subjects were to pay tithes to the Pannonhalma Archabbey, according to the deed of the foundation of this monastery which has been preserved in a manuscript containing interpolations. The same document declares that "there were no other bishoprics and monasteries in Hungary" at that time. On the other hand, the nearly contemporary Bishop Thietmar of Merseburg stated that Stephen "established bishoprics in his kingdom" before being crowned king. If the latter report is valid, the dioceses of Veszprém and Győr are the most probable candidates, according to historian Gábor Thoroczkay.


title: Stephen I of Hungary

text: By ordering the display of one part of Koppány's quartered corpse in Gyulafehérvár, the seat of his maternal uncle, Gyula the Younger, Stephen asserted his claim to rule all lands dominated by Hungarian lords. He also decided to strengthen his international status by adopting the title of king. However, the exact circumstances of his coronation and its political consequences are subject to scholarly debate.


title: Stephen I of Hungary

text: Thietmar of Merseburg writes that Stephen received the crown "with the favour and urging" of Emperor Otto III (r. 996–1002), implying that Stephen accepted the Emperor's suzerainty before his coronation. On the other hand, all of Stephen's legends emphasize that he received his crown from Pope Sylvester II (r. 999–1003). Kristó and other historians point out that Pope Sylvester and Emperor Otto were close allies, which implies that both reports are valid: Stephen "received the crown and consecration" from the Pope, but not without the Emperor's consent. Around 75 years after the coronation, Pope Gregory VII (r. 1075–1085), who claimed suzerainty over Hungary, declared that Stephen had "offered and devotedly surrendered" Hungary "to Saint Peter" (that is, to the Holy See). In a contrasting report, Stephen's "Greater Legend" states that the King offered Hungary to the Virgin Mary. Modern historiansincluding Pál Engel, and Miklós Molnárwrite that Stephen always asserted his sovereignty and never accepted papal or imperial suzerainty. For instance, none of his charters were dated according to the years of the reign of the contemporary emperors, which would have been the case if he had been their vassal. Furthermore, Stephen declared in the preamble to his "First Book of Laws" that he governed his realm "by the will of God".


title: Stephen I of Hungary

text: The exact date of Stephen's coronation is unknown. According to later Hungarian tradition, he was crowned on the first day of the second millennium, which may refer either to 25 December 1000 or to 1 January 1001. Details of Stephen's coronation preserved in his "Greater Legend" suggest that the ceremony, which took place in Esztergom or Székesfehérvár followed the rite of the coronation of the German kings. Accordingly, Stephen was anointed with consecrated oil during the ceremony. Stephen's portrait, preserved on his royal cloak from 1031, shows that his crown, like the Holy Roman Emperor's diadem, was a hoop crown decorated with gemstones.


title: Stephen I of Hungary

text: Besides his crown, Stephen regarded a spear with a flag as an important symbol of his sovereignty. For instance, his first coins bear the inscription LANCEA REGIS ("the king's spear") and depict an arm holding a spear with flag. According to the contemporaneous Adémar de Chabannes, a spear had been given to Stephen's father by Emperor Otto III as a token of Géza's right to "enjoy the most freedom in the possession of his country". Stephen is styled in various ways"Ungarorum rex" ("king of the Hungarians"), "Pannoniorum rex" ("king of the Pannonians") or "Hungarie rex" ("king of Hungary")in his charters.


title: Stephen I of Hungary

text: Although Stephen's power did not rely on his coronation, the ceremony granted him the internationally accepted legitimacy of a Christian monarch who ruled his realm "by the Grace of God". All his legends testify that he established an archbishopric with its see in Esztergom shortly after his coronation. This act ensured that the Church in Hungary became independent of the prelates of the Holy Roman Empire. The earliest reference to an archbishop of Esztergom, named Domokos, has been preserved in the deed of foundation of the Pannonhalma Archabbey from 1002. According to historian Gábor Thoroczkay, Stephen also established the Diocese of Kalocsa in 1001. Stephen invited foreign priests to Hungary to evangelize his kingdom. Associates of the late Adalbert of Prague, including Radla and Astrik, arrived in Hungary in the first years of his reign. The presence of an unnamed "Archbishop of the Hungarians" at the synod of 1007 of Frankfurt and the consecration of an altar in Bamberg in 1012 by Archbishop Astrik show that Stephen's prelates maintained a good relationship with the clergy of the Holy Roman Empire.


title: Stephen I of Hungary

text: The transformation of Hungary into a Christian state was one of Stephen's principal concerns throughout his reign. Although the Hungarians' conversion had already begun in his father's reign, it was only Stephen who systematically forced his subjects to give up their pagan rituals. His legislative activity was closely connected with Christianity. For example, his "First Book of Laws" from the first years of his reign includes several provisions prescribing the observance of feast days and the confession before death. His other laws protected property rights and the interests of widows and orphans, or regulated the status of serfs.


title: Stephen I of Hungary

text: Many Hungarian lords refused to accept Stephen's suzerainty even after his coronation. The new King first turned against his own uncle, Gyula the Younger, whose realm "was most wide and rich", according to the "Illuminated Chronicle". Stephen invaded Transylvania and seized Gyula and his family around 1002 or in 1003. The contemporary "Annals of Hildesheim" adds that Stephen converted his uncle's "country to the Christian faith by force" after its conquest. Accordingly, historians date the establishment of the Diocese of Transylvania to this period. If the identification, proposed by Kristó, Györffy and other Hungarian historians, of Gyula with one Prokuiwho was Stephen's uncle according to Thietmar of Merseburgis valid, Gyula later escaped from captivity and fled to Bolesław I the Brave, Duke of Poland (r. 992–1025).


title: Stephen I of Hungary

text: About a hundred years later, the chronicler Gallus Anonymus also made mention of armed conflicts between Stephen and Boleslav, stating that the latter "defeated the Hungarians in battle and made himself master of all their lands as far as the Danube". Györffy says that the chronicler's report refers to the occupation of the valley of the river Moravaa tributary of the Danubeby the Poles in the 1010s. On the other hand, the "Polish-Hungarian Chronicle" states that the Polish duke occupied large territories north of the Danube and east of the Morava as far as Esztergom in the early 11th century. According to Steinhübel, the latter source proves that a significant part of the lands that now form Slovakia were under Polish rule between 1002 and 1030. In contrast with the Slovak historian, Györffy writes that this late chronicle "in which one absurdity follows another" contradicts all facts known from 11th-century sources.


title: Stephen I of Hungary

text: The "Illuminated Chronicle" narrates that Stephen "led his army against Kean, Duke of the Bulgarians and Slavs whose lands are by their natural position most strongly fortified" following the occupation of Gyula's country. According to a number of historians, including Zoltán Lenkey and Gábor Thoroczkay, Kean was the head of a small state located in the southern parts of Transylvania and Stephen occupied his country around 1003. Other historians, including Györffy, say that the chronicle's report preserved the memory of Stephen's campaign against Bulgaria in the late 1010s.


title: Stephen I of Hungary

text: Likewise, the identification of the "Black Hungarians"who were mentioned by Bruno of Querfurt and Adémar de Chabannes among the opponents of Stephen's proselytizing policyis uncertain. Györffy locates their lands to the east of the river Tisza; while Thoroczkay says they live in the southern parts of Transdanubia. Bruno of Querfurt's report of the Black Hungarians' conversion by force suggests that Stephen conquered their lands at the latest in 1009 when "the first mission of Saint Peter"a papal legate, Cardinal Azoarrived in Hungary. The latter attended the meeting in Győr where the royal charter determining the borders of the newly established Bishopric of Pécs was issued on 23 August 1009.


title: Stephen I of Hungary

text: The Diocese of Eger was also set up around 1009. According to Thoroczkay, "it is very probable" that the bishopric's establishment was connected with the conversion of the Kabarsan ethnic group of Khazar origin and their chieftain. The head of the Kabarswho was either Samuel Aba or his father married Stephen's unnamed younger sister on this occasion. The Aba clan was the most powerful among the native families who joined Stephen and supported him in his efforts to establish a Christian monarchy. The reports by Anonymus, Simon of Kéza and other Hungarian chroniclers of the Bár-Kalán, Csák and other 13th-century noble families descending from Hungarian chieftains suggest that other native families were also involved in the process.


title: Stephen I of Hungary

text: Stephen set up a territory-based administrative system, establishing counties. Each county, headed by a royal official known as a count or "ispán", was an administrative unit organized around a royal fortress. Most fortresses were earthworks in this period, but the castles at Esztergom, Székesfehérvár and Veszprém were built of stone. Forts serving as county seats also became the nuclei of Church organization. The settlements developing around them, where markets were held on each Sunday, were important local economic centers.


title: Stephen I of Hungary

text: Stephen's brother-in-law, Henry II, became King of Germany in 1002 and Holy Roman Emperor in 1013. Their friendly relationship ensured that the western borders of Hungary experienced a period of peace in the first decades of the 11th century. Even when Henry II's discontented brother, Bruno, sought refuge in Hungary in 1004, Stephen preserved the peace with Germany and negotiated a settlement between his two brothers-in-law. Around 1009, he gave his younger sister in marriage to Otto Orseolo, Doge of Venice (r. 1008–1026), a close ally of the Byzantine Emperor, Basil II (r. 976–1025), which suggests that Hungary's relationship with the Byzantine Empire was also peaceful. On the other hand, the alliance between Hungary and the Holy Roman Empire brought her into a war with Poland lasting from around 1014 until 1018. The Poles occupied the Hungarian posts along the river Morava. Györffy and Kristó write that a Pecheneg incursion into Transylvania, the memory of which has been preserved in Stephen's legends, also took place in this period, because the Pechenegs were close allies of the Polish duke's brother-in-law, Grand Prince Sviatopolk I of Kiev (r. 1015–1019).


title: Stephen I of Hungary

text: Poland and the Holy Roman Empire concluded the Peace of Bautzen in January 1018. Later in the same year, 500 Hungarian horsemen accompanied Boleslav of Poland to Kyiv, suggesting that Hungary had been included in the peace treaty. The historian Ferenc Makk says that the Peace of Bautzen obliged Boleslav to hand over all the territories he had occupied in the Morava valley to Stephen. According to Leodvin, the first known Bishop of Bihar (r. 1050 – 1060), Stephen allied with the Byzantines and led a military expedition to assist them against "barbarians" in the Balkan Peninsula. The Byzantine and Hungarian troops jointly took "Cesaries" which Györffy identifies as the present-day town of Ohrid. Leodvin's report suggests that Stephen joined the Byzantines in the war ending with their conquest of Bulgaria in 1018. However, the exact date of his expedition is uncertain. Györffy argues that it was only in the last year of the war that Stephen led his troops against the Bulgarians.


