title: Old English grammar

text: The above only mentions the most common ways each noun class is inflected. There are many variations even within classes, some of which include:


title: Old English grammar

text: Adjectives take different endings depending on the case, gender, and number of the noun they describe. The adjective "cwic" ("alive"), for example, comes in eleven different forms: "cwic", "cwicu, "cwicne, "cwice, "cwices, "cwicre, "cwicum, "cwica, "cwicra, "cwican, and "cwicena.


title: Old English grammar

text: There are two separate sets of inflections, traditionally called the "strong declension" and the "weak declension." Together, both declensions contain many different inflections, though just ten or eleven unique forms typically cover all of them. The usual endings are exhibited by "cwic" ("alive") among many other adjectives:


title: Old English grammar

text: In general, the weak declension is used after the words for "the/that" and "this" and possessive determiners such as "my," "your," and "his," while the strong declension is used the rest of the time. Hence "a live scorpion" is "cwic þrōwend", while "the live scorpion" is "sē cwica þrōwend". Further details:


title: Old English grammar

text: Adjectives once came in many different classes just like nouns, but by Old English times, all adjectives have basically the same endings as "cwic" above. However, there are still a good number of differences and irregularities:


title: Old English grammar

text: Old English never uses the equivalents of "more" and "most" to form comparative or superlative adjectives. Instead, the equivalents of "-er" and "-est" are used ("-ra" and "-ost", for some words "-est"). "More beautiful" is "fæġerra", literally "beautiful-er," and "most beautiful" is "fæġerost", literally "beautiful-est." Other examples include "beorht" ("bright") → "beorhtra" ("brighter"), "beorhtost" ("brightest"); "bearnēacen" ("pregnant") → "bearnēacenra" ("more pregnant"), "bearnēacnost" ("most pregnant"); and "cnihtlīċ" ("boyish") → "cnihtlīcra" ("more boyish"), "cnihtlīcost" ("most boyish"). The only exception is that "more" ("mā" or "swīðor") and "most" ("mǣst" or "swīðost") were sometimes used with participles: "swīðor ġelufod" ("more loved"), "swīðost ġelufod" ("most loved").


title: Old English grammar

text: A handful of words form the comparative and superlative with i-umlaut, namely "eald" ("old") → "ieldra", "ieldest"; "ġeong" ("young") → "ġingra", "ġinġest"; "strang" ("strong") → "strengra", "strenġest"; "lang" ("long") → "lengra", "lenġest"; "sċort" ("short") → "sċyrtra", "sċyrtest"; and "hēah" ("high") → "hīera", "hīehst".


title: Old English grammar

text: A few more become totally different words: "gōd" ("good") → "betera", "betst"; "yfel" ("bad") → "wiersa", "wierrest"; "miċel" ("much/a lot/big") → "māra" ("more/bigger"), "mǣst" ("most/biggest"); "lȳtel" ("little") → "lǣssa" ("less/smaller"), "lǣsest" ("least/smallest").


title: Old English grammar

text: The definite article is "sē", which doubles as the word for "that." It comes in eleven different forms depending on case, gender, and number: "sē", "sēo", "þæt", "þone", "þā", "þæs", "þǣre", "þām", "þon", "þȳ", and "þāra".


title: Old English grammar

text: The word "the" was used very much like in Modern English. The main difference is that it was used somewhat more sparingly, due to numerous groups of nouns which usually went without it. These include:


title: Old English grammar

text: Note that those words still occur with "the" when they refer to a specific iteration, as in "the future that I want," "the woods behind my house," or "the law they just passed."


title: Old English grammar

text: Old English has two main demonstratives: "sē" ("that") and "þēs" ("this"). "Sē" is also the word for "the"; for its declension, see above.


title: Old English grammar

text: There is also the distal demonstrative "ġeon", the source of Modern English "yon." It means "that over there" and refers to things far away. "Ġeon" is declined like a regular adjective, that is like "cwic" above.


title: Old English grammar

text: "Hwā" ("who") and "hwæt" ("what") follow natural gender, not grammatical gender: as in Modern English, "hwā" is used with people, "hwæt" with things. However, that distinction only matters in the nominative and accusative cases, because in every other case they are identical:


title: Old English grammar

text: "Hwelċ" ("which" or "what kind of") is inflected like an adjective. Same with "hwæðer", which also means "which" but is only used between two alternatives:


title: Old English grammar

text: The first - and second-person pronouns are the same for all genders. They also have special dual forms, which are only used for groups of two things, as in "we both" and "you two." The dual forms are common, but the ordinary plural forms can always be used instead when the meaning is clear.


title: Old English grammar

text: Many of the forms above bear a strong resemblance to the Modern English words they eventually became. For instance, in the genitive case, "ēower" became "your", "ūre" became "our", and "mīn" became "my". However, in stressed positions, the plural third-person personal pronouns were all replaced with Old Norse forms during the Middle English period, yielding "they", "them" and "their". (The Old English dative pronoun is retained as unstressed 'em.)


title: Old English grammar

text: Old English verbs are divided into two groups: strong verbs and weak verbs. Strong verbs form the past tense by changing a vowel, while weak verbs add an ending.


title: Old English grammar

text: Strong verbs use a Germanic form of conjugation known as "ablaut". They form the past tense by changing their stem vowel. These verbs still exist in modern English, where they are called "irregular verbs": for example "sing, sang, sung" is a strong verb, as are "swim, swam, swum" and "break, broke, broken".


title: Old English grammar

text: Strong verbs have been growing less and less common over the centuries, because their conjugations are more complicated than weak verbs and harder to predict. That means many verbs that were strong in Old English times are now weak. These include abide, bake, ban, bark, bow, braid, burst, carve, chew, climb, creep, delve, drag, fare, fart, flee, float, flow, gnaw, grip, help, laugh, leap, let, load, lock, melt, milk, mow, quell, read, row, shine, shove, slay, sleep, sneeze, spurn, starve, step, suck, swallow, sweep, swell, thresh, walk, wash, weep, wreak, and yield. Two of these even became weak during the Old English period: sleep ("slǣpan") and read ("rǣdan").


title: Old English grammar

text: Also, by Old English times, people had long since stopped coining new strong verbs. Even today, almost every strong verb in the modern language dates back before Old English, even to before Proto-Germanic.


title: Old English grammar

text: Most strong verbs are not considered irregular in Old English, because each belongs to one of seven major classes, each with its own pattern of stem changes. Learning these is often a challenge for students of the language, though English speakers may see connections between the old verb classes and their modern forms.


title: Old English grammar

text: The classes had the following distinguishing features to their infinitive stems, each corresponding to particular stem changes within their strong-conjugating paradigms:


title: Old English grammar

text: The first past stem is used in the past, for the first- and third-person singular. The second past stem is used for second-person singular, and all persons in the plural (as well as the preterite subjunctive). Strong verbs also exhibit i-mutation of the stem in the second- and third-person singular in the present tense.


title: Old English grammar

text: The third class went through so many sound changes that it was barely recognisable as a single class. The first was a process called 'breaking'. Before , and + another consonant, turned into , and to . Also, before + another consonant, the same happened to , but remained unchanged (except before combination ).


title: Old English grammar

text: Regular strong verbs were all conjugated roughly the same, with the main differences being in the stem vowel. Thus "stelan" "to steal" represents the strong verb conjugation paradigm.


title: Old English grammar

text: Weak verbs form the past tense by adding endings with "-d-" in them (sometimes "-t-") to the stem. In Modern English, these endings have merged as "-ed", forming the past tense for most verbs, such as "love, loved" and "look, looked".


title: Old English grammar

text: Weak verbs already make up the vast majority of verbs in Old English. There are two major types: class I and class II. A class III also existed, but contained only four verbs.


title: Old English grammar

text: By the Old English period, new class I weak verbs had stopped being produced, but so many had been coined in Proto-Germanic that they were still by far the most common kind of verb in Old English. These verbs are often recognizable because they feature i-umlaut of the word they were derived from, as in "dēman" ("to judge") from "dōm" ("judgment"), "blǣċan" ("to bleach") from "blāc" ("pale"), "tellan" ("to count") from "tæl" ("number"), and "rȳman" ("to make room") from "rūm" ("room"). They are also the source of alterations in Modern English such as "feed" ~ "food", "fill" ~ "full", and "breed" ~ "brood".


title: Old English grammar

text: Class I weak verbs are not all conjugated the same. Their exact endings depend on a complex combination of factors, mostly involving the length of the stem vowel and which consonants the stem ends in, and sometimes also the history of the word. But the largest number are conjugated the same as "dǣlan" ("to share"):


title: Old English grammar

text: Many verbs ending in a double consonant are conjugated like "temman" ("to tame"), with the same endings and the same alternation between single and double consonants:


title: Old English grammar

text: Class II weak verbs are easily recognized by the fact that nearly all of them end in "-ian": "hopian" ("to hope"), "wincian" ("to wink"), "wandrian" ("to wander").


title: Old English grammar

text: By the Old English period, this was the only productive verb class left. Newly created verbs were almost automatically weak class II.


title: Old English grammar

text: Unlike weak class I, they never cause i-umlaut, so their stems are usually identical to the stem of the word they were derived from: "lufu" ("love") → "lufian" ("to love"), "mynet" ("coin") → "mynetian" ("to coin"), "hwelp" ("puppy") → "hwelpian" ("[of animals] to give birth").