title: Stephen I of Hungary

text: Bishop Leodvin wrote that Stephen collected relics of a number of saints in "Cesaries" during his campaign in the Balkans, including Saint George and Saint Nicholas. He donated them to his new triple-naved basilica dedicated to the Holy Virgin in Székesfehérvár, where he also set up a cathedral chapter and his new capital. His decision was influenced by the opening, in 1018 or 1019, of a new pilgrimage route that bypassed his old capital, Esztergom. The new route connected Western Europe and the Holy Land through Hungary. Stephen often met the pilgrims, contributing to the spread of his fame throughout Europe. Abbot Odilo of Cluny, for example, wrote in a letter to Stephen that "those who have returned from the shrine of our Lord" testify to the king's passion "towards the honour of our divine religion". Stephen also established four hostels for pilgrims in Constantinople, Jerusalem, Ravenna and Rome.


title: Stephen I of Hungary

text: In addition to pilgrims, merchants often used the safe route across Hungary when travelling between Constantinople and Western Europe. Stephen's legends refer to 60 wealthy Pechenegs who travelled to Hungary, but were attacked by Hungarian border guards. The king sentenced his soldiers to death in order to demonstrate his determination to preserve internal peace. Regular minting of coinage began in Hungary in the 1020s. His silver dinars bearing the inscriptions STEPHANUS REX ("King Stephen") and REGIA CIVITAS ("royal city") were popular in contemporary Europe, as demonstrated by counterfeited copies unearthed in Sweden.


title: Stephen I of Hungary

text: Stephen convinced some pilgrims and merchants to settle in Hungary. Gerard, a Benedictine monk who arrived in Hungary from the Republic of Venice between 1020 and 1026, initially planned to continue his journey to the Holy Land, but decided to stay in the country after his meeting with the king. Stephen also established a number of Benedictine monasteriesincluding the abbeys at Pécsvárad, Zalavár and Bakonybélin this period.


title: Stephen I of Hungary

text: The "Long Life of Saint Gerard" mentions Stephen's conflict with Ajtony, a chieftain in the region of the river Maros. Many historians date their clash to the end of the 1020s, although Györffy and other scholars put it at least a decade earlier. The conflict arose when Ajtony, who "had taken his power from the Greeks", according to Saint Gerard's legend, levied tax on the salt transported to Stephen on the river. The king sent a large army led by Csanád against Ajtony, who was killed in battle. His lands were transformed into a Hungarian county and the king set up a new bishopric at Csanád (Cenad, Romania), Ajtony's former capital, which was renamed after the commander of the royal army. According to the "Annales Posonienses", the Venetian Gerard was consecrated as the first bishop of the new diocese in 1030.


title: Stephen I of Hungary

text: Stephen's brother-in-law, Emperor Henry, died on 13 July 1024. He was succeeded by a distant relative, Conrad II (r. 1024–1039), who adopted an offensive foreign policy. Conrad II expelled Doge Otto Orseolothe husband of Stephen's sisterfrom Venice in 1026. He also persuaded the Bavarians to proclaim his own son, Henry, as their duke in 1027, although Stephen's son Emeric had a strong claim to the Duchy of Bavaria through his mother. Emperor Conrad planned a marriage alliance with the Byzantine Empire and dispatched one of his advisors, Bishop Werner of Strasbourg, to Constantinople. In the autumn of 1027, the bishop seemingly travelled as a pilgrim, but Stephen, who had been informed of his actual purpose, refused to let him enter into his country. Conrad II's biographer Wipo of Burgundy narrated that the Bavarians incited skirmishes along the common borders of Hungary and the Holy Roman Empire in 1029, causing a rapid deterioration in relations between the two countries.


title: Stephen I of Hungary

text: Emperor Conrad personally led his armies to Hungary in June 1030 and plundered the lands west of the River Rába. However, according to the "Annals of Niederalteich", the emperor, suffering from consequences of the scorched earth tactics used by the Hungarian army, returned to Germany "without an army and without achieving anything, because the army was threatened by starvation and was captured by the Hungarians at Vienna". Peace was restored after Conrad had ceded the lands between the rivers Lajta and Fischa to Hungary in the summer of 1031.


title: Stephen I of Hungary

text: Stephen's biographer, Hartvic, narrates that the King, whose children died one by one in infancy, "restrained the grief over their death by the solace on account of the love of his surviving son", Emeric. However, Emeric was wounded in a hunting accident and died in 1031. After the death of his son, the elderly King could never "fully regain his former health", according to the "Illuminated Chronicle". Kristó writes that the picture, which has been preserved in Stephen's legends, of the king keeping the vigils and washing the feet of paupers, is connected with Stephen's last years, following the death of his son.


title: Stephen I of Hungary

text: Emeric's death jeopardized his father's achievements in establishing a Christian state, because Stephen's cousin, Vazulwho had the strongest claim to succeed himwas suspected of an inclination towards paganism. According to the "Annals of Altaich" Stephen disregarded his cousin's claim and nominated his sister's son, the Venetian Peter Orseolo, as his heir. The same source adds that Vazul was captured and blinded, and his three sons, Levente, Andrew and Béla, were expelled from Hungary. Stephen's legends refer to an unsuccessful attempt upon the elderly king's life by members of his court. According to Kristó, the legends refer to a plot in which Vazul participated and his mutilation was a punishment for this act. That Vazul's ears were filled with molten lead was only recorded in later sources, including the "Illuminated Chronicle".


title: Stephen I of Hungary

text: In the view of some historians, provisions in Stephen's "Second Book of Laws" on the "conspiracy against the king and the kingdom" imply that the book was promulgated after Vazul's unsuccessful plot against Stephen. However, this view has not been universally accepted. Györffy states that the law book was issued, not after 1031, but around 1009. Likewise, the authenticity of the decree on tithes is debated: according to Györffy, it was issued during Stephen's reign, but Berend, Laszlovszky and Szakács argue that it "might be a later addition".


title: Stephen I of Hungary

text: Stephen died on 15 August 1038. He was buried in the basilica of Székesfehérvár. His reign was followed by a long period of civil wars, pagan uprisings and foreign invasions. The instability ended in 1077 when Ladislaus, a grandson of Vazul, ascended the throne.


title: Stephen I of Hungary

text: Stephen married Gisela, a daughter of Duke Henry the Wrangler of Bavaria, who was a nephew of Otto I, Holy Roman Emperor. Gisela's mother was Gisela of Burgundy, a member of the Welf dynasty. Born around 985, Gisela was younger than her husband, whom she survived. She left Hungary in 1045 and died as Abbess of the Niedernburg Abbey in Passau in Bavaria around 1060.


title: Stephen I of Hungary

text: Although the "Illuminated Chronicle" states that Stephen "begot many sons", only two of them, Otto and Emeric, are known by name. Otto, who was named after Otto III, seems to have been born before 1002. He died as a child.


title: Stephen I of Hungary

text: Emeric, who received the name of his maternal uncle, Emperor Henry II, was born around 1007. His "Legend" from the early 12th century describes him as a saintly prince who preserved his chastity even during his marriage. According to Györffy, Emeric's wife was a kinswoman of the Byzantine Emperor Basil II. His premature death led to the series of conflicts leading to Vazul's blinding and civil wars.


title: Stephen I of Hungary

text: The following family tree presents Stephen's ancestors and his relatives who are mentioned in the article.


title: Stephen I of Hungary

text: "*A Khazar, Pecheneg or Volga Bulgarian lady.""**Györffy writes that she may have been a member of the Bulgarian Cometopuli dynasty.""***Samuel Aba might have been the son of Stephen's sister instead of her husband."


title: Stephen I of Hungary

text: Stephen has always been considered one of the most important statesmen in the history of Hungary. His main achievement was the establishment of a Christian state that ensured that the Hungarians survived in the Carpathian Basin, in contrast to the Huns, Avars and other peoples who had previously controlled the same territory. As Bryan Cartledge emphasizes, Stephen also gave his kingdom "forty years of relative peace and sound but unspectacular rule".


title: Stephen I of Hungary

text: His successors, including those descended from Vazul, were eager to emphasize their devotion to Stephen's achievements. Although Vazul's son, Andrew I of Hungary, secured the throne due to a pagan uprising, he prohibited pagan rites and declared that his subjects should "live in all things according to the law which King St. Stephen had taught them", according to the 14th-century "Illuminated Chronicle". In medieval Hungary, communities that claimed a privileged status or attempted to preserve their own "liberties" often declared that the origin of their special status was to be attributed to King Saint Stephen. An example is a 1347 letter from the people of Táp telling the king about their grievances against the Pannonhalma Archabbey and stating that the taxes levied upon them by the abbot contradicted "the liberty granted to them in the time of King Saint Stephen".


title: Stephen I of Hungary

text: Stephen's cult emerged after the long period of anarchy characterizing the rule of his immediate successors. However, there is no evidence that Stephen became an object of veneration before his canonization. For instance, the first member of the royal family to be named after him, Stephen II, was born in the early 12th century.


title: Stephen I of Hungary

text: Stephen's canonization was initiated by Vazul's grandson, King Ladislaus I of Hungary, who had consolidated his authority by capturing and imprisoning his cousin, Solomon. According to Bishop Hartvic, the canonization was "decreed by apostolic letter, by order of the Roman see", suggesting that the ceremony was permitted by Pope Gregory VII. The ceremony started at Stephen's tomb, where on 15 August 1083 masses of believers began three days of fasting and praying. Legend tells that Stephen's coffin could not be opened until King Ladislaus held Solomon in captivity at Visegrád. The opening of Stephen's tomb was followed by the occurrence of healing miracles, according to Stephen's legends. Historian Kristó attributes the healings either to mass psychosis or deception. Stephen's legends also say that his "balsam-scented" remains were elevated from the coffin, which was filled with "rose-colored water", on 20 August. On the same day, Stephen's son, Emeric, and the bishop of Csanád, Gerard, were also canonized.


title: Stephen I of Hungary

text: Stephen's first legend, the so-called "Greater Legend", was written between 1077 and 1083. It provided an idealized portrait of the king, one who dedicated himself and his kingdom to the Virgin Mary. However, Stephen's "Lesser Legend"composed around 1100, under King Colomanemphasized Stephen's severity. A third legend, also composed during King Coloman's reign by Bishop Hartvic, was based on the two existing legends. Sanctioned in 1201 by Pope Innocent III, Hartvic's work served as Stephen's official legend. Gábor Klaniczay wrote that Stephen's legends "opened a new chapter in the legends of holy rulers as a genre", suggesting that a monarch can achieve sainthood through actively using his royal powers. Stephen was the first triumphant "miles Christi" ("Christ's soldier") among the canonized monarchs. He was also a "confessor king", one who had not suffered martyrdom, whose cult was sanctioned, in contrast with earlier holy monarchs.


title: Stephen I of Hungary

text: Stephen's cult spread beyond the borders of Hungary. Initially, he was primarily venerated in Scheyern and Bamberg, in Bavaria, but his relics were also taken to Aachen, Cologne, Montecassino and Namur. Upon the liberation of Buda from the Ottoman Turks, Pope Innocent XI expanded King Saint Stephen's cult to the entire Roman Catholic Church in 1686, and declared 2 September his feast day. As the feast of Saint Joachim was moved, in 1969, from 16 August, the day immediately following the day of Stephen's death, Stephen's feast was moved to that date. Stephen is venerated as the patron saint of Hungary, and regarded as the protector of kings, masons, stonecutters, stonemasons and bricklayers, and also of children suffering from severe illnesses. His canonization was recognized by Ecumenical Patriarch Bartholomew I of Constantinople in 2000. In the calendar of the Hungarian Catholic Church, Stephen's feast is observed on 20 August, the day on which his relics were translated. In addition, a separate feast day (30 May) is dedicated to his "Holy Dexter".


title: Stephen I of Hungary

text: Stephen's intact dexter, or right hand (), became the subject of a cult. A cleric named Mercurius stole it, but it was discovered on 30 May 1084 in Bihar County. The theft of sacred relics, or "furta sacra", had by that time become a popular topic of saints' biographies. Bishop Hartvic described the discovery of Stephen's right hand in accordance with this tradition, referring to adventures and visions. An abbey erected in Bihar County (now Sâniob, Romania) was named after and dedicated to the veneration of the Holy Dexter.


title: Stephen I of Hungary

text: The Holy Dexter was kept for centuries in the Szentjobb Abbey, except during the Mongol invasion of 1241 and 1242, when it was transferred to Ragusa (now Dubrovnik, Croatia). The relic was then taken to Székesfehérvár around 1420. Following the Ottoman occupation of the central territories of the Kingdom of Hungary in the mid-16th century, it was guarded in many places, including Bosnia, Ragusa and Vienna. It was returned to Hungary in 1771, when Queen Maria Theresa donated it to the cloister of the Sisters of Loreto in Buda. It was kept in Buda Castle's St. Sigismund Chapel between around 1900 and 1944, in a cave near Salzburg in 1944 and 1945, and again by the Sisters of Loreto in Buda, between 1945 and 1950. Finally, since 1950, the Holy Dexter has been in St. Stephen's Basilica in Budapest. An annual procession celebrating the relic was instituted in 1938, and continued until 1950, when the procession was forbidden by the Communist government. It was resumed in 1988.


title: Stephen I of Hungary

text: According to Stephen's "Greater Legend", the king "himself compiled a book for his son on moral education". This work, now known as "Admonitions" or "De institutione morum", was preserved in manuscripts written in the Late Middle Ages. Although scholars debate whether it can actually be attributed to the king or a cleric, most of them agree that it was composed in the first decades of the 11th century.


title: Stephen I of Hungary

text: The "Admonitions" argues that kingship is inseparably connected with the Catholic faith. Its author emphasized that a monarch is required to make donations to the Church and regularly consult his prelates, but is entitled to punish clergymen who do wrong. One of its basic ideas was that a sovereign has to cooperate with the "pillars of his rule", meaning the prelates, aristocrats, "ispáns" and warriors.


title: Stephen I of Hungary

text: King St Stephen has been a popular theme in Hungarian poetry since the end of the 13th century. The earliest poems were religious hymns which portrayed the holy king as the apostle of the Hungarians. Secular poetry, especially poems written for his feast day, followed a similar pattern, emphasizing Stephen's role as the first king of Hungary. Poets described Stephen as the symbol of national identity and independence and of the ability of the Hungarian nation to survive historical cataclysms during the Communist regime between 1949 and 1989.


title: Stephen I of Hungary

text: A popular hymn, still sung in the churches, was first recorded in the late . It hails King St. Stephen as "radiant star of Hungarians". Ludwig van Beethoven composed his "King Stephen Overture" for the inauguration of the Hungarian theatre in Pest in 1812. According to musician James M. Keller, "[t]he descending unisons that open the "King Stephen Overture" would seem to prefigure the opening of the "Ninth Symphony" [a]nd then a later theme, introduced by flutes and clarinets, seems almost to be a of the famous "Ode 'To Joy"' melody of the Ninth Symphony's finale". Hungarian composer Ferenc Erkel named his last complete opera from 1885, "István király" ("King Stephen"), after him. In 1938, Zoltán Kodály wrote a choral piece titled "Ének Szent István Királyhoz" ("Hymn to King Stephen"). In 1983, Levente Szörényi and János Bródy composed a rock opera—"István, a király" ("Stephen, the King")—about the early years of his reign. Seventeen years later, in 2000, Szörényi composed a sequel called "Veled, Uram!" ("You, Sir").


title: Thirtysomething

text: Thirtysomething is an American drama television series created by Edward Zwick and Marshall Herskovitz for United Artists Television (under MGM/UA Television) and aired on ABC from September 29, 1987, to May 28, 1991. It focuses on a group of baby boomers in their thirties who live in Philadelphia, Pennsylvania, and how they handle the lifestyle that dominated American culture during the 1980s given their involvement in the early 1970s counterculture as young adults. It premiered in the United States on September 29, 1987, and lasted four seasons. It was canceled in May 1991 because the ratings had dropped. Zwick and Herskovitz moved on to other projects. The series won 13 Primetime Emmy Awards, out of 41 nominations, and two Golden Globe Awards.


title: Thirtysomething

text: On January 8, 2020, ABC confirmed that a television pilot, which would serve as a sequel to the series, had been ordered. The pilot was never filmed, but was set to be directed by Zwick, written by Zwick and Herskovitz, and have four members of the original cast (Olin, Harris, Busfield and Wettig) reprising their roles. In June 2020, ABC passed on the series.


title: Thirtysomething

text: Although seen as an ensemble drama, the series revolves around husband and wife Michael Steadman (Ken Olin) and Hope Murdoch (Mel Harris) and their baby Janie. Michael's cousin is photographer Melissa Steadman (Melanie Mayron), who used to date his college friend Gary Shepherd (Peter Horton). Gary eventually marries Susannah (Patricia Kalember). Michael's business partner is Elliot Weston (Timothy Busfield), who has a troubled marriage with his wife Nancy (Patricia Wettig), a painter. Hope's childhood friend is local politician Ellyn Warren (Polly Draper).


title: Thirtysomething

text: Shout! Factory (under license from MGM) has released all four seasons of "Thirtysomething" on DVD in Region 1.


title: Thirtysomething

text: Mill Creek Entertainment has rereleased the first season on DVD in two volumes. On January 18, 2011, it released "Season One, Volume One", which contains the first 10 episodes of the season. "Season One, Volume Two", which contains the remaining 11 episodes, was released on January 10, 2012.


title: Thirtysomething

text: In Region 2, Revelation Films released the first two seasons on DVD in the UK. Season 3 was briefly released in 2014, but was almost immediately withdrawn from sale for unspecified "contractual reasons" and has, to date, not been rereleased, nor has Season 4.


title: Thirtysomething

text: "Thirtysomething" was influenced by the films "Return of the Secaucus 7" (1980) and "The Big Chill" (1983). The show reflected the angst felt by baby boomers and yuppies in the United States during the 1980s, such as the changing expectations related to masculinity and femininity introduced during the era of second-wave feminism. It also introduced "a new kind of hour-long drama, a series that focused on the domestic and professional lives of a group of young urban professionals, a socio-economic category of increasing interest to the television industry [...] its stylistic and story-line innovations led critics to respect it for being 'as close to the level of an art form as weekly television ever gets,' as the "New York Times" put it." During its four-year run, "Thirtysomething" "attracted a cult audience of viewers who strongly identified with one or more of its eight central characters, a circle of friends living in Philadelphia." Even after its cancellation in 1991, it continued to influence television programming, "in everything from the look and sound of certain TV advertisements, to other series with feminine sensibilities and preoccupations with the transition from childhood to maturity ("Sisters"), to situation comedies about groups of friends who talk all the time ("Seinfeld")."


title: Thirtysomething

text: The show also influenced the British television series "Cold Feet", which featured similar storylines and character types. The creator of "Cold Feet" wanted his show to be in the mould of successful American TV series like "Thirtysomething" and "Frasier".


title: Thirtysomething

text: Susan Faludi, in her bestseller (1991), argues that "Thirtysomething" often reinforced, rather than dismantled, gender stereotypes. She suggests that it exhibited a disdainful attitude toward single, working, and feminist women (Melissa, Ellyn, and Susannah) while at the same time "exalting homemakers" (Hope and Nancy). In this manner, the series was seen as "seemingly progressive but substantially conservative in its construction of reality."


title: Thirtysomething

text: Almost immediately after the introduction of the show, the term "Thirtysomething" became a catchphrase used to designate baby boomers in their thirties. This cultural shift was reinforced by the "Oxford English Dictionary", which added "Thirtysomething" in 1993 (under the word "thirty") and defined the term as follows:


title: Thirtysomething

text: While it aired, "Thirtysomething" was nominated for 41 Primetime Emmy Awards, winning 13. It also won two Golden Globe awards. Later, by 1997, "The Go Between" and "Samurai Ad Man" were listed as number 22 on "TV Guide"s 100 Greatest Episodes of All Time. "Thirtysomething" then placed the number 19 spot on "TV Guide"′s 50 Greatest TV Shows of All Time in 2002, and in 2013, "TV Guide" placed it as No. 10 in its list of The 60 Greatest Dramas of All Time.


title: Thirtysomething

text: A sequel to the series was pitched in September 2019. The pilot was a co-production between MGM Television and Bedford Falls Productions, which was behind the original series, and ABC Studios, and producers were casting its four original main roles at the time of the announcement.


title: Thirtysomething

text: In February 2020, Chris Wood was cast as Leo Steadman, the show's male lead. Over the next few weeks, Odette Annable was cast as Janey Steadman and Patrick Fugit and Auden Thornton as Ethan Weston and Brittany Weston. Melanie Mayron and Polly Draper agreed to appear as Melissa Steadman and Ellyn Warren. On June 29, ABC decided not to move forward with the sequel.


title: Smash (The Offspring album)

text: Smash is the third studio album by American rock band the Offspring, released on April 5, 1994, by Epitaph Records. After touring in support of their previous album "Ignition" (1992), the band recorded their next album over two months at Track Record in North Hollywood, California. "Smash" was the band's final studio album to be produced by Thom Wilson, who had worked with them since their 1989 eponymous debut. This also marks the first album where Dexter Holland is credited with playing the guitar as opposed to vocals only.