title: Old English grammar

text: Their conjugation is also much simpler than all other verb classes. Almost all weak class II verbs have precisely the same endings, completely unaffected by the makeup of the stem or the history of the word. A typical example is "lufian" ("to love"):


title: Old English grammar

text: Though it was once much larger, containing many verbs which later became class II, only four verbs still belonged to this group by the period of written texts: "habban" ("to have"), "libban" ("to live") "seċġan" ("to say"), and "hyċġan" "to think." Each of these verbs is distinctly irregular, though they share some commonalities.


title: Old English grammar

text: The preterite-presents are verbs whose present tenses look like the past tenses of strong verbs. This resemblance is not an accident: they descend from old Proto-Indo-European stative verbs, which normally developed into the past tense of the Germanic languages. The preterite-present verbs are an exception to this development, remaining as independent verbs. For example, the first-person present of "witan" ("to know") originally meant "I have seen", referring to the state of having seen, and by implication "I know". At some point well before Old English, these verbs were given their own past tenses by tacking on weak past endings, but without an intervening vowel. This lack of an intervening vowel then led to alternations in the consonants, and sometimes vowels as well.


title: Old English grammar

text: There are only a dozen preterite-presents, but most are among the most frequent verbs in the language. They are "magan" ("can"), "sċulan" ("should/must/to owe"), "mōtan" ("may"), "þurfan" ("to need"), "witan" ("to know"), "cunnan" ("to know/know how"), "ġemunan" ("to remember"), "durran" ("to dare"), "āgan" ("to own"), "dugan" ("to be useful"), "ġenugan" ("to suffice"), and "unnan" ("to grant").


title: Old English grammar

text: In spite of heavy irregularities, these can be grouped into four groups of similarly conjugated verbs:


title: Old English grammar

text: Additionally, there is a further group of four verbs which are anomalous: "want", "do", "go" and "be". These four have their own conjugation schemes which differ significantly from all the other classes of verb. This is not especially unusual: "want", "do", "go", and "be" are the most commonly used verbs in the language, and are very important to the meaning of the sentences in which they are used. Idiosyncratic patterns of inflection are much more common with important items of vocabulary than with rarely used ones.


title: Old English grammar

text: "Dōn" 'to do' and "gān" 'to go' are conjugated alike; "willan" 'to want' is similar outside of the present tense.


title: Old English grammar

text: The verb 'to be' is actually composed of three different stems: one beginning with w-, one beginning with b-, and one beginning with s-. These are traditionally thought of as forming two separate words: "wesan", comprising the forms beginning with w- and s-, and "bēon", comprising the forms beginning with b-.


title: Old English grammar

text: In the present tense, "wesan" and "bēon" carried a difference in meaning. "Wesan" was used in most circumstances, whereas "bēon" was used for the future and for certain kinds of general statements.


title: Old English grammar

text: Prepositions (like Modern English words "by", "for", and "with") sometimes follow the word which they govern (especially pronouns), in which case they are called "postpositions".


title: Old English grammar

text: The following is a list of prepositions in the Old English language. Prepositions may govern the accusative, genitive, dative or instrumental cases.


title: Old English grammar

text: Old English syntax was similar in many ways to that of Modern English. However, there were some important differences. Some were simply consequences of the greater level of nominal and verbal inflection, and word order was generally freer. There are also differences in the default word order and in the construction of negation, questions, relative clauses and subordinate clauses.


title: Old English grammar

text: There was some flexibility in word order of Old English since the heavily inflected nature of nouns, adjectives, and verbs often indicated the relationships between clause arguments. Scrambling of constituents was common. Even sometimes scrambling within a constituent occurred, as in "Beowulf" line 708 "wrāþum on andan":


title: Old English grammar

text: Something similar occurs in line 713 "in sele þām hēan" "in the high hall" (lit. "in hall the high").


title: Old English grammar

text: Extraposition of constituents out of larger constituents is common even in prose, as in the well-known tale of Cynewulf and Cyneheard, which begins


title: Old English grammar

text: The words "ond westseaxna wiotan" "and the West Saxon counselors" (lit. "and (the) counselors of (the) West Saxons") have been "extraposed" from (moved out of) the compound subject they belong in, in a way that would be impossible in modern English. In Old English, case inflection preserves the meaning: the verb "beniman" "to deprive" (appearing in this sentence in the form "benam", "[he] deprived") needs a word in the genitive case to show what someone or something is deprived of, which in this sentence is "rīces" "of kingdom" (nominative "rīce", "kingdom"), whereas "wiotan" "counselors" is in the nominative case and therefore serves a different role entirely (the genitive of it would be "wiotana", "of counselors"); for this reason the interpretation that Cynewulf deprived Sigebryht of the West Saxon counselors was not possible for speakers of Old English. The Old English sentence still isn't in theory perfectly unambiguous, as it contains one more word in the genitive: "westseaxna" ("of West Saxons", nominative "westseaxan" "West Saxons"), and the form "wiotan" "counselors" may also represent the accusative case in addition to the nominative, thus for example creating the grammatical possibility of the interpretation that Cynewulf also took the West Saxons away from the counselors, but this would have been difficult to conceive.


title: Old English grammar

text: Main clauses in Old English tend to have a verb-second (V2) order, where the finite verb is the second constituent in a sentence, regardless of what comes first. There are echoes of this in modern English: "Hardly did he arrive when ...", "Never can it be said that ...", "Over went the boat", "Ever onward marched the weary soldiers ...", "Then came a loud sound from the sky above". In Old English, however, it was much more extensive, like the word order in modern Germanic languages other than modern English. If the subject appears first, there is an SVO order, but it can also yield orders such as OVS and others. In questions VSO was common, see below.


title: Old English grammar

text: In subordinate clauses, however, the word order is markedly different, with verb-final constructions the norm, again as in Dutch and German. Furthermore, in poetry, all the rules were frequently broken. In Beowulf, for example, main clauses frequently have verb-initial or verb-final order, and subordinate clauses often have verb-second order. (However, in clauses introduced by "þā", which can mean either "when" or "then", and where word order is crucial for telling the difference, the normal word order is nearly always followed.)


title: Old English grammar

text: Those linguists who work within the Chomskyan transformational grammar paradigm often believe that it is more accurate to describe Old English (and other Germanic languages with the same word-order patterns like modern German) as having underlying subject-object-verb (SOV) ordering. According to this theory, all sentences are initially generated using this order, but in main clauses, the verb is moved back to the V2 position (technically, the verb undergoes "V-to-T raising"). That is said to explain the fact that Old English allows inversion of subject and verb as a general strategy for forming questions, while modern English uses this strategy almost only with auxiliary verbs and the main verb "to be", requiring "do"-support in other cases.


title: Old English grammar

text: Most of the time the word order of Old English changed when asking a question, from SVO to VSO. While many purport that Old English had free word order, this is not quite true, as there were conventions for the positioning of subject, object and verb in clause.


title: Old English grammar

text: Old English did not use forms equivalent to "who, when, where" in relative clauses (as in "The man whom I saw") or subordinate clauses ("When I got home, I went to sleep").


title: Old English grammar

text: The word order usually distinguished the subordinate clause (with verb-final order) from the main clause (with verb-second word order).


title: Old English grammar

text: The equivalents of "who, when, where" were used only as interrogative pronouns and indefinite pronouns, as in Ancient Greek and Sanskrit.


title: Old English grammar

text: Besides "þā ... þā ...", other correlative conjunctions occurred, often in pairs of identical words, e.g.:


title: Old English grammar

text: The phonology of Old English is necessarily somewhat speculative, since it is preserved purely as a written language. Nevertheless, there is a very large corpus of Old English, and the written language apparently indicates phonological alternations quite faithfully, so it is not difficult to draw certain conclusions about the nature of Old English phonology.


title: Life-Size

text: Life-Size is a 2000 American fantasy-comedy television film directed by Mark Rosman and starring Lindsay Lohan and Tyra Banks. It originally premiered on March 5, 2000 on ABC as part of "The Wonderful World of Disney" block. The film follows a young girl whose "Eve" doll is transformed into a real person.


title: Life-Size

text: A sequel, titled "Life-Size 2: A Christmas Eve", premiered on December 2, 2018 on Freeform with Tyra Banks reprising her role.


title: Life-Size

text: Casey Stuart (Lohan) is a tomboyish girl who is the quarterback of her school's 7th-grade football team. Since her mother died two years ago, she has been avoiding her old friends and arguing with a boy on her team. Wanting to bring her mother back to life, Casey finds a book called "The Book of Awakenings" at a local bookstore. The book contains a section on resurrecting the dead and a successful resurrection will become permanent unless it’s undone before sunset on the fourth day after it begins. However, since the book was expensive, she left all the money she had on the shelf in a glass compartment which is where the book was.


title: Life-Size

text: Following the book's instructions, Casey collects artifacts from her mother's life, including locks of her hair in her hairbrush. However, the resurrection is unwittingly sabotaged when Drew McDonald, a woman who works with and is romantically interested in Casey's widowed father, Ben, gives Casey a mall shopping Eve doll for her birthday. Eve is a plastic doll in the form of a young pretty woman, manufactured by Marathon Toys. She has many accessories, including outfits appropriate to taxing careers such as law enforcement, medicine and outer space, and lives in Sunnyvale, "in the middle of America".


title: Life-Size

text: As Casey is preparing to resurrect her mother, Drew stops by to give her the doll for her birthday and uses the hairbrush to brush the doll's hair. With strands from Casey's Eve doll remaining on the brush as Casey utters the incantation, the magic acts on the doll rather than Casey's mother, and Casey wakes up the next morning to find Eve in bed with her in a real form. Casey is upset by this, but Eve (Banks) is excited about being a real woman.