title: Smash (The Offspring album)

text: "Smash" was the Offspring's introduction into worldwide popularity, and produced a number of hit singles, including "Come Out and Play", "Self Esteem", and "Gotta Get Away". Along with Green Day's "Dookie", "Smash" was responsible for bringing punk rock into the mainstream, and helped pave the way for the emerging pop punk scene of the 1990s. As a fan favorite, the album received generally positive reviews from critics and garnered attention from major labels, including Columbia Records, with whom the band would sign in 1996.


title: Smash (The Offspring album)

text: Peaking at number four on the US "Billboard" 200, "Smash" has sold over eleven million copies worldwide, making it the best-selling album released by an independent record label; it was also the first Epitaph release to obtain gold and platinum status. In the United States, "Smash" has sold over six million copies and has been certified six times platinum by the RIAA.


title: Smash (The Offspring album)

text: In 1991, the Offspring released the "Baghdad" 7". This EP was the turning point for the band; due to its success the band signed with Epitaph Records. Thom Wilson, who produced the Offspring's first two albums, had been trying to get the Offspring to switch to Epitaph, a label run by Bad Religion guitarist Brett Gurewitz. Gurewitz felt that the Offspring was just not quite pronounced enough for his label, but "Baghdad" convinced him to give the band a shot. Wilson and the Offspring entered the studio again and recorded "Ignition". Released in 1992, "Ignition" exceeded all of the label's and band's expectations. Following the subsequent touring to support "Ignition", the Offspring began writing new material for their third album in mid-1993. Recording sessions for "Smash" took place in January and February 1994 at Track Record in North Hollywood. On the recording process of the album, frontman Dexter Holland told "Flux Magazine" in 1994, "When we recorded this album, our last one has sold maybe 15,000 copies, so the possibility of us getting played on the radio or anything like that was pretty much nonexistent. Especially because this kind of music is not generally considered acceptable by the mainstream - so, for something like this to happen, it really took us by surprise." "Smash" had a small budget of $20,000, which frequently restricted the band - according to guitarist Noodles, "[we] were constantly calling our studio to find out when it was empty just so we could sneak in at a discount price" - and the last four songs recorded for the album were worked on through just two nights.


title: Smash (The Offspring album)

text: Punk rock bands like Green Day and Rancid were gaining popularity, and riding on this wave of popularity, "Smash"'s singles became radio rock hits. An example of this was the success of the Offspring's first major single release, "Come Out and Play", which reached No. 1 on "Billboard" Modern Rock Tracks chart.


title: Smash (The Offspring album)

text: The second single released from the album, "Self Esteem", became a radio hit, managing to peak at number 4 on the "Billboard" Modern Rock Tracks chart. Although it didn't hit number 1 like its prior hit, "Self Esteem" was actually more popular and more successful worldwide. The lyrics are about an abusive relationship in which the girl takes advantage of her boyfriend, as he has "no self-esteem" to stand up to her. Contrary to popular belief, the song is not autobiographical. In an interview Dexter revealed that it is about one of his old friends. This song was the most successful and most popular of the album's three singles.


title: Smash (The Offspring album)

text: The third single, "Gotta Get Away" was another rock radio hit, although it was not as successful as the previous two singles. The song reached number 6 on the "Billboard" Modern Rock Tracks chart. Being the last song written for the album, the lyrics describe a point in Dexter's life when he was suffering from extreme pressure due to the then-upcoming deadline of the album. "What Happened To You" is driven by a Jamaican ska beat.


title: Smash (The Offspring album)

text: A fourth song, "Bad Habit", received radio play in some areas, but was never officially released. However, it is often their set opener and is a favorite among fans. The lyrics discuss road rage to the point where the protagonist shoots at the car in front of him.


title: Smash (The Offspring album)

text: The only cover in the album was "Killboy Powerhead", by the Didjits. Clocking in at 46 minutes, "Smash" is the Offspring's longest album to date.


title: Smash (The Offspring album)

text: Critical reviews of "Smash" were mostly positive. Stephen Thomas Erlewine of AllMusic called it a "solid record, filled with enough heavy riffs to keep most teenagers happy". Erlewine praised the music as "relentlessly heavy". For the album, he claims that the Offspring had "crossed over", because of the success of its single "Come Out and Play", which "stopped and started just like Nirvana." Sputnikmusic reviewer Mike Stagno called it "a fun album to listen to." Robert Christgau was less favorable, giving the album a "neither" rating.


title: Smash (The Offspring album)

text: Despite obtaining early support from the Los Angeles modern rock radio station KROQ, "Smash" initially received little attention from radio and television stations. On October 29, 1994, it peaked at number four on the "Billboard" 200, and since then, was in various places on the chart for 101 weeks. It also peaked at number one on the Heatseeker's Chart. On June 19, 1999, "Smash" peaked at number 12 on the Catalog Albums chart for one week.


title: Smash (The Offspring album)

text: "Smash" made history becoming the first album released on Epitaph Records to obtain gold and platinum status, and has been certified multi-platinum in three countries, including the US, Australia, and Canada. Additionally, it has achieved platinum status in Sweden and Switzerland, and gold status in Austria and Norway. "Smash" had sold over 11 million copies worldwide, with 6.3 million sales in the US according to Nielsen SoundScan and reported by "Billboard" in 2012. In France, it is the best selling album on an independent label, with 650,000 sales and 2× Platinum certification.


title: Smash (The Offspring album)

text: On July 30, 1994, "Come Out and Play", the album's first single, topped the Modern Rock Tracks, and stayed on the chart for 26 weeks. The song also charted at number 39 on the Pop Songs chart, while it reached number ten on the Mainstream Rock Tracks chart. "Self Esteem" reached number four on Modern Rock Tracks and would remain on that chart for 26 weeks, while it hit number seven on the Mainstream Rock Tracks chart. "Gotta Get Away", the album's third and last single, peaked at number six on the Modern Rock Tracks chart on January 14, 1995, where it would maintain some lower position on the chart for 20 weeks. Around the same time "Gotta Get Away" was officially chosen as the follow-up to "Self Esteem", "Bad Habit" was thought to be the third or fourth single from "Smash" when KROQ added it to its playlist and became one of the radio station's most requested songs; nonetheless, no music video nor standard single was released to promote "Bad Habit".


title: Smash (The Offspring album)

text: "Smash" has inspired a number of musicians. During Trivium's early days, guitarist Matt Heafy performed a cover version of "Self Esteem" at his middle school talent show at Lake Brantley High School, while the British synthpop group Cuban Boys also covered that song on their only full-length album "Eastwood". The album's other hit, "Come Out and Play", was covered by Richard Cheese on his 2000 album, "Lounge Against the Machine" and again released on the 2006 best-of album "". Brett Gurewitz, the guitarist of Bad Religion and president of Epitaph, had also mentioned that he liked "Smash" and described it as "a very good record". New York melodic hardcore punk band After the Fall mentioned "Smash" in their song "1994", which appears on their 2009 album "Fort Orange".


title: Smash (The Offspring album)

text: Along with Green Day's "Dookie", "Smash" was among the most commercially successful punk rock albums released in 1994, a year when the genre reached arguably its greatest popularity. By the end of the year, "Dookie" and "Smash" had both sold millions of copies. The commercial success of these two albums attracted major label interest in punk rock, with bands such as Rancid, NOFX and Pennywise, who had all been labelmates with The Offspring at the time, being offered lucrative contracts to leave their independent record labels, though this offer was rejected.


title: Smash (The Offspring album)

text: "Smash" has been listed on several publications' best album lists. In November 2011, the album was ranked number two on "Guitar World" magazine's top ten list of guitar albums of 1994, between Bad Religion's "Stranger than Fiction" and Weezer's "Weezer". "Guitar World" also ranked "Smash" at number 31 in their "Superunknown: 50 Iconic Albums That Defined 1994" list. Although the Offspring is a punk rock band, "Loudwire" placed "Smash" at No. 4 on its "10 Best Hard Rock Albums of 1994" list. The album was included at number 6 on "Rock Sound"s "The 51 Most Essential Pop Punk Albums of All Time" list. "NME" listed the album as one of "20 Pop Punk Albums Which Will Make You Nostalgic".


title: Smash (The Offspring album)

text: "Smash," as well as the singles "Come Out and Play", "Self Esteem", and "Gotta Get Away" have a common artwork theme: an ominous (and highly distorted) skeleton on the cover, disc, and back of the CD case. The music videos for "Self Esteem" and "Come Out and Play" also have several scenes with a similar skeleton. This symbol is believed to represent the core motifs of the album: death, greed, suicide, violence, addiction, and abuse. The skeleton is used to represent that the continuation of these acts will inevitably lead to death (or alternatively, the end of the human race). The art direction is credited to Kevin Head and Fred Hidalgo, who also designed the artwork for the Bad Religion album "Recipe for Hate".


title: Smash (The Offspring album)

text: The Offspring toured for more than two years to promote "Smash". They began a two-month U.S. tour in May 1994, supporting such bands as SNFU, Battery Club and Pennywise, and then that summer, the band toured North America with Guttermouth and Big Drill Car, and Europe with Desaster Area. In the wake of the success of "Smash", the Offspring was reportedly offered but turned down opening arena tours with bands like Stone Temple Pilots and Metallica (replacing Alice in Chains on the latter's summer 1994 U.S. tour), due to their desire to continue playing in clubs; Holland has been quoted as saying, "It just really didn't seem like the right thing to do. I still like the club thing, even if it's a big club. I like Stone Temple Pilots—it's not like we're saying we're too punk for that." The Offspring's next U.S. tour took place in October–November 1994, and was supported by Rancid, who were promoting their second album "Let's Go". The band wrapped up the year with a European tour in November and a series of theater performances in December.


title: Smash (The Offspring album)

text: In January 1995, the Offspring embarked on their first tour of Japan and Australia, where they co-headlined Big Day Out with Ministry, Primal Scream, Hole, and the Cult. They toured the U.S. with Quicksand and No Use for a Name in February–March 1995, and then headlined a European tour, which was followed by another U.S. tour with the Vandals and Lunachicks, and another European tour in June–July. The Offspring took the rest of 1995 off before playing three shows in Southern California in December, and a one-off show in Orange, California with Rancid in April 1996. In August 1996, the band played its final dates of the "Smash" tour in Europe.


title: Smash (The Offspring album)

text: The Offspring embarked on a in the summer and fall of 2014 to commemorate the 20th anniversary of the release of "Smash". On this tour, they played the "Smash" album in its entirety.


title: Smash (The Offspring album)

text: "Smash" has been reissued at least twice. Remastered issues of "Ignition" and "Smash" were released on June 17, 2008, the same day as the Offspring's eighth studio album "Rise and Fall, Rage and Grace". On April 8, 2014, the 20th anniversary of its original release, the Offspring announced that they would be releasing a special edition of "Smash" in mid-August on Epitaph. It was released as a special package that contained the remastered album on both CD and vinyl, restyled artwork, and a large format 24-page booklet containing never-before seen photos. The reissue was also released as a box set; it came with an art print (the first 250 of which are signed and on linen), a live photo print, tour pass replica and 20th anniversary items, including a pin, patch and guitar pick. The band toured in support of the reissue.


title: Conquest of the Planet of the Apes

text: Conquest of the Planet of the Apes is a 1972 American science fiction film directed by J. Lee Thompson and written by Paul Dehn. It is the fourth of five films in the original "Planet of the Apes" series produced by Arthur P. Jacobs. The film stars Roddy McDowall, Don Murray and Ricardo Montalbán. It explores how the apes rebelled from humanity's ill treatment following "Escape from the Planet of the Apes" (1971). It was followed by "Battle for the Planet of the Apes" (1973).


title: Conquest of the Planet of the Apes

text: The first film in the 2010s reboot series, "Rise of the Planet of the Apes" (2011), has a similar premise to "Conquest", but it is not officially a remake.


title: Conquest of the Planet of the Apes

text: Following a North American pandemic from a space-borne disease that wiped out all dogs and cats in 1983, the government has become a series of police states that took apes as pets before establishing a culture based on ape slave labor. These events were foretold in 1973 as testimony by two chimpanzee scientists, Cornelius and Zira, before being killed. Widely believed to be dead, their baby was secretly raised by the circus owner Armando as a young horseback rider. In 1991, now fully grown and named Caesar, the ape is brought to one of the cities to distribute flyers for Armandos's circus. During their trip, Armando advises Caesar not to speak in public for fear of his life.


title: Conquest of the Planet of the Apes

text: After seeing a gorilla being beaten and drugged, Caesar shouts out "lousy human bastards!". Armando difuses the ensuing commotion by taking responsibility for the exclamation. He plans to turn himself in to the authorities and bluff his way out while instructing Caesar to hide among the apes for safety. Caesar obeys and hides in a cage of orangutans, finding himself being trained for slavery through violent conditioning. He is then sold at auction to Governor Breck. Caesar is then put to work by Breck's chief aide MacDonald, whose African American heritage allows him to sympathize with the apes to the disgust of his boss.


title: Conquest of the Planet of the Apes

text: Meanwhile, Armando is interrogated by Inspector Kolp, who suspects his "circus ape" is the child of Cornelius and Zira. Kolp's assistant puts Armando under a machine that psychologically forces people to be truthful. Realizing he cannot fight the machine, Armando jumps through a window and dies. When Caesar learns of Armando's death, he loses faith in human kindness. In secret, he begins teaching the apes combat and has them gather weapons.


title: Conquest of the Planet of the Apes

text: Unfortunately, Breck eventually learns that Caesar is the ape the police are hunting. Meanwhile, Caesar realizes MacDonald is an ally to the apes' cause and reveals himself to him. MacDonald understands Caesar's intent to depose Breck,but expresses his doubts about the revolution's effectiveness. Caesar is later captured by Breck's men and is electrically tortured into speaking. Hearing him speak, Breck orders Caesar to be killed. With McDonald's help, the heroes manage to trick Breck into believing Caesar died. Once Breck leaves, Caesar kills his torturer and escapes.


title: Conquest of the Planet of the Apes

text: To build his numbers, Caesar takes over Ape Management. While setting the city on fire, Caesar and the rest of the apes proceed to the command center, killing most of the riot police that attempt to stop them in the process. After succeeding in this, Caesar has Breck marched out to be executed. MacDonald attempts to plea Caesar not to succumb to brutality and be merciful to the former masters. Caesar ignores him, deciding to dedicate his life to man's downfall.


title: Conquest of the Planet of the Apes

text: In the theatrical cut, as the apes raise their rifles to beat Breck to death, Caesar's girlfriend Lisa voices her objection, shouting "No!". She is the first ape to speak other than Caesar. Caesar reconsiders and orders the apes to lower their weapons, deciding that, after their recent victory, they can afford to be humane.


title: Conquest of the Planet of the Apes

text: J. Lee Thompson, who had maintained an interest in the franchise ever since producer Arthur P. Jacobs invited him for the original "Planet of the Apes", was hired to direct "Conquest of the Planet of the Apes". Thompson had worked with Jacobs on two earlier films, "What a Way to Go!" and "The Chairman," as well as during the initial stages of "Planet", but scheduling conflicts had made him unavailable during its long development process.


title: Conquest of the Planet of the Apes

text: Thompson staged every scene with attention to detail, such as highlighting the conflicts with color: the humans wear black and other muted colors, while the apes' suits are colorful. Don Murray suggested to Thompson his wardrobe with a black turtleneck sweater, and rehearsed his scenes after translating his dialogue into German "to get this kind of severe feeling of the Nazis". Screenwriter Paul Dehn wrote the film incorporating references to the racial conflicts in North America during the early 1970s, and Thompson further highlighted by shooting some scenes in a manner similar to a news broadcast. The primary location was Century City, Los Angeles, that had previously been part of the 20th Century Fox backlot and translated well the bleak future with monochromatic buildings in a sterile ultramodern style. Also used as a shooting location was the University of California, Irvine, in Orange County. In addition, TV producer Irwin Allen contributed props and clothes to the film: he let the makers of 'Conquest' borrow his Seaview jumpsuits from "Voyage to the Bottom of the Sea", brown clothes and computers and cabinets for Ape Management that were used first on "The Time Tunnel" and other sets and props from other Allen productions.


title: Conquest of the Planet of the Apes

text: Of the five original films, "Conquest" is the only entry filmed in Todd-AO 35 using Arriflex ARRI 35IIC cameras with lenses provided by the Carl Zeiss Group; the other "Apes" pictures were filmed in Panavision.


title: Conquest of the Planet of the Apes

text: The original cut of "Conquest" ended with the apes' execution of Governor Breck. After a preview screening in Phoenix on June 1, 1972, the impact of the graphic content caused the producers to rework the film, even though they did not have the budget to do so. Roddy McDowall recorded a complement to Caesar's final speech, which was portrayed through editing tricks - Caesar being mostly shown through close-ups of his eyes, the gorillas hitting Breck with the butt ends of rifles played backwards to imply they were acquiescing to Caesar's directive of non-violence - and assured a lower rating. The film's Blu-ray version adds an unrated version, restoring the original ending and many other graphic scenes.


title: Conquest of the Planet of the Apes

text: "Conquest" is the only Apes film without a pre-title sequence. The film's script and novelization describes a nighttime pre-title scene where police on night patrol shoot an escaping ape and discover that his body is covered with welts and bruises as evidence of severe abuse (in a later scene Governor Breck refers to the "ape that physically assaulted his master," thereby prompting MacDonald to report that the escape must have been the result of severe mistreatment). The scene appears in the first chapter of John Jakes' novelization of the film, and in the Marvel Comics adaption of the film in the early 1970s, both of which were probably based directly on the screenplay and not on the final edit of the actual film. An article in the Summer 1972 issue of "Cinefantastique" (volume 2, issue 2) by Dale Winogura shows and describes the scene being shot, but it is unknown why it was cut. The Blu-ray extended cut does not contain the pre-credit opening.


title: Conquest of the Planet of the Apes

text: Screenplay writer Paul Dehn, who wrote and co-wrote the sequels, said in interviews with "Cinefantastique" (quoted in "The Planet of the Apes Chronicles", by Paul Woods) that the story he was writing had a circular timeline:


title: Conquest of the Planet of the Apes

text: Howard Thompson of "The New York Times" wrote that "J. Lee Thompson's direction furiously propels the action in a compact chromium-and-glass setting—and wait till you see that last battle royal." Arthur Murphy of "Variety" wrote, "McDowall is extremely good as usual in simian character, and Thompson's staging keeps the pace very lively." Gene Siskel of the "Chicago Tribune" gave the film 2.5 stars out of four, calling it "excellent in the first half hour," but found "the concluding action sequences run on too long without any original slashing, maiming, or setting on fire." Kevin Thomas of the "Los Angeles Times" wrote that the film "may be the best since No. 1, 'Planet of the Apes'," calling it "a self-contained allegory in which man's cruelty to beasts becomes symbolic of man's inhumanity to man. It is a simple but powerful premise, thoroughly developed with a good balance between dialog and action by Dehn and splendidly directed by J. Lee Thompson." Clyde Jeavons of "The Monthly Film Bulletin" wrote, "This comic-book adventure is a far cry from the provocative Pierre Boulle vision so impressively realised by Franklin Schaffner four films ago; and in spite of some crude allegorical pretensions, it can't really be considered seriously as more than another excuse by APJAC to get maximum wear out of an expensive set of costumes."


title: Conquest of the Planet of the Apes

text: On Rotten Tomatoes, the film has an approval rating of 52% based on 23 reviews. The critical consensus reads: ""Conquest of the Planet of the Apes" is as angry and relevant as any of its predecessors, but budget constraints and a stale script rob this revolution of the scope it requires."


title: Marian Anderson

text: Marian Anderson (February 27, 1897April 8, 1993) was an American contralto. She performed a wide range of music, from opera to spirituals. Anderson performed with renowned orchestras in major concert and recital venues throughout the United States and Europe between 1925 and 1965.


title: Marian Anderson

text: Anderson was an important figure in the struggle for African-American artists to overcome racial prejudice in the United States during the mid-twentieth century. In 1939 during the era of racial segregation, the Daughters of the American Revolution (DAR) refused to allow Anderson to sing to an integrated audience in Constitution Hall in Washington, D.C. The incident placed Anderson in the spotlight of the international community on a level unusual for a classical musician. With the aid of First Lady Eleanor Roosevelt and her husband President Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, April 9, 1939, on the Lincoln Memorial steps in the capital. The event was featured in a . She sang before an integrated crowd of more than 75,000 people and a radio audience in the millions.


title: Marian Anderson

text: On January 7, 1955, Anderson became the first African-American singer to perform at the Metropolitan Opera. In addition, she worked as a delegate to the United Nations Human Rights Committee and as a Goodwill Ambassador for the United States Department of State, giving concerts all over the world. She participated in the civil rights movement in the 1960s, singing at the March on Washington for Jobs and Freedom in 1963. The recipient of numerous awards and honors, Anderson was awarded the first Presidential Medal of Freedom in 1963, the Congressional Gold Medal in 1977, the Kennedy Center Honors in 1978, the National Medal of Arts in 1986, and a Grammy Lifetime Achievement Award in 1991.