title: Life-Size

text: Over the next few days, Eve buys clothes at the local shopping mall, uses her police training to stop a truck that almost runs Casey over, smells and eats for the first time, tries and fails miserably to do secretarial work, sings her theme song on stage during a dance with Ben, and almost sets the Stuarts' kitchen on fire. She also helps Casey cope with the loss of her mother. Meanwhile, Casey learns that she needs the second volume of the magic book to reverse Eve's spell.


title: Life-Size

text: During this time, tension builds between Casey and her father, who has been missing her football games while trying to secure a promotion in his law firm. The tension is further increased by Ben's attraction to Eve, which Casey resents as a betrayal to her mother. Eve helps people turn into a better version of themselves, especially Ellen, Ben's coworker.


title: Life-Size

text: As the film proceeds, Casey and Eve gradually become friends. Eve displays insight and sensitivity in talking with Casey about her mother, and she helps Casey with her self-confidence. In exchange, Casey gives Eve tips on how to be a popular doll and a good role model. By the time the magic book arrives at the local bookstore, Casey has decided she likes Eve, so she does not buy it. Unfortunately, Eve has been getting homesick.


title: Life-Size

text: Discouraged by her difficulties in being a real woman and worried about being cancelled by Marathon, Eve decides to undo the spell herself. After buying the book and saying goodbye to Ben at Casey's championship game, she goes to Sunnyvale, a specially decorated room at Marathon headquarters, and recites the incantation. When Casey and Ben arrive, she tearfully bids them farewell and turns back into a doll. Sometime later, with the lessons learned from her experiences in the real world, Eve becomes a popular toy again. Casey kept her old friendships, Ben is promoted at work and Drew takes him to lunch.


title: Life-Size

text: The film ends with the cast dancing to Eve's theme song ("Be a Star"), with an apparently still-real Eve singing and dancing along.


title: Life-Size

text: The film was made-for-television. Lohan didn't have to audition for the role of Casey Stuart, the girl whose doll comes to life. The producers of the film offered her the role as a part of a three-picture contract with The Walt Disney Company. Banks was given the role of Eve, the doll that is magically transformed into a live woman during Casey's attempt to bring her mother back to life. Costume designer Maya Mani said, "It was a joy to work with Tyra because she knows how to wear clothes. No matter what we put on her, she could carry it off."


title: Life-Size

text: Stephanie Moore came up with the idea of a doll coming to life. She collaborated with the director, Mark Rosman, on the teleplay for the film. Pre-production began in the summer of 1999, and filming began in October 1999.


title: Life-Size

text: The film begins with a commercial that promotes buying Eve dolls. For the doll commercial, production designer David Fischer deliberately went for a retro 1950s look, similar to the Hanna-Barbera cartoon "The Jetsons". "It had to look dated but fun and inviting", said Rosman.


title: Life-Size

text: Filming took place for three weeks. For the location, the producers thought Vancouver, British Columbia. would be a good location for the film. The toy store used in the film is named "Kaboodles". This is the actual toy store's name, as it wasn't changed during production. It is located in Point Grey in Vancouver.


title: Life-Size

text: There are British Columbia flags on Ben's license plate, indicating that it is set in Canada . However, also on the license plate, it reads: Evergreen State. The Evergreen State is Washington. The film was originally going to premiere as a part of "The Wonderful World of Disney" on February 27, 2000. It was delayed by one week, and later released on March 5.


title: Life-Size

text: George Blondheim and Mark Rosman wrote a song titled "Be a Star" that Tyra Banks sings at a business party. The song is the theme song for the film, and was also reprised at the end of the film. Two songs by the Irish girl group B*Witched were used in the film: "C'est la Vie" and "Rollercoaster". A song from Nobody's Angel's debut album, "Keep Me Away", was used near the end of the film.


title: Life-Size

text: A sequel to the movie was first reported in November 2012. In January 2014, Disney Channel announced that they were working on a sequel to "Life-Size" titled "Life-Size 2", with Tyra Banks reprising the role of Eve. In March 2015, Banks tweeted that they were still working on the script. In September 2015, Banks said to "Hollywood Life": "We have gotten many drafts of scripts, and the one thing I can say is that to the Disney Channel executives, "Life-Size" is so precious. It's like their baby, so they just want it perfect. They keep redoing it, and redoing it, and redoing the script, and we are in another round of redos, and we're hoping for Christmas 2016." Banks once again announced her involvement with the film during an interview with "Variety" in December 2015: "There is no one else that can play Eve but me, thank you very much! I'm just joking with you, but yes, I am going to be Eve."


title: Life-Size

text: In April 2017, it was announced the film would debut on Freeform in December 2018. Banks stated in a January 2018 interview that the script was almost finished and that production was expected to start in the summer of 2018. In July, Francia Raisa was confirmed to star. In mid-November 2018, it was announced on Freeform TV that "Life-Size 2" would debut on December 2, 2018.


title: Life-Size

text: In February 2020, Banks revealed she was working on "Life-Size 3". In October 2022, the possible sequel was also brought up while Banks hosted "Dancing with the Stars" on Disney+.


title: Dionne Warwick discography

text: Dionne Warwick is an American singer. She has charted 69 times on the US "Billboard" Hot 100 singles chart, making her the second-most charted female vocalist during the rock era (1955–1999), after Aretha Franklin. Warwick has sold over 100 million records (over 75 million singles and 25 million albums) worldwide. She has charted 18 songs in the Top 20 of the US Hot 100 and charted several more hits inside the Top 40.


title: Dionne Warwick discography

text: Dionne Warwick reached the number one spot twice on the Billboard Hot 100, both times for collaborations. "Then Came You" with The Spinners hit number one in 1974 and "That's What Friends Are For" with Elton John, Gladys Knight, and Stevie Wonder earned the top spot in 1986.


title: When Supernatural Battles Became Commonplace

text: The story focuses on Senkō High School's Literature Club, whose five members; Jurai, Tomoyo, Hatoko, Sayumi, and Chifuyu, have all somehow developed superpowers. Their superpowers have now become a part of their everyday lives as they battle against others wielding similar powers while struggling through growing up.


text: The first light novel volume was published on June 16, 2012, by SB Creative under their GA Bunko imprint. The series ended with the release of its 13th volume on January 13, 2018. Digital light novel publisher J-Novel Club are publishing the series in English.


text: A 12-episode anime television series adaptation by Trigger aired in Japan between October 6 and December 22, 2014, and was simulcast by Crunchyroll. It is directed by Masahiko Ōtsuka, who also handled series composition. Satoshi Yamaguchi designed the characters and Elements Garden composed the music. The opening theme is "OVERLAPPERS" by Qverktett:II (Haruka Yamazaki, Saori Hayami, Risa Taneda, and Nanami Yamashita) whilst the ending theme is "You Gotta Love Me!" by Kato＊Fuku (Emiri Katō and Kaori Fukuhara). The series has been licensed by Sentai Filmworks in North America.


title: Ruby Bentall

text: Ruby Bentall (born 3 April 1988) is an English actress, known for playing Minnie in "Lark Rise to Candleford", Mary Bennet in "Lost in Austen", and Verity Poldark in the 2015 BBC adaptation of Winston Graham's "Poldark" novels.


title: Ruby Bentall

text: Bentall was born at home in Camden, London. She is the daughter of actors Janine Duvitski and Paul Bentall. The family moved to Petersham outside Richmond when Bentall was eight. She attended Grey Court School and went to Richmond upon Thames College between 2004 and 2006, graduating with a BTEC National Diploma in Performance.


title: Ruby Bentall

text: Bentall has three siblings, and two elder half-siblings from her father's first marriage. She currently lives in London. Her younger sister Edith is the lead singer of the band 'FOURS'.


title: Ruby Bentall

text: Bentall's first professional acting job was an episode of "Holby City", which she filmed in 2006 while still at Richmond College. Her other television credits include "You Can Choose Your Friends", "Doctors", "Oliver Twist" (2007) and "New Tricks". She played Mary Bennet in the 2008 mini-series "Lost in Austen", a performance described as "by far the most interesting interpretation of the sanctimonious middle Bennet daughter of "Pride and Prejudice" yet". In 2009 she joined the regular cast of "Lark Rise to Candleford", playing Minnie.


title: Ruby Bentall

text: Bentall made her stage debut at the National Theatre in 2008, appearing in productions of "DNA" and "The Miracle". She has also lent her voice to the BBC Radio 4 drama "Sister Agnes Investigates". She played Alice in "Alice", an adaptation of Lewis Carroll's "Alice in Wonderland", written by Laura Wade, at the Sheffield Crucible in June 2010. She played Anya in "Remembrance Day" at the Royal Court Theatre in March - April 2011 and the role of Victoria in the Mike Leigh directed play "Grief" at the Royal National Theatre in London.


title: Ruby Bentall

text: In January 2014, she starred as Julie in a stage adaptation of "The Cement Garden" in London at The Vaults, Waterloo.


title: Ruby Bentall

text: On 30 March 2014, it was announced that Bentall would be playing Ross Poldark's cousin Verity in the new BBC One version of "Poldark", broadcast in 2015. Bentall made a guest appearance in "Holby City" in July 2018.


title: Carl Philipp Emanuel Bach

text: Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788), also formerly spelled Karl Philipp Emmanuel Bach, and commonly abbreviated C. P. E. Bach, was a German Classical period musician and composer, the fifth child and second surviving son of Johann Sebastian Bach and Maria Barbara Bach.


title: Carl Philipp Emanuel Bach

text: C. P. E. Bach was an influential composer working at a time of transition between his father's Baroque style and the Classical style that followed it. His personal approach, an expressive and often turbulent one known as "" or 'sensitive style', applied the principles of rhetoric and drama to musical structures. His dynamism stands in deliberate contrast to the more mannered galant style also then in vogue.


title: Carl Philipp Emanuel Bach

text: To distinguish him from his brother Johann Christian, the "London Bach", who at this time was music master to Queen Charlotte of Great Britain, C. P. E. Bach was known as the "Berlin Bach" during his residence in that city, and later as the "Hamburg Bach" when he succeeded Telemann as Kapellmeister there. To his contemporaries, he was known simply as Emanuel. His second name was in honor of his godfather Georg Philipp Telemann, a friend of Johann Sebastian Bach.


title: Carl Philipp Emanuel Bach

text: Bach was an influential pedagogue, writing the ever influential "Essay on the true art of playing keyboard instruments", which would be studied by Haydn, Mozart and Beethoven, among others.


title: Carl Philipp Emanuel Bach

text: C. P. E. Bach was born on 8 March 1714 in Weimar to Johann Sebastian Bach and his first wife, Maria Barbara. He was their fifth child and third son. The composer Georg Philipp Telemann was his godfather. When he was ten years old, he entered the St. Thomas School, Leipzig, where his father had become cantor in 1723. He was one of four Bach children to become professional musicians; all four were trained in music almost entirely by their father. In an age of royal patronage, father and son alike knew that a university education helped prevent a professional musician from being treated as a servant. Carl, like his brothers, pursued advanced studies in jurisprudence at the University of Leipzig in 1731 and at Frankfurt an der Oder in 1735. In 1738, at the age of 24, he obtained his degree but never practiced law, instead turning his attention immediately to music.


title: Carl Philipp Emanuel Bach

text: A few months after graduation, Bach, armed with a recommendation by the Graun brothers (Johann Gottlieb and Carl Heinrich) and Sylvius Leopold Weiss, obtained an appointment at Berlin in the service of Crown Prince Frederick of Prussia, the future Frederick the Great. Upon Frederick's accession in 1740, Bach became a member of the royal orchestra. He was by this time one of the foremost clavier players in Europe, and his compositions, which date from 1731, include about thirty sonatas and concert pieces for harpsichord and clavichord. During his time there, Berlin was a rich artistic environment, where Bach mixed with many accomplished musicians, including several notable former students of his father, and important literary figures, such as Gotthold Ephraim Lessing, with whom the composer would become close friends.


title: Carl Philipp Emanuel Bach

text: In Berlin, Bach continued to write numerous pieces for solo keyboard, including a series of character pieces, the so-called "Berlin Portraits", including "La Caroline". His reputation was established by the two sets of sonatas which he published with dedications to Frederick the Great (1742) and to Charles Eugene, Duke of Württemberg (1744). In 1746, he was promoted to the post of chamber musician ("") and served the king alongside colleagues like Carl Heinrich Graun, Johann Joachim Quantz, and Franz Benda.


title: Carl Philipp Emanuel Bach

text: The composer who most influenced Bach's maturing style was unquestionably his father. He drew creative inspiration from his godfather Georg Philipp Telemann, then working in Hamburg, and from contemporaries like George Frideric Handel, Carl Heinrich Graun, Joseph Haydn and Wolfgang Amadeus Mozart later. Bach's interest in all types of art led to influence from poets, playwrights and philosophers such as Friedrich Gottlieb Klopstock, Moses Mendelssohn and Lessing. Bach's work itself influenced the work of, among others, Haydn, Mozart, Beethoven and Felix Mendelssohn.


title: Carl Philipp Emanuel Bach

text: During his residence in Berlin, Bach composed a setting of the "Magnificat" (1749), in which he shows more traces than usual of his father's influence; an Easter cantata (1756); several symphonies and concert works; at least three volumes of songs, including the celebrated "Gellert Songs"; and a few secular cantatas and other occasional pieces. But his main work was concentrated on the clavier, for which he composed, at this time, nearly two hundred sonatas and other solos, including the set "" ("With Varied Reprises", 1760–1768).


title: Carl Philipp Emanuel Bach

text: While in Berlin, Bach placed himself in the forefront of European music with a treatise, "" ("An Essay on the True Art of Playing Keyboard Instruments"), immediately recognised as a definitive work on keyboard technique. "Both Haydn and Beethoven swore by it." By 1780, the book was in its third edition and laid the foundation for the keyboard methods of Clementi and Cramer. The essay lays out the fingering for each chord and some chord sequences. Bach's techniques continue to be employed today. The first part of the "Essay" contains a chapter explaining the various embellishments in work of the period, e.g., trills, turns, mordents, etc. The second part presents Bach's ideas on the art of figured bass and counterpoint, as well as performance suggestions and a brief section on extemporization, mainly focusing on the Fantasia.


title: Carl Philipp Emanuel Bach

text: Bach used for his performances instruments (clavichord and fortepiano) made by Gottfried Silbermann, at that time a well-known builder of keyboard instruments. In the recent years one of the models of pianos that Bach was playing, Gottfried Silbermann 1749, was used as a model for making modern piano copies.


title: Carl Philipp Emanuel Bach

text: In 1768, after protracted negotiations, Bach was permitted to relinquish his position in order to succeed his godfather Telemann as director of music ("") at Hamburg. Upon his release from service at the court he was named court composer for Frederick's sister, Princess Anna Amalia. The title was honorary, but her patronage and interest in the oratorio genre may have played a role in nurturing the ambitious choral works that followed.


title: Carl Philipp Emanuel Bach

text: Bach began to turn more of his energies to ecclesiastical and choral music in his new position. The job required the steady production of music for Protestant church services at the Michaeliskirche (Church of St. Michael) and elsewhere in Hamburg. The following year he produced his most ambitious work, the oratorio "Die Israeliten in der Wüste" ("The Israelites in the Desert"), a composition remarkable not only for its "great beauty" but for the resemblance of its plan to that of Felix Mendelssohn's "Elijah". Between 1768 and 1788, he wrote twenty-one settings of the Passion, and some seventy cantatas, litanies, motets, and other liturgical pieces. In Hamburg he also presented a number of works by contemporaries, including his father, Telemann, Graun, Handel, Haydn, Salieri and Johann David Holland (1746–1827). Bach's choral output reached its apex in two works: the double chorus "Heilig" ("Holy") of 1776, a setting of the seraph song from the throne scene in Isaiah, and the oratorio "Die Auferstehung und Himmelfahrt Jesu" ("The Resurrection and Ascension of Jesus") of 1774–1782, which sets a poetic Gospel harmonization by the poet Karl Wilhelm Ramler. Widespread admiration of "Auferstehung" led to three 1788 performances in Vienna sponsored by the Baron Gottfried van Swieten and conducted by Mozart.


title: Carl Philipp Emanuel Bach

text: Bach married Johanna Maria Dannemann in 1744. Only three of their children lived to adulthood: Johann Adam (1745–89), Anna Carolina Philippina (1747–1804), and Johann Sebastian "the Younger" (1748–78). None became musicians and Johann Sebastian, a promising painter, died at the age of 29 during a 1778 trip to Italy. Emanuel Bach died in Hamburg on 14 December 1788. He was buried in the Michaeliskirche in Hamburg.


title: Carl Philipp Emanuel Bach

text: March in D major, BWV Anh. 122, Polonaise in G minor, BWV Anh. 123, March in G major, BWV Anh. 124, Polonaise in G minor, BWV Anh. 125


title: Carl Philipp Emanuel Bach

text: Among Bach's most popular and frequently recorded works are his symphonies. While in Berlin, he wrote several string symphonies (Wq. 173–181), most of which were later revised to add parts for wind instruments. Of these, the E minor symphony, Wq. 178, has been particularly popular.


title: Carl Philipp Emanuel Bach

text: In Hamburg, Bach wrote a major set of six string symphonies for Gottfried van Swieten, Wq. 182. These works were not published in his lifetime (van Swieten, who had commissioned them to be written in a more "difficult" style, preferred to retain them for private use), but since their rediscovery, have become increasingly popular.


title: Carl Philipp Emanuel Bach

text: However, Bach's best works in the form (by his own estimation) are assuredly the four "Orchester-Sinfonien mit zwölf obligaten Stimmen", Wq. 183, which, as their title suggests, were written with obbligato wind parts that are integral to the texture, rather than being added on to an older string symphony. The first symphony (D major) in the set has been particularly popular, seeing a continuous performance and publication tradition all the way through the 19th century, which makes it the earliest such symphony. Some of its more unusual features have been taken as characteristic of Bach's style: the work, although it is in D major, begins "on" a D major chord, which then turns into a D dominant-seventh chord, outlining "G" major. In fact, there is no cadence on D major (D major is not "confirmed" as the key of the piece) until the beginning of the recapitulation, quite late in the piece.


title: Carl Philipp Emanuel Bach

text: Bach was a prolific writer of concertos, especially for keyboard. Like his father, he would often transcribe a concerto for various instruments, leading to problems determining which came first. For instance, the three cello concertos (Wq. 170–172), which are cornerstones of that instrument's repertoire, have often been considered to be transcriptions of the harpsichord versions, but recent research has suggested that they might be originally for cello.