title: Marian Anderson

text: Marian Anderson was born in Philadelphia on February 27, 1897, to John Berkley Anderson (c. 1872–1910) and Annie Delilah Rucker (1874–1964). Her father sold ice and coal at the Reading Terminal in downtown Philadelphia and eventually also sold liquor. Prior to her marriage, Anderson's mother was briefly a student at the Virginia Seminary and College in Lynchburg and had worked as a schoolteacher in Virginia. As she did not obtain a degree, Annie Anderson was unable to teach in Philadelphia under a law that was applied only to black teachers and not white ones. She therefore earned an income caring for small children. Marian was the eldest of the three Anderson children. Her two sisters, Alyse (1899–1965) and Ethel (1902–90), also became singers. Ethel married James DePreist and their son James Anderson DePreist was a noted conductor.


title: Marian Anderson

text: Anderson's parents were both devout Christians and the whole family was active in the Union Baptist Church, which, during her youth, stood in a building constructed by the congregation in 1889 at 709 S. 12th Street in South Philadelphia. Marian's aunt Mary, her father's sister, was particularly active in the church's musical life and convinced her niece to join the junior church choir at the age of six. In that role, she got to perform solos and duets, often with her aunt. Aunt Mary took Marian to concerts at local churches, the YMCA, benefit concerts, and other community music events throughout the city. Anderson credited her aunt's influence as the reason she pursued her singing career. Beginning as young as six, her aunt arranged for Marian to sing for local functions where she was often paid 25 or 50 cents for singing a few songs. As she got into her early teens, Marian began to make as much as four or five dollars for singing, a considerable sum for the early 20th century. At the age of 10, Marian joined the People's Chorus of Philadelphia under the direction of a singer Emma Azalia Hackley, where she was often a soloist.


title: Marian Anderson

text: When Anderson was 12, her father received a head injury while working at the Reading Terminal before Christmas 1909. Soon afterwards her father died, following heart failure. He was 37 years old. Marian and her family moved into the home of her father's parents, Benjamin and Isabella Anderson. Her grandfather had been born a slave and had been emancipated in the 1860s. He relocated to South Philadelphia, the first of his family to do so. When Anderson moved into his home, the two became very close, but he died just a year after the family moved in.


title: Marian Anderson

text: Anderson attended Stanton Grammar School, graduating in 1912. Her family could not pay for any music lessons or high school. Still, Anderson continued to perform wherever she could and learn from anyone who was willing to teach her. Throughout her teenage years, she remained active in her church's musical activities, now heavily involved in the adult choir. She became a member of the Baptists' Young People's Union and the Camp Fire Girls, which provided her with some limited musical opportunities. Eventually, the People's Chorus of Philadelphia and the pastor of her church, Reverend Wesley Parks, along with other leaders of the black community, raised the money she needed to get singing lessons with Mary Saunders Patterson and to attend South Philadelphia High School, from which she graduated in 1921.


title: Marian Anderson

text: After high school, Anderson applied to an all-white music school, the Philadelphia Musical Academy (now University of the Arts School of Music), but was turned away because she was black. The woman working the admissions counter replied, "We don't take colored" when she tried to apply. Undaunted, Anderson pursued studies privately in her native city through the continued support of the Philadelphia black community, first with Agnes Reifsnyder, then Giuseppe Boghetti. She met Boghetti through the principal of her high school. Anderson auditioned for him by singing "Deep River"; he was immediately brought to tears. Boghetti scheduled a recital of English, Russian, Italian and German music at The Town Hall in New York City in April 1924; it took place in an almost empty hall and received poor reviews.


title: Marian Anderson

text: In 1925, Anderson got her first big break at a singing competition sponsored by the New York Philharmonic. As the winner, she got to perform in concert with the orchestra on August 26, 1925, a performance that scored immediate success with both the audience and music critics. Anderson continued her studies with Frank La Forge in New York. During this time, Arthur Judson became her manager. They met through the New York Philharmonic. Over the next several years, she made a number of concert appearances in the United States, but racial prejudice prevented her career from gaining momentum. Her first performance at Carnegie Hall was in 1928.


title: Marian Anderson

text: During her fall 1929 concert schedule, Anderson sang at Orchestra Hall in Chicago. The performance was greeted with measured praise. Critic Herman Devries from the "Chicago Evening American" wrote, "[Anderson] reached near perfection in every requirement of vocal art—the tone was of superb timbre, the phrasing of utmost refinement, the style pure, discreet, musicianly. But after this there was a letdown, and we took away the impression of a talent still unripe, but certainly a talent of potential growth." In the audience were two representatives from Julius Rosenwald's philanthropic organization, the Rosenwald Fund. The organization's representatives, Ray Field and George Arthur, encouraged Anderson to apply for a Rosenwald Fellowship, from which she received $1500 to study in Berlin.


title: Marian Anderson

text: Anderson went to Europe, where she spent a number of months studying with Sara Charles-Cahier, before launching a highly successful European singing tour. In the summer of 1930, she went to Scandinavia, where she met the Finnish pianist Kosti Vehanen, who became her regular accompanist and her vocal coach for many years. She also met Jean Sibelius through Vehanen after he had heard her in a concert in Helsinki. Moved by her performance, Sibelius invited them to his home and asked his wife to bring champagne in place of the traditional coffee. Sibelius complimented Anderson on her performance; he felt that she had been able to penetrate the Nordic soul. The two struck up an immediate friendship, which further blossomed into a professional partnership, and for many years Sibelius altered and composed songs for Anderson. He created a new arrangement of the song "Solitude" and dedicated it to Anderson in 1939. Originally "The Jewish Girl's Song" from his 1906 incidental music to "Belshazzar's Feast", it later became the "Solitude" section of the orchestral suite derived from the incidental music.


title: Marian Anderson

text: In 1933, Anderson made her European debut in a concert at Wigmore Hall in London, where she was received enthusiastically. In the first years of the 1930s, she toured Europe, where she did not encounter the prejudices she had experienced in America. Anderson, accompanied by Vehanen, continued to tour throughout Europe during the mid-1930s. Before going back to Scandinavia, where fans had "Marian fever", she performed in Russia and the major cities of Eastern Europe. She quickly became a favorite of many conductors and composers of major European orchestras. During a 1935 tour in Salzburg, the conductor Arturo Toscanini told her she had a voice "heard once in a hundred years."


title: Marian Anderson

text: In 1934, impresario Sol Hurok offered Anderson a better contract than she previously had with Arthur Judson. He became her manager, and he persuaded her to come back and perform in America. In 1935, Anderson made her second recital appearance at The Town Hall, New York City, which received highly favorable reviews from music critics. She spent the next four years touring throughout the United States and Europe. She was offered opera roles by several European houses, but due to her lack of acting experience, Anderson declined all of them. She did, however, record a number of arias in the studio, which became bestsellers.


title: Marian Anderson

text: Anderson's accomplishments as a singer did not make her immune to the Jim Crow laws in the 1930s. Although she gave approximately seventy recitals a year in the United States, Anderson was still turned away by some American hotels and restaurants. Because of this discrimination, Albert Einstein, a champion of racial tolerance, hosted Anderson on many occasions, the first being in 1937 when she was denied a hotel room while performing at Princeton University. Einstein's first hosting of Anderson became the subject of a play, "My Lord, What a Night," in 2021. She last stayed with him months before he died in 1955.


title: Marian Anderson

text: In 1939, Sarah Corbin Robert, head of the Daughters of the American Revolution (DAR) denied permission to Anderson for a concert on April 9 at DAR Constitution Hall under a white performers-only policy in effect at the time. In addition to the policy on performers, Washington, DC, was a segregated city, and Black patrons were upset that they would have to sit at the back of Constitution Hall. Furthermore, Constitution Hall did not have the segregated public bathrooms required by DC law at the time for such events. Other DC venues were not an option: the District of Columbia Board of Education declined a request for the use of the auditorium of a white public high school.


title: Marian Anderson

text: The next day, Charles Edward Russell, a co-founder of the National Association for the Advancement of Colored People (NAACP) and chair of the DC citywide Inter-Racial Committee, held a meeting of the Marian Anderson Citizens Committee (MACC). This included the National Negro Congress, the Brotherhood of Sleeping Car Porters, the American Federation of Labor, and the Washington Industrial Council-CIO, plus church leaders and activists in the city and numerous other organizations. MACC elected Charles Hamilton Houston as its chairman and on February 20, the group picketed the Board of Education, collected signatures on petitions, and planned a mass protest at the next board meeting.


title: Marian Anderson

text: In the ensuing furor, thousands of DAR members, including First Lady Eleanor Roosevelt, resigned from the organization. Roosevelt wrote to the DAR: "I am in complete disagreement with the attitude taken in refusing Constitution Hall to a great artist... You had an opportunity to lead in an enlightened way and it seems to me that your organization has failed." Author Zora Neale Hurston criticized Eleanor Roosevelt's public silence about the similar decision by the District of Columbia Board of Education.


title: Marian Anderson

text: As the controversy grew, the American press overwhelmingly supported Anderson's right to sing. The "Philadelphia Tribune" wrote, "A group of tottering old ladies, who don't know the difference between patriotism and putridism, have compelled the gracious First Lady to apologize for their national rudeness." The "Richmond Times-Dispatch" wrote, "In these days of racial intolerance so crudely expressed in the Third Reich, an action such as the D.A.R.’s ban... seems all the more deplorable."


title: Marian Anderson

text: At Eleanor Roosevelt's instigation, President Roosevelt and Walter White, then-executive secretary of the NAACP, and Anderson's manager, Sol Hurok, persuaded Secretary of the Interior Harold L. Ickes to arrange an open-air concert on the steps of the Lincoln Memorial. The concert was performed on Easter Sunday, April 9. Anderson was accompanied, as usual, by Vehanen. They began the performance with a dignified and stirring rendition of "My Country, 'Tis of Thee." The event attracted a crowd of more than 75,000 in addition to a national radio audience of millions.


title: Marian Anderson

text: Two months later, in conjunction with the 30th NAACP conference in Richmond, Virginia, Eleanor Roosevelt gave a speech on national radio (NBC and CBS) and presented Anderson with the 1939 Spingarn Medal for distinguished achievement. In 2001, a was chosen for the National Film Registry, and in 2008, NBC radio coverage of the event was selected for the National Recording Registry.


title: Marian Anderson

text: During World War II and the Korean War, Anderson entertained troops in hospitals and at bases. In 1943, she sang at the Constitution Hall, having been invited by the DAR to perform before an integrated audience as part of a benefit for the American Red Cross. She said of the event, "When I finally walked onto the stage of Constitution Hall, I felt no different than I had in other halls. There was no sense of triumph. I felt that it was a beautiful concert hall and I was very happy to sing there." In contrast, the District of Columbia Board of Education continued to bar her from using the high school auditorium in the District of Columbia.