title: Carl Philipp Emanuel Bach

text: According to Bach, his finest keyboard concertos were the "Sei concerti per il cembalo concertato", Wq. 43, which were written to be somewhat more appealing, and somewhat easier to play. His other concertos were written for oboe, flute, and organ. Bach also wrote for more unusual combinations, including an E-flat major concerto for harpsichord piano. Additionally, he wrote several sonatinas for one or more keyboards and orchestra.


title: Carl Philipp Emanuel Bach

text: Bach's chamber music forms something of a bridge between stereotypically Baroque and Classical forms. On the one hand, he wrote trio sonatas and solo sonatas with basso continuo (including ones for harp and viola da gamba); on the other, he wrote several accompanied sonatas for piano, violin, and cello, which are more or less early piano trios, and three very popular quartets for keyboard, flute, and viola. Bach also wrote one of the earliest pieces for solo flute, a sonata that is clearly influenced by his father's Partita in A minor for solo flute, BWV 1013.


title: Carl Philipp Emanuel Bach

text: Bach was a prolific writer of keyboard sonatas, many of which were intended for his favored instrument, the clavichord. During his lifetime, he published more collections of keyboard music than anything else, in the following collections:


title: Carl Philipp Emanuel Bach

text: Much of Bach's energy during his last years was dedicated to the publication of the "Kenner und Liebhaber" collections (which also include fantasias and rondos, see below).


title: Carl Philipp Emanuel Bach

text: Wq. 64:1–6 are six sonatinas for keyboard, and Wq. 65:1–50 are fifty further keyboard sonatas. The Sonata in E-flat major, Wq. 65:7, is based on "Solo per il cembalo", , No. 27 in the second Notebook for Anna Magdalena Bach.


title: Carl Philipp Emanuel Bach

text: Easily Bach's best-known piece is the "Solfeggietto", Wq. 117/2, to the point that the introduction to "The Essential C.P.E. Bach" is subtitled "Beyond the Solfeggio in C Minor". Several of Bach's other miscellaneous keyboard works have gained fame, including the character piece "La Caroline" and the Fantasia in F-sharp minor, Wq. 67. Bach's fantasias, in particular, have been considered to show him at his most characteristic: they are full of dramatic silences, harmonic surprises, and perpetually varied figuration.


title: Carl Philipp Emanuel Bach

text: Bach published three major collections of miscellaneous keyboard works during his lifetime: the "Clavierstücke verschiedener Art", Wq. 112 of 1765, and the "Kurze und Leichte Clavierstücke" collections, Wq. 113–114 of 1766. The former includes songs, fantasias, dances, sonatas, fugues, and even a symphony and concerto for solo piano (Bach was later to publish an entire collection of keyboard versions of his symphonies).


title: Carl Philipp Emanuel Bach

text: Mechanical instruments such as the music box and musical clock were popular at the Prussian court, and C. P. E. Bach wrote thirty original compositions for these instruments, grouped together as Wq. 193. At that time, Bach was court musician to King Frederick the Great at Potsdam; the King, who was intrigued by mechanically reproduced music, had mechanical organ clocks built for the City Castle of Potsdam and for the New Palais.


title: Carl Philipp Emanuel Bach

text: Throughout his lifetime, Bach worked on the "Magnificat in D", Wq. 215. J. S. Bach was alive to hear it in 1749, and C. P. E. continued to revise and perform it as late as 1786. The work clearly shows the influence of J.S. Bach's own Magnificat, including the striking resemblance of the "Deposuit" movements in both works.


title: Carl Philipp Emanuel Bach

text: His other important choral works include the "Heilig" (German Sanctus), Wq. 217, which he performed together with the "Credo" from his Father's Mass in B minor, the oratorios "Die Israeliten in der Wüste", Wq. 238 and "Die Auferstehung und Himmelfahrt Jesu", Wq. 240, and 21 Passions.


title: Carl Philipp Emanuel Bach

text: Many of C.P.E. Bach's compositions and original manuscripts were stored in the archive of the Sing-Akademie zu Berlin where Bach lived from 1738 to 1768. This archive was packed during the Second World War and hidden to preserve it from Allied bombing, captured and sequestered by USSR forces in 1945, thus long believed lost or destroyed during the war.


title: Carl Philipp Emanuel Bach

text: The archive was discovered in Kyiv, Ukraine, in 1999, returned to Berlin in 2001, and deposited in the Staatsbibliothek. It contained 5,100 musical compositions, none ever printed for the public, including 500 by 12 different members of the Bach family.


title: Carl Philipp Emanuel Bach

text: Through the later half of the 18th century, the reputation of Carl Philipp Emanuel Bach stood very high, surpassing that of his father. Haydn, Mozart and Beethoven admired him and "avidly" collected his music. Mozart said of him, "Bach is the father, we are the children."


title: Carl Philipp Emanuel Bach

text: His work is full of invention and, most importantly, extreme unpredictability, and wide emotional range even within a single work, a style that may be categorized as "empfindsamer Stil". It is no less sincere in thought than polished and felicitous in phrase. His keyboard sonatas, for example, mark an important epoch in the history of musical form. Lucid in style, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design; they break away altogether from both the Italian and the Viennese schools, moving instead toward the cyclical and improvisatory forms that would become common several generations later.


title: Carl Philipp Emanuel Bach

text: He was probably the first composer of eminence who made free use of harmonic color for its own sake. In this way, he compares well with the most important representatives of the First Viennese School. In fact, he exerted enormous influence on the North German School of composers, in particular Georg Anton Benda, Bernhard Joachim Hagen, Ernst Wilhelm Wolf, Johann Gottfried Müthel, and Friedrich Wilhelm Rust. His influence was not limited to his contemporaries and extended to Felix Mendelssohn and Carl Maria von Weber.


title: Carl Philipp Emanuel Bach

text: His name fell into neglect during the 19th century, with Robert Schumann notoriously opining that "as a creative musician he remained very far behind his father"; others opined that he was "a somewhat feeble imitator of his father's style". All the same, Johannes Brahms held him in high regard and edited some of his music. By the early 20th century, he was better regarded but the revival of C. P. E. Bach's works has been chiefly underway since Helmuth Koch's recordings of his symphonies and Hugo Ruf's recordings of his keyboard sonatas in the 1960s. There is an ongoing project to record his complete works, led by on the Swedish record label BIS. In 2014, the Croatian pianist Ana-Marija Markovina, in cooperation with the Packard Humanities Institute, the Bach-Archiv Leipzig, the Sächsische Akademie der Wissenschaften zu Leipzig and Harvard University released a 26-CD box set of the complete works for solo piano on the German record label Hänssler Classic, performed on a modern Bösendorfer grand piano.


title: Carl Philipp Emanuel Bach

text: The works of C. P. E. Bach are known by "Wq" numbers, from Alfred Wotquenne's 1906 catalogue, and by "H" numbers from a catalogue by Eugene Helm (1989).


title: Carl Philipp Emanuel Bach

text: 2014 marked the 300th anniversary of Carl Philipp Emanuel Bach's birth. All six German Bach cities—Hamburg, Potsdam, Berlin, Frankfurt-on-the-Oder, Leipzig, and Weimar—hosted concerts and other events to commemorate the anniversary.


title: Jai Singh I

text: Jai Singh I (15 July 1611 – 28 August 1667) was a senior general ("Mirza Raja") of the Mughal Empire and the Raja of the Kingdom of Amber (later called Jaipur). His predecessor was his grand uncle, Raja Bhau Singh.


title: Jai Singh I

text: At the age of 10, Jai Singh I became the Raja of Amber and the head of the Kachwaha Rajputs. His military career spans the full reign of Shah Jahan and the first decade of Aurangzeb's reign. Jai Singh's first step in his rise to greatness took place on the accession of Shah Jahan (1627). Taking advantage of this change of sovereigns, Jai Singh's commander in the Deccan, Khan Jahan Lodi rebelled along with his Afghan followers. But the Rajput prince brought away his own army to the north and then joined in the campaign that finally defeated the rebels.


title: Jai Singh I

text: For these valuable services Jai Singh was made a commander of 4000. In 1636 Shah Jahan organized a grand campaign against the southern sultanates in which Jai Singh played a leading part—later this same army was sent to campaign against the Gond kingdoms. For his part in these successful ventures Jai Singh was promoted to the rank of commander of 5000 and the district of Chatsu (in Ajmer) was added to his kingdom. By defeating the Meo robber tribes in the north of Amber, Jai Singh further increased the size of his ancestral kingdom. in 1641 he subdued the rebellion of Raja Jagat Singh Pathania of the hill-state of Mau-Paithan (Himachal Pradesh).


title: Jai Singh I

text: In 1638 the fort of Kandahar was surrendered by its Safavid Persian commander, Ali Mardan Khan, to Shah Jahan. The emperor's son Shuja, accompanied by Jai Singh, was sent to take delivery of this important fort. To overawe the Persian Shah from interfering in this task, Shah Jahan assembled a 50,000 strong army in Kabul. On this occasion Jai Singh received the unique title of Mirza Raja from Shah Jahan, which had earlier been given to his grandfather Raja Man Singh I of Amber by Emperor Akbar.


title: Jai Singh I

text: In 1649 another blow knocked down Mughal prestige—Kandahar was recovered by Shah Abbas II. In the ensuing Mughal-Safavid War the Mughals twice attempted to eject the Persians from Kandahar under the command of Prince Aurangzeb (in 1649 and 1652) —on both occasions Jai Singh was present as an army commander, but the attempts failed due to the lack of adequate artillery and poor marksmanship of the Mughal gunners.


title: Jai Singh I

text: A third grand attempt was made in 1653 under the command of Shah Jahan's oldest and favorite son Dara Shikoh, a deadly rival of Aurangzeb, and again Jai Singh was sent with this army. Prince Dara was knowledgeable in spiritual matters and was refreshingly secular in his outlook, but these noble qualities were marred by his military incompetence and his flattering and foolish advisers. Dara was particularly harsh on officers that had taken part in the earlier campaigns under Aurangzeb and repeatedly taunted Jai Singh for those failures. But when his own campaign ended with the same result, the Mughals finally gave up all attempts to recover Kandahar.


title: Jai Singh I

text: Dara continued his hostility towards Jai Singh on return to Agra. No promotions or awards were given to the veteran general for skillfully covering the army's retreat. Instead Jaswant Singh of the rival Rathor clan was made commander of 6000 and received the superlative title of Maharaja.


title: Jai Singh I

text: In 1657 Shah Jahan fell seriously ill, to the extent that he was incapacitated. Dara's three younger brothers made preparations to seize the throne. Shah Shuja in Bengal and Murad in Gujarat crowned themselves emperors, but the clever Aurangzeb merely declared his intention of rescuing his father for the sake of Islam. In the face of these triple dangers, Dara Shikoh now remembered Jai Singh—the Rajput chief was made commander of 6000 and sent east along with Dara's son Sulaiman and the Afghan general Diler Khan.


title: Jai Singh I

text: They triumphed over Shuja at the Battle of Bahadurpur (14 February) and chased him back to Bengal (May). By that time Aurangzeb had won the Battle of Dharmat and the Battle of Samugarh and had captured Agra (8 June). Jai Singh and his men were stuck far in the east while their homes and families in the west were at the mercy of Aurangzeb's troops—so he and Diler Khan advised Sulaiman to flee while they submitted to the new emperor. Then he so sided with Aurangzeb that Jai Singh advised Raja Jaswanth Singh who was about to help Dara against it.


title: Jai Singh I

text: Despite his victories Aurangzeb did not have a secure footing on the Mughal throne, and though bigoted, he needed the support of the leading Muslim and Rajput generals. So he pardoned Maharaja Jaswant Singh who had fought him at Dharmat and promoted Jai Singh as a commander of 7000, the highest possible rank for any general. Dara was treacherously captured by a Pashtun chief in Baluchistan and was executed by Aurangzeb in 1659.


title: Jai Singh I

text: The Deccan Wars between the Mughal Empire and the southern sultanates had been complicated by the rise of the Maratha king Chatrapati Shivaji Maharaj. In 1659, Chatrapati Shivaji Maharaj killed Afzal Khan, a notable general of Bijapur. In 1664, he sacked the rich port city of Surat in Gujarat. Jai Singh, who had begun his own military career in the Deccan, was appointed to lead a 14,000 strong army against Deccan Sultanates as well as rising Marathas.


title: Jai Singh I

text: After winning several forts in Maharashtra from the Maratha king and besieging the fort of Purandar, he managed to force Chatrapati Shivaji Maharaj to sign the Treaty of Purandar. Jai Singh convinced Chatrapati Shivaji Maharaj to come to terms and join him in an invasion of Bijapur which would be beneficial for both sides. According to Jadunath Sarkar, Jai Singh not only spared the prisoners of war but also gave rewards to those who fought bravely. For this triumph Jai Singh, already the highest ranking general, received rich gifts in gold and silver — both his sons, Ram Singh and Kirat Singh, were raised in rank. The latter was serving under his father, while the former was acting as his agent at the Mughal court.


title: Jai Singh I

text: The invasion of Bijapur commenced in December 1665. Jai Singh now had an army of 40,000 to which Chatrapati Shivaji Maharaj added 2,000 cavalry and 7,000 infantry. The Bijapuris melted away before this array and Jai Singh reached within 12 miles of Bijapur city. However, the scorched earth tactics of the Deccanis succeeded, Jai Singh's food supply ran out and he was forced to begin his retreat in January 1666.


title: Jai Singh I

text: At this point, Jai Singh sent Chatrapati Shivaji Maharaj to the Mughal court to meet Emperor Aurangzeb while he conducted his army to safety. At Agra Chatrapati Shivaji Maharaj was arrested but managed to escape (August 1666). Emperor Aurangzeb held Jai Singh's son, Ram Singh, responsible for Chatrapati Shivaji Maharaj's escape, took away Ram Singh's estates, banished him from the court. Later he pardoned Ram Singh and sent him away to fight the battle of Saraighat in faraway Assam.


title: Jai Singh I

text: Jai Singh died in Burhanpur on 28 August 1667. The fortunes of his family sank low in the next two generations, but were revived later by Jai Singh II.


title: Jai Singh I

text: Aurangzeb erected the Cenetop (Chhatri) at the bank of Tapti River in Burhanpur in honour of Jai Singh I, now called "Raja Ki Chhatri".


title: Jai Singh I

text: Jai Singh had two chief queens, Rani Sukmati and Rajiba Bai and 7 children; 5 daughters and 2 sons, including his successor Ram Singh I.


title: Rob Burrow

text: Robert Geoffrey Burrow (born 26 September 1982) is an English former professional rugby league player. An England and Great Britain representative, he spent his entire 16-year professional career with Leeds Rhinos in the Super League, making over 400 appearances between 2001 and 2017. At tall and weighing less than , Burrow was known for many years as "the smallest player in Super League". Despite this, he was one of the most successful players in the competition's history, winning eight Super League championships, two Challenge Cups, being named to the Super League Dream Team on three occasions and winning the Harry Sunderland Trophy twice.


title: Rob Burrow

text: On 19 December 2019, Burrow revealed that he had been diagnosed with Motor Neuron Disease (MND). On 30 December 2020, he was appointed MBE in the 2021 New Years Honours List for his services to Rugby League and the Motor Neuron Disease community.


title: Rob Burrow

text: Burrow played for the Leeds Rhinos from the interchange bench in their 2004 Super League Grand Final victory against the Bradford Bulls. As Super League IX champions, the Rhinos faced 2004 NRL season premiers, the Bulldogs in the 2005 World Club Challenge. Burrow played from the interchange bench, scoring a try in Leeds' 39–32 victory. He played for Leeds in the 2005 Challenge Cup Final at scrum half back in their loss against Hull FC. Later that year he played for the Leeds Rhinos at stand-off half back in their 2005 Super League Grand Final loss against Bradford Bulls.


title: Rob Burrow

text: In June 2007, Burrow was called up to the Great Britain squad for the Test match against France. He was named as Leeds Rhinos Player of the Year for his performance throughout the 2007 season, and was named in the Super League Dream Team for the same year along with teammates Scott Donald, Jamie Peacock and Gareth Ellis. He was the winner of the Harry Sunderland Award for a man of the match performance in 2007's Super League XII Grand Final, in which Leeds defeated St. Helens by 33 points to 6. He played a pivotal role in helping Great Britain to a 3–0 victory over New Zealand in the Gillette Fusion Test series in 2007. He was awarded the George Smith Medal as player of the series which he finished as top points scorer with 26 from two tries and nine goals.


title: Rob Burrow

text: Burrow was named in the Super League Dream Team for 2008's Super League XIII season. He played in the 2008 Super League Grand Final victory over St. Helens.


title: Rob Burrow

text: Burrow was selected for the England squad to compete in the 2008 Rugby League World Cup tournament in Australia. In the first Group A match against Papua New Guinea, he played at scrum half back, with England winning the game.


title: Rob Burrow

text: Burrow played in five Challenge Cup Finals in six years between 2010 and 2015, with Leeds Rhinos losing in three consecutive finals in 2010, 2011, and 2012. The team then won successive finals in 2014. and 2015.


title: Rob Burrow

text: Burrow also played in the 2011 Super League Grand Final victory over St. Helens, following which he became the first player to win the Harry Sunderland Award twice by winning the unanimous votes of all 37 judges. He also played in the 2012 Super League Grand Final victory over the Warrington Wolves, and the 2015 Super League Grand Final victory over the Wigan Warriors.


title: Rob Burrow

text: Burrow announced his retirement in 2017. His final match was the 2017 Super League Grand Final in which he helped his club, Leeds to victory over the Castleford Tigers at Old Trafford.


title: Rob Burrow

text: Burrow was awarded an in the 2021 New Years Honours List for his work raising awareness of motor neurone disease following his diagnosis.


title: Jean de La Fontaine

text: Jean de La Fontaine (, , ; 8 July 162113 April 1695) was a French fabulist and one of the most widely read French poets of the 17th century. He is known above all for his "Fables", which provided a model for subsequent fabulists across Europe and numerous alternative versions in France, as well as in French regional languages.


title: Jean de La Fontaine

text: After a long period of royal suspicion, he was admitted to the French Academy and his reputation in France has never faded since. Evidence of this is found in the many pictures and statues of the writer, later depictions on medals, coins and postage stamps.


title: Jean de La Fontaine

text: La Fontaine was born at Château-Thierry in France. His father was Charles de La Fontaine, – a kind of deputy-ranger – of the Duchy of Château-Thierry; his mother was Françoise Pidoux. Both sides of his family were of the highest provincial middle class; though they were not noble, his father was fairly wealthy.


title: Jean de La Fontaine

text: Jean, the eldest child, was educated at the collège (grammar school) of Château-Thierry, and at the end of his school days he entered the Oratory in May 1641, and the seminary of Saint-Magloire in October of the same year; but a very short sojourn proved to him that he had mistaken his vocation. He then apparently studied law, and is said to have been admitted as "avocat"/lawyer.