title: Marian Anderson

text: On June 15, 1953, Anderson headlined "The Ford 50th Anniversary Show", which was broadcast live from New York City on both NBC and CBS. Midway through the program, she sang "He's Got the Whole World in His Hands." She returned to close the program with her rendition of the "Battle Hymn of the Republic." The program attracted an audience of 60 million viewers. Forty years after the broadcast, television critic Tom Shales recalled the broadcast as both "a landmark in television" and "a milestone in the cultural life of the '50s".


title: Marian Anderson

text: On January 7, 1955, Anderson became the first African-American to sing with the Metropolitan Opera in New York. At the invitation of director Rudolf Bing, she sang the part of Ulrica in Giuseppe Verdi's "Un ballo in maschera" (opposite Zinka Milanov, then Herva Nelli, as Amelia). Anderson later said about the evening, "The curtain rose on the second scene and I was there on stage, mixing the witch's brew. I trembled, and when the audience applauded and applauded before I could sing a note, I felt myself tightening into a knot." Although she never appeared with the company again, Anderson was named a permanent member of the Metropolitan Opera company. The following year, her autobiography, "My Lord, What a Morning", was published, and became a bestseller.


title: Marian Anderson

text: In 1957, she sang for President Dwight D. Eisenhower's inauguration, and toured India and the Far East as a goodwill ambassador through the U.S. State Department and the American National Theater and Academy. She traveled in 12 weeks, giving 24 concerts. After that, President Eisenhower appointed her a delegate to the United Nations Human Rights Committee. The same year, she was elected Fellow of the American Academy of Arts and Sciences. In 1958, she was officially designated a delegate to the United Nations, a formalization of her role as "goodwill ambassadress" of the U.S.


title: Marian Anderson

text: On January 20, 1961, she sang for President John F. Kennedy's inauguration, and in 1962 she performed for President Kennedy and other dignitaries in the East Room of the White House and toured Australia. She was active in supporting the civil rights movement during the 1960s. She performed benefit concerts in aid of the America-Israel Cultural Foundation, the National Association for the Advancement of Colored People and the Congress of Racial Equality. In 1963, she sang at the March on Washington for Jobs and Freedom. That same year, she received one of the newly reinstituted Presidential Medal of Freedom, which is awarded for "especially meritorious contributions to the security or national interest of the United States, World Peace or cultural or other significant public or private endeavors." She also released an album, "Snoopycat: The Adventures of Marian Anderson's Cat Snoopy", which included short stories and songs about her beloved black cat. That same year, Anderson concluded her farewell tour, after which she retired from public performance. The international tour began at Constitution Hall on Saturday October 24, 1964, and ended on April 18, 1965, at Carnegie Hall. In 1965, she christened the nuclear-powered ballistic-missile submarine .


title: Marian Anderson

text: Although Anderson retired from singing in 1965, she continued to appear publicly. She often narrated Aaron Copland's "Lincoln Portrait", with her nephew James DePriest conducting. In 1976, Copland conducted a performance with the Philadelphia Orchestra at Saratoga. Her achievements were recognized with many honors, including the University of Pennsylvania Glee Club Award of Merit in 1973; the United Nations Peace Prize, New York City's Handel Medallion, and the Congressional Gold Medal, all in 1977; Kennedy Center Honors in 1978; the George Peabody Medal in 1981; the National Medal of Arts in 1986; and a Grammy Award for Lifetime Achievement in 1991. A half-ounce gold commemorative medal was embossed with her portrait by the United States Treasury Department in 1980. Four years later, she was the first person to be honored with the Eleanor Roosevelt Human Rights Award of the City of New York. She was awarded 24 honorary doctoral degrees, by Howard University, Temple University, Smith College and many other colleges and universities.


title: Marian Anderson

text: On July 17, 1943, Anderson became the second wife of architect Orpheus H. "King" Fisher (1900–1986) in Bethel, Connecticut. Fisher had asked her to marry him when they were teenagers, but she declined at that time because she feared it would have forestalled her music career. The wedding was a private ceremony performed by United Methodist pastor Rev. Jack Grenfell and was the subject of a short story titled "The 'Inside' Story," written by Rev. Grenfell's wife, Dr. Clarine Coffin Grenfell, in her book "Women My Husband Married, including Marian Anderson". According to Dr. Grenfell, the wedding was originally supposed to take place in the parsonage, but because of a bake sale on the lawn of the Bethel United Methodist Church, the ceremony was moved at the last minute to the Elmwood Chapel, on the site of the Elmwood Cemetery in Bethel, in order to keep the event private.


title: Marian Anderson

text: By this marriage she gained a stepson, James Fisher, from her husband's previous marriage to Ida Gould, a white woman.


title: Marian Anderson

text: In 1940, seeking a retreat away from the public eye, Anderson and Fisher purchased a three-story Victorian farmhouse on a farm in Danbury, Connecticut, after an exhaustive search throughout New York, New Jersey, and Connecticut. Through the years, he built many structures on the property, including an acoustic rehearsal studio he designed for his wife. The property remained Anderson's home for almost 50 years.


title: Marian Anderson

text: From 1943, she resided at the farm that Orpheus had named Marianna Farm. The farm was on Joe's Hill Road, in the Mill Plain section of western Danbury. She constructed a three-bedroom ranch house as a residence, and she used a separate one-room structure as her studio. In 1996, the farm was named one of 60 sites on the Connecticut Freedom Trail. The studio was moved to downtown Danbury as the Marian Anderson studio.


title: Marian Anderson

text: As a town resident, Anderson wished to live as normally as possible, declining offers to be treated in restaurants and stores as a celebrity. She was known to visit the Danbury State Fair. She sang at the city hall on the occasion of the lighting of Christmas ornaments. She gave a concert at the Danbury High School. She served on the board of the Danbury Music Center and supported the Charles Ives Center for the Arts and the Danbury Chapter of the NAACP.


title: Marian Anderson

text: In 1986, Orpheus Fisher died after 43 years of marriage. Anderson remained in residence at Marianna Farm until 1992, one year before her death. Although the property was sold to developers, various preservationists as well as the City of Danbury fought to protect Anderson's studio. Their efforts proved successful, and the Danbury Museum and Historical Society received a grant from the state of Connecticut, relocated and restored the structure, and opened it to the public in 2004. In addition to seeing the studio, visitors can see photographs and memorabilia from milestones in Anderson's career.


title: Marian Anderson

text: In 1992, Anderson relocated to the home of her nephew, conductor James DePreist, in Portland, Oregon. She died there on April 8, 1993, of congestive heart failure, at the age of 96. She is interred at Eden Cemetery, in Collingdale, Pennsylvania.


title: Marian Anderson

text: The life and art of Anderson has been commemorated by writers, artists, and city, state, and national organizations. The following is a selected list:


title: Marian Anderson

text: The Marian Anderson Award was established in 1943 by Anderson after she was awarded the $25,000 from The Philadelphia Award in 1940 by the city of Philadelphia. Anderson used the award money to establish a singing competition to help support young singers. The prize fund was exhausted in due course and disbanded in 1976. In 1990, the award was re-established and has dispensed $25,000 annually. In 1998, the Marian Anderson Award prize money was restructured to be given to an established artist, not necessarily a singer, who exhibits leadership in a humanitarian area.


title: Andromache

text: In Greek mythology, Andromache (; , ) was the wife of Hector, daughter of Eetion, and sister to Podes. She was born and raised in the city of Cilician Thebe, over which her father ruled. The name means 'man battler' or 'fighter of men' or 'man fighter' (note that there was also a famous Amazon warrior named "Andromache", probably in this meaning) or 'man's battle' (that is: 'courage' or 'manly virtue'), from the Greek stem 'man' and 'battle'.


title: Andromache

text: After the Trojan War, following Hector's murder by Achilles and the city's capture and sacking by the Greeks, the Greek herald Talthybius informed her of the plan to kill Astyanax, her son by Hector, by throwing him from the city walls. This act was carried out by Neoptolemus who then took Andromache as a concubine and Hector's brother, Helenus, as a slave. By Neoptolemus, she was the mother of Molossus, and according to Pausanias, of Pielus and Pergamus. When Neoptolemus died, Andromache married Helenus and became Queen of Epirus. Pausanias also implies that Helenus' son, Cestrinus, was by Andromache. In Epirus Andromache faithfully continued to make offerings at Hector’s cenotaph. Andromache eventually went to live with her youngest son, Pergamus in Pergamum, where she died of old age. Andromache was famous for her fidelity and virtue; her character represents the suffering of Trojan women during war.


title: Andromache

text: Andromache was described by the chronicler Malalas in his account of the "Chronography" as "above average height, thin, well turned out, good nose, good breasts, good eyes, good brows, wooly hair, blondish hair long in back, large-featured, good neck, dimples on her cheeks, charming, quick". Meanwhile, in the account of Dares the Phrygian, she was illustrated as ". . .bright-eyed and fair, with a tall and beautiful body. She was modest, wise, chaste, and charming."


title: Andromache

text: Andromache was born in Cilian Thebe, a city that Achilles later sacked, killing her father Eetion and seven brothers. After this, her mother died of illness (6.425). She was taken from her father's household by Hector, who had brought countless wedding-gifts (22.470-72). Thus Priam’s household alone provides Andromache with her only familial support. In contrast to the inappropriate relationship of Paris and Helen, Hector and Andromache fit the Greek ideal of a happy and productive marriage, which heightens the tragedy of their shared misfortune. Andromache and Hector have a son together, named Scamandrius but called Astyanax by both the people of Troy and Homer.


title: Andromache

text: Andromache is alone after Troy falls and her son is killed. Notably, Andromache remains unnamed in "Iliad" 22, referred to only as the wife of Hector (Greek "alokhos"), indicating the centrality of her status as Hector's wife and of the marriage itself to her identity. The Greeks divide the Trojan women as spoils of war and permanently separate them from the ruins of Troy and from one another. Hector's fears of her life as a captive woman are realized as her family is entirely stripped from her by the violence of war, as she fulfills the fate of conquered women in ancient warfare (6.450–465). Without her familial structure, Andromache is a displaced woman who must live outside familiar and even safe societal boundaries.


title: Andromache

text: After Troy falls, Andromache is given as a concubine to Neoptolemus, also called Pyrrhus, son of Achilles, after her son Astyanax is murdered at the suggestion of Odysseus, who fears he will grow up to avenge his father Hector. She goes with him to Phthia, where Thetis and Peleus, the parents of Achilles, lived. Hyginus calls her son Amphialus, while Euripides gives his name as Molossus and Pausanias says that she has three children, named Molossus, Pielus and Pergamus. In Euripides' "Andromache", Hermione, the wife of Neoptolemus and daughter of Helen and Menelaus, tries to kill Andromache because she believes Andromache has cursed her with infertility. In the play, Neoptolemus is killed by Orestes, who marries Hermione, and the goddess Thetis announces that Andromache will marry her ex-brother-in-law Helenus and live with him in "the land of the Molossians", where her son Molossus will start "an unbroken succession of kings who will live happy lives". In Pausanias' account Helenus' son Cestrinus was the child of Andromache. Aeneas also visits Andromache and Helenus when they are living in Chaonia, where Helenus gives him a prophecy and Andromache brings robes and a Phrygian cloak for Aeneas' son Ascanius and tells him he is "the sole image left to [her] of [her] Astyanax". Pausanias, writing in the 2nd century AD, says that "there is still a shrine [to Andromache] in the city" that was named after her son Pergamus.