title: Jean de La Fontaine

text: He was, however, settled in life, or at least might have been so, somewhat early. In 1647 his father resigned his rangership in his favor, and arranged a marriage for him with Marie Héricart, a girl of fourteen, who brought him 20,000 livres, and expectations. She seems to have been both beautiful and intelligent, but the two did not get along well together. There appears to be absolutely no ground for the vague scandal as to her conduct, which was, for the most part, raised long afterwards by gossip or personal enemies of La Fontaine. All that can be positively said against her is that she was a negligent housewife and an inveterate novel reader; La Fontaine himself was constantly away from home, was certainly not strict in point of conjugal fidelity, and was so bad a man of business that his affairs became involved in hopeless difficulty, and a financial separation of property ("separation de biens") had to take place in 1658. This was a perfectly amicable transaction for the benefit of the family; by degrees, however, the pair, still without any actual quarrel, ceased to live together, and for the greater part of the last forty years of de la Fontaine's life he lived in Paris while his wife remained in Chateau Thierry which, however, he frequently visited. One son was born to them in 1653, and was educated and taken care of wholly by his mother.


title: Jean de La Fontaine

text: Even in the earlier years of his marriage, La Fontaine seems to have been much in Paris, but it was not until about 1656 that he became a regular visitor to the capital. The duties of his office, which were only occasional, were compatible with this non-residence. It was not until he was past thirty that his literary career began. The reading of Malherbe, it is said, first awoke poetical fancies in him, but for some time he attempted nothing but trifles in the fashion of the time – epigrams, ballades, rondeaux, etc.


title: Jean de La Fontaine

text: His first serious work was a translation or adaptation of the "Eunuchus" of Terence (1654). At this time the patron of French writing was the Superintendent Fouquet, to whom La Fontaine was introduced by Jacques Jannart, a connection of his wife's. Few people who paid their court to Fouquet went away empty-handed, and La Fontaine soon received a pension of 1000 livres (1659), on the easy terms of a copy of verses for each quarters receipt. He also began a medley of prose and poetry, entitled "Le Songe de Vaux", on Fouquet's famous country house.


title: Jean de La Fontaine

text: It was about this time that his wife's property had to be separately secured to her, and he seems by degrees to have had to sell everything that he owned; but, as he never lacked powerful and generous patrons, this was of small importance to him. In the same year he wrote a ballad, "Les Rieurs du Beau-Richard", and this was followed by many small pieces of occasional poetry addressed to various personages from the king downwards. Fouquet fell out of favour with the king and was arrested. La Fontaine, like most of Fouquet's literary protégés, showed some fidelity to him by writing the elegy "Pleurez, Nymphes de Vaux".


title: Jean de La Fontaine

text: Just at this time his affairs did not look promising. His father and he had assumed the title of esquire, to which they were not strictly entitled, and, some old edicts on the subject having been put in force, an informer procured a sentence against the poet fining him 2000 livres. He found, however, a new protector in the duke and still more in the Duchess of Bouillon, his feudal superiors at Château-Thierry, and nothing more is heard of the fine.


title: Jean de La Fontaine

text: Some of La Fontaine's liveliest verses are addressed to the duchess Marie Anne Mancini, the youngest of Mazarin's nieces, and it is even probable that the taste of the duke and duchess for Ariosto had something to do with the writing of his first work of real importance, the first book of the "Contes", which appeared in 1664. He was then forty-three years old, and his previous printed productions had been comparatively trivial, though much of his work was handed about in manuscript long before it was regularly published.


title: Jean de La Fontaine

text: It was about this time that the quartet of the Rue du Vieux Colombier, so famous in French literary history, was formed. It consisted of La Fontaine, Racine, Boileau and Molière, the last of whom was almost of the same age as La Fontaine, the other two considerably younger. Chapelain was also a kind of outsider in the coterie. There are many anecdotes, some pretty obviously apocryphal, about these meetings. The most characteristic is perhaps that which asserts that a copy of Chapelain's unlucky "Pucelle" always lay on the table, a certain number of lines of which was the appointed punishment for offences against the company. The coterie furnished under feigned names the personages of La Fontaine's version of the "Cupid and Psyche" story, which, however, with "Adonis", was not printed till 1669.


title: Jean de La Fontaine

text: Meanwhile, the poet continued to find friends. In 1664 he was regularly commissioned and sworn in as gentleman to the duchess dowager of Orléans, and was installed in the Luxembourg. He still retained his rangership, and in 1666 we have something like a reprimand from Colbert suggesting that he should look into some malpractices at Chateau Thierry. In the same year appeared the second book of the "Contes", and in 1668 the first six books of the "Fables", with more of both kinds in 1671. In this latter year a curious instance of the docility with which the poet lent himself to any influence was afforded by his officiating, at the instance of the Port-Royalists, as editor of a volume of sacred poetry dedicated to the Prince of Conti.


title: Jean de La Fontaine

text: A year afterwards his situation, which had for some time been decidedly flourishing, showed signs of changing very much for the worse. The duchess of Orléans died, and he apparently had to give up his rangership, probably selling it to pay debts. But there was always a providence for La Fontaine. Madame de la Sablière, a woman of great beauty, of considerable intellectual power and of high character, invited him to make his home in her house, where he lived for some twenty years. He seems to have had no trouble whatever about his affairs thenceforward; and could devote himself to his two different lines of poetry, as well as to that of theatrical composition.


title: Jean de La Fontaine

text: In 1682 he was, at more than sixty years of age, recognized as one of the foremost men of letters of France. Madame de Sévigné, one of the soundest literary critics of the time, and by no means given to praise mere novelties, had spoken of his second collection of "Fables" published in the winter of 1678 as divine; and it is pretty certain that this was the general opinion. It was not unreasonable, therefore, that he should present himself to the Académie française, and, though the subjects of his "Contes" were scarcely calculated to propitiate that decorous assembly, while his attachment to Fouquet and to more than one representative of the old Frondeur party made him suspect to Colbert and the king, most of the members were his personal friends.


title: Jean de La Fontaine

text: He was first proposed in 1682, but was rejected for Marquis de Dangeau. The next year Colbert died and La Fontaine was again nominated. Boileau was also a candidate, but the first ballot gave the fabulist sixteen votes against seven only for the critic. The king, whose assent was necessary, not merely for election but for a second ballot in case of the failure of an absolute majority, was ill-pleased, and the election was left pending. Another vacancy occurred, however, some months later, and to this Boileau was elected. The king hastened to approve the choice effusively, adding, "Vous pouvez incessamment recevoir La Fontaine, il a promis d'etre sage".


title: Jean de La Fontaine

text: His admission was indirectly the cause of the only serious literary quarrel of his life. A dispute took place between the academy and one of its members, Antoine Furetière, on the subject of the latter's French dictionary, which was decided to be a breach of the academy's corporate privileges. Furetière, a man of no small ability, bitterly assailed those whom he considered to be his enemies, and among them La Fontaine, whose unlucky "Contes" made him peculiarly vulnerable, his second collection of these tales having been the subject of a police condemnation. The death of the author of the "Roman Bourgeois", however, put an end to this quarrel.


title: Jean de La Fontaine

text: Shortly afterwards La Fontaine had a share in a still more famous affair, the celebrated Ancient-and-Modern squabble in which Boileau and Charles Perrault were the chiefs, and in which La Fontaine (though he had been specially singled out by Perrault for better comparison with Aesop and Phaedrus) took the Ancient side. About the same time (1685–1687) he made the acquaintance of the last of his many hosts and protectors, Monsieur and Madame d'Hervart, and fell in love with a certain Madame Ulrich, a lady of some position but of doubtful character. This acquaintance was accompanied by a great familiarity with Vendôme, Chaulieu and the rest of the libertine coterie of the Temple; but, though Madame de la Sablière had long given herself up almost entirely to good works and religious exercises, La Fontaine continued an inmate of her house until her death in 1693. What followed is told in one of the best known of the many stories bearing on his childlike nature. Hervart on hearing of the death, had set out at once to find La Fontaine. He met him in the street in great sorrow, and begged him to make his home at his house. "J'y allais" was La Fontaine's answer.


title: Jean de La Fontaine

text: In 1692, the writer had published a revised edition of the "Contes", although he suffered a severe illness. In that same year, La Fontaine converted to Christianity. A young priest, M. Poucet, tried to persuade him about the impropriety of the "Contes" and it is said that the destruction of a new play was demanded and submitted to as a proof of repentance. La Fontaine received the Viaticum, and the following years he continued to write poems and fables.


title: Jean de La Fontaine

text: A story is told of the young duke of Burgundy, Fénelon's pupil, who was then only eleven years old, sending 50 louis to La Fontaine as a present of his own motion. But, though La Fontaine recovered for the time, he was broken by age and infirmity, and his new hosts had to nurse rather than to entertain him, which they did very carefully and kindly. He did a little more work, completing his "Fables" among other things; but he did not survive Madame de la Sablière much more than two years, dying on 13 April 1695 in Paris, at the age of seventy-three. When the Père Lachaise Cemetery opened in Paris, La Fontaine's remains were moved there. His wife survived him nearly fifteen years.


title: Jean de La Fontaine

text: The curious personal character of La Fontaine, like that of some other men of letters, has been enshrined in a kind of legend by literary tradition. At an early age his absence of mind and indifference to business gave a subject to Gédéon Tallemant des Réaux. His later contemporaries helped to swell the tale, and the 18th century finally accepted it, including the anecdotes of his meeting his son, being told who he was, and remarking, "Ah, yes, I thought I had seen him somewhere!", of his insisting on fighting a duel with a supposed admirer of his wife, and then imploring him to visit at his house just as before; of his going into company with his stockings wrong side out, &c., with, for a contrast, those of his awkwardness and silence, if not positive rudeness in company.