title: Andromache

text: Andromache's gradual discovery of her husband's death and her immediate lamentation (22.437–515) culminate the shorter lamentations of Priam and Hecuba upon Hector's death (22.405–36). In accordance with traditional customs of mourning, Andromache responds with an immediate and impulsive outburst of grief ("goos") that begins the ritual lamentation. She casts away her various pieces of headdress (22.468-72) and leads the Trojan women in ritual mourning, both of which they did (22.405–36). Although Andromache adheres to the formal practice of female lamentation in Homeric epic, the raw emotion of her discovery yields a miserable beginning to a new era in her life without her husband and, ultimately, without a home. The final stage of the mourning process occurs in "Iliad" 24 in the formal, communal grieving ("thrēnos") upon the return of Hector's body (24.703–804). In a fragment of Ennius' "Andromacha", quoted by Cicero in the Tusculan Disputations (3.44-46), Andromacha sings about her loss of Hector.


title: Andromache

text: In "Iliad" 22, Andromache is portrayed as the perfect wife, weaving a cloak for her husband in the innermost chambers of the house and preparing a bath in anticipation of his return from battle (22.440–6). Here she is carrying out an action Hector had ordered her to perform during their conversation in "Iliad" 6 (6.490–92), and this obedience is another display of womanly virtue in Homer's eyes. However, Andromache is seen in "Iliad" 6 in an unusual place for the traditional housewife, standing before the ramparts of Troy (6.370–373). Traditional gender roles are breached as well, as Andromache gives Hector military advice (6.433–439). Although her behavior may seem nontraditional, hard times disrupt the separate spheres of men and women, requiring a shared civic response to the defence of the city as a whole. Andromache's sudden tactical lecture is a way to keep Hector close, by guarding a section of the wall instead of fighting out in the plains. Andromache's role as a mother, a fundamental element of her position in marriage, is emphasized within this same conversation. Their infant son, Astyanax, is also present at the ramparts as a maid tends to him. Hector takes his son from the maid, yet returns him to his wife, a small action that provides great insight into the importance Homer placed on her care-taking duties as mother (6.466–483). A bonding moment between mother and father occurs in this scene when Hector's helmet scares Astyanax, providing a moment of light relief in the story. After Hector's death in "Iliad" 22, Andromache's foremost concern is Astyanax's fate as a mistreated orphan (22.477–514).


title: Andromache

text: She is also the subject of a tragedy by French classical playwright Jean Racine (1639–1699), entitled "Andromaque", and a minor character in Shakespeare's "Troilus and Cressida". "The Andromache" is referenced in The Duc De L'Omelette written by Edgar Allan Poe in published in 1832. In 1857, she also importantly appears in Baudelaire's poem, "Le Cygne", in "Les Fleurs du Mal". Andromache is the subject of a 1932 opera by German composer Herbert Windt and also a lyric scena for soprano and orchestra by Samuel Barber. She was portrayed by Vanessa Redgrave in the 1971 film version of Euripides' "The Trojan Women", and by Saffron Burrows in the 2004 film "Troy". She also appears as a character in David Gemmell's "Troy" series. In the 2018 TV miniseries "", she was portrayed by Chloe Pirrie.


title: Eugen Sandow

text: Eugen Sandow (born Friedrich Wilhelm Müller, ; 2 April 1867 – 14 October 1925) was a German bodybuilder and showman from Prussia. Born in Königsberg, Sandow became interested in bodybuilding at the age of ten during a visit to Italy. After a spell in the circus, Sandow studied under strongman Ludwig Durlacher in the late 1880s. On Durlacher's recommendation, he began entering strongman competitions, performing in matches against leading figures in the sport such as Charles Sampson, Frank Bienkowski, and Henry McCann. In 1901 he organised what is believed to be the world's first major body building competition. Set in London's Royal Albert Hall, Sandow judged the event alongside author Arthur Conan Doyle and athlete/sculptor Charles Lawes-Wittewronge.


title: Eugen Sandow

text: Sandow was born to a family of Jewish origin in Königsberg, Prussia (now Kaliningrad), on 2 April 1867. His father was German, while his mother was of Russian descent. Although his parents were born Jewish, the family were Lutherans and wanted him to become a Lutheran minister. He left Prussia in 1885 to avoid military service and traveled throughout Europe, becoming a circus athlete and adopting Eugen Sandow as his stage name, adapting and Germanizing his Russian mother's maiden name, Sandov.


title: Eugen Sandow

text: In Brussels he visited the gym of a fellow strongman, Ludwig Durlacher, better known under his stage name "Professor Attila". Durlacher recognized Sandow's potential, mentored him, and in 1889 encouraged him to travel to London and take part in a strongmen competition. Sandow handily beat the reigning champion and won instant fame and recognition for his strength. This launched him on his career as an athletic superstar. Soon he was receiving requests from all over Britain for performances. For the next four years, Sandow refined his technique and crafted it into popular entertainment with posing and incredible feats of strength.


title: Eugen Sandow

text: Florenz Ziegfeld wanted to display Sandow at the 1893 World's Columbian Exposition in Chicago, but Ziegfeld knew that Maurice Grau had Sandow under a contract. Grau wanted $1,000 a week. Ziegfeld could not guarantee that much but agreed to pay 10 percent of the gross receipts.


title: Eugen Sandow

text: Ziegfeld found that the audience was more fascinated by Sandow's bulging muscles than by the amount of weight he was lifting, so Ziegfeld had Sandow move in poses which he dubbed "muscle display performances" ... and the legendary strongman added these displays in addition to performing his feats of strength with barbells. He added chain-around-the-chest breaking and other colorful displays to Sandow's routine, and Sandow quickly became Ziegfeld's first star.


title: Eugen Sandow

text: In 1894, Sandow was featured in a [[Sandow (film)|short film series]] by the [[Edison Studios]]. The film was of only part of his act and featured him flexing his muscles rather than performing any feats of physical strength.


title: Eugen Sandow

text: While the content of the film reflected the audience's focus on his appearance, it made use of the unique capacities of the new medium. Film theorists have attributed the appeal being the striking image of a detailed image moving in synchrony, much like the example of the [[Auguste and Louis Lumière|Lumière brothers]]' "[[Repas de bébé]]" where audiences were reportedly more impressed by the movement of trees swaying in the background than the events taking place in the foreground. In 1894, Sandow also appeared in a short [[Kinetoscope]] film that is now part of the Library of Congress.


title: Eugen Sandow

text: In April of that same year Sandow gave one of his "muscle display performances" at the 1894 California Mid-Winter International Exposition in Golden Gate Park at the "Vienna Prater" Theater.


title: Eugen Sandow

text: While he was on tour in the United States, Sandow made a brief return to England to marry Blanche Brooks, a girl from [[Manchester]]. However, due to stress and ill health he returned permanently to recuperate.


title: Eugen Sandow

text: He was soon back on his feet, and opened the first of his Institutes of Physical Culture, where he taught methods of exercise, dietary habits and weight training. His ideas on physical fitness were novel at the time and had a tremendous impact. The Sandow Institute was an early gymnasium that was open to the public for exercise. In 1898 he also founded a monthly periodical, originally titled "Physical Culture" and subsequently renamed "[[Sandow's Magazine of Physical Culture]]" that was dedicated to all aspects of physical culture. This was accompanied by a series of books published between 1897 and 1904 – the last of which coined the term 'bodybuilding' in the title (as "body-building").


title: Eugen Sandow

text: He worked hard at improving exercise equipment, and had invented various devices such as rubber strands for stretching and spring-grip dumbbells to exercise the wrists. In 1900 [[William Bankier]] wrote "Ideal Physical Culture" in which he challenged Sandow to a contest in weightlifting, wrestling, running and jumping. When Sandow did not accept his challenge Bankier called him a coward, a charlatan and a liar.


title: Eugen Sandow

text: In 1901, Sandow organized the world's first major bodybuilding competition in London's [[Royal Albert Hall]]. The venue was so full that people were turned away from the door. The three judges presiding over the contest were Sir [[Charles Bennett Lawes|Charles Lawes]] the sculptor, Sir [[Arthur Conan Doyle]] the author, and Sandow himself.


title: Eugen Sandow

text: In 1902, Sandow was defeated by [[Katie Sandwina|Katie Brumbach]] in a weightlifting contest in New York City. Brumbach lifted a weight of 300 pounds over her head, which Sandow managed to lift only to his chest. After this victory, Brumbach adopted the stage name "Sandwina" as a feminine derivative of Sandow.


title: Eugen Sandow

text: In 1906, Sandow was able to buy the lease of 161 (formerly 61) [[Holland Park Avenue]], thanks to a generous gift from an Indian businessman, [[Dhunjibhoy Bomanji|Sir Dhunjibhoy Bomanji]], whose health had improved dramatically after he had adopted Sandow's regime. This grand four-storey end-of-terrace house – which was named Dhunjibhoy House after his benefactor – was his home for 19 years.


title: Eugen Sandow

text: He travelled around the world on tours to countries as varied as South Africa, India, Japan, Australia, New Zealand. At his own expense, from 1909 he provided training for would-be recruits to the [[Territorial Army (United Kingdom)|Territorial Army]], to bring them up to entrance fitness standards, and did the same for volunteers for active service in [[World War I]].


title: Eugen Sandow

text: He was even designated special instructor in physical culture to King [[George V]], who had followed his teachings, in 1911.


title: Eugen Sandow

text: Sandow's resemblance to the physiques found on classical [[Ancient Greek sculpture|Greek]] and [[Classical sculpture|Roman sculpture]] was no accident, as he measured the statues in museums and helped to develop "The Grecian Ideal" as a formula for the "perfect physique". Sandow built his physique to the exact proportions of his Grecian Ideal, and is considered the father of modern bodybuilding, as one of the first athletes to intentionally develop his musculature to predetermined dimensions. In his books "Strength and How to Obtain It" and "Sandow's System of Physical Training", Sandow laid out specific prescriptions of weights and repetitions in order to achieve his ideal proportions.


title: Eugen Sandow

text: Sandow married Blanche Brooks, daughter of the well-known photographer [[Warwick Brooks]], of [[Manchester, England]], in 1894. They had two daughters, Helen and Lorraine.