title: Jean de La Fontaine

text: It ought to be remembered, as a comment on the unfavourable description by Jean de La Bruyère, that La Fontaine was a special friend and ally of Benserade, La Bruyere's chief literary enemy. But after all deductions much will remain, especially when it is remembered that one of the chief authorities for these anecdotes is Louis Racine, a man who possessed intelligence and moral worth, and who received them from his father, La Fontaine's attached friend for more than thirty years. Perhaps the best worth recording of all these stories is one of the Vieux Colombier quartet, which tells how Molière, while Racine and Boileau were exercising their wits upon "le bonhomme" or "le bon" (by both which titles La Fontaine was familiarly known), remarked to a bystander, "Nos beaux esprits ont beau faire, ils n'effaceront pas le bonhomme". They have not.


title: Jean de La Fontaine

text: The numerous works of La Fontaine fall into three traditional divisions: the Fables, the Tales and the miscellaneous (including dramatic) works. He is best known for the first of these, in which a tradition of fable collecting in French verse reaching back to the Middle Ages was brought to a peak. Although these earlier works refer to Aesop in their title, they collected many fables from more recent sources. Among the foremost were Marie de France's "Ysopet" (1190) and Gilles Corrozet’s "Les Fables du très ancien Esope, mises en rithme françoise" (1542).


title: Jean de La Fontaine

text: The publication of the twelve books of La Fontaine's "Fables" extended from 1668 to 1694. The stories in the first six of these derive for the most part from Aesop and Horace and are pithily told in free verse. Those in the later editions are often taken from more recent sources or from translations of Eastern stories and are told at greater length. The deceptively simple verses are easily memorised, yet display deep insights into human nature. Many of the lines have entered the French language as standard phrases, often proverbial. The fables are also distinguished by their occasionally ironical ambivalence. The fable of "The Sculptor and the Statue of Jupiter" (IX.6), for example, reads like a satire on superstition, but its moralising conclusion that "All men, as far as in them lies,/Create realities of dreams" might equally be applied to religion as a whole.


title: Jean de La Fontaine

text: The second division of his work, the tales ("Contes et nouvelles en vers"), were at one time almost equally as popular and their writing extended over a longer period. The first were published in 1664 and the last appeared posthumously. They were particularly marked by their archly licentious tone.


title: Jean de La Fontaine

text: While the Fables have an international reputation, celebration of their author has largely been confined to France. Even in his own lifetime, such was his renown, he was painted by three leading portraitists. It was at the age of 63, on the occasion of his reception into the Académie française in 1684, that he was portrayed by Hyacinthe Rigaud. Nicolas de Largillière painted him at the age of 73, and a third portrait is attributed to François de Troy (see below).


title: Jean de La Fontaine

text: Two contemporary sculptors made head and shoulders busts of La Fontaine. Jean-Jacques Caffieri’s was exhibited at the 1779 Salon and then given to the Comédie Française; Jean-Antoine Houdon’s dates from 1782. There are in fact two versions by Houdon, one now at the Philadelphia Museum of Art, and another at the castle of his former patron Fouquet at Vaux-le-Vicomte (see below).


title: Jean de La Fontaine

text: In Paris there is a full-length marble statue by Pierre Julien, now in the Louvre, that was commissioned in 1781 and exhibited at the 1785 Salon. The writer is represented in an ample cloak, sitting in contemplation on a gnarled tree on which a vine with grapes is climbing. On his knee is the manuscript of the fable of the fox and the grapes, while at his feet a fox is seated on his hat with its paw on a leather-bound volume, looking up at him. Small scale porcelain models were made of this by the Sèvres pottery and in polychrome porcelain by the Frankenthal pottery. In the following century small models were made of the bronze statue by Etienne Marin Melingue, exhibited in Paris in 1840 and in London in 1881. In this the poet is leaning thoughtfully against a rock, hat in hand. Also in the Cour Napoléon of the Louvre is the 1857 standing stone statue by Jean-Louis Jaley.


title: Jean de La Fontaine

text: Another commemorative monument to La Fontaine was set up at the head of the Parisian Jardin du Ranelagh in 1891. The bronze bust designed by Achille Dumilâtre was exhibited at the Exposition Universelle (1889) before being placed on a high stone pedestal surrounded by various figures from the fables. The work was melted down, like many others during World War II, but was replaced in 1983 by Charles Correia's standing statue of the fabulist looking down at the fox and the crow on the steps and plinth below him.


title: Jean de La Fontaine

text: There are more statues in Château-Thierry, the town of the poet's birth. The most prominent is the standing statue by Charles-René Laitié, which was ordered by command of Louis XVIII as a gift to the town. It was officially set in place in a square overlooking the Marne in 1824. During the Second Battle of the Marne it was damaged and was then moved about the town. Repaired now, its present position is in the square fronting the poet's former house. At his feet the race between the Tortoise and the Hare is taking place. The house itself has now been converted into a museum, outside which stands the life-sized statue created by Bernard Seurre. Inside the museum is Louis-Pierre Deseine’s head and shoulders clay bust of La Fontaine.


title: Jean de La Fontaine

text: Further evidence of La Fontaine's enduring popularity is his appearance on a playing card from the second year of the French Revolution. In this pack royalty is displaced by the rationalist free-thinkers known as Philosophes, and the ironical fabulist figures as the King of Spades. He was no less popular at the Bourbon Restoration, as is evidenced by the royal commission of his statue. Besides that, there was the 1816 bronze commemorative medal depicting the poet's head, designed by Jacques-Édouard Gatteaux, in the Great Men of France series. More recently there has been a sideways seated view of him in the "Histoire de France series".


title: Jean de La Fontaine

text: The head of La Fontaine also appeared on a 100 franc coin to commemorate the 300th anniversary of his death, on the reverse of which the fable of the fox and the crow is depicted. Another commemoration that year included the strip of 2.80 euro fable stamps, in the composite folder of which appeared a detachable portrait without currency. In 1995 equally, the asteroid 5780 Lafontaine was named in his honour.


title: Jean de La Fontaine

text: Other appearances on postage stamps include the 55 centimes issue of 1938, with a medallion of the fable of The Wolf and the Lamb below him; and the Monaco 50-cent stamp commemorating the 350th anniversary of La Fontaine's birth in 1971, in which the head and shoulders of the fabulist appear below some of the more famous characters about which he wrote. Another coin series on which he appears is the annual"Fables de La Fontaine" celebration of the (Chinese) lunar new year. Issued since 2006, these bullion coins have had his portrait on the reverse and on the face each year's particular zodiac animal.


title: Jean de La Fontaine

text: Fictional depictions have followed the fashionable view of La Fontaine at their period. As a minor character in Alexandre Dumas's novel "The Vicomte of Bragelonne", he appears as a bumbling and scatterbrained courtier of Nicolas Fouquet. In the 2007 film "Jean de La Fontaine – le défi", however, the poet resists the absolutist rule of Louis XIV after the fall of Fouquet.


title: SummerSlam (2005)

text: The 2005 SummerSlam was the 18th annual SummerSlam professional wrestling pay-per-view (PPV) event produced by World Wrestling Entertainment (WWE). It was held for wrestlers from the promotion's Raw and SmackDown! brand divisions. The event took place on August 21, 2005, at the MCI Center in Washington, D.C. Nine matches were contested at the event, including one on the "Sunday Night Heat" pre-show.


title: SummerSlam (2005)

text: The main match on the Raw brand was Hulk Hogan versus Shawn Michaels, which Hogan won by pinfall after executing a leg drop. The predominant match on the SmackDown brand was a No Holds Barred match for the World Heavyweight Championship between Batista and John "Bradshaw" Layfield (JBL), which Batista won by pinfall after executing two Batista Bombs, with the second on the steel ring steps. Another primary match on the Raw brand was for the WWE Championship between John Cena and Chris Jericho, which Cena won by pinfall after performing an FU. The main match on the undercard featured a Ladder match for the custody of Rey Mysterio's son Dominik between Mysterio and Eddie Guerrero, which Mysterio won by retrieving the briefcase suspended above the ring.


title: SummerSlam (2005)

text: SummerSlam is an annual pay-per-view (PPV), produced every summer by World Wrestling Entertainment (WWE) since 1988. Dubbed "The Biggest Party of the Summer," it is one of the promotion's original four pay-per-views, along with WrestleMania, Royal Rumble, and Survivor Series, referred to as the "Big Four". It has since become considered WWE's second biggest event of the year behind WrestleMania. The 2005 event was the 18th event in the SummerSlam chronology and featured wrestlers from the Raw and SmackDown! brands. It was scheduled to be held on August 21, 2005, at the MCI Center in Washington, D.C.


title: SummerSlam (2005)

text: WWE had originally planned a match between Muhammad Hassan and Batista for SmackDown!'s World Heavyweight Championship, which would have made Hassan the youngest world champion in WWE history at 23, breaking Randy Orton's record. The storyline was scheduled to begin at The Great American Bash in which he faced The Undertaker in a number one contenders match for the World Heavyweight Championship, but it was scrapped in the aftermath of the London bombings that occurred three days after "SmackDown!" was taped.


title: SummerSlam (2005)

text: Eight professional wrestling matches were scheduled on the event's card, which were planned with predetermined outcomes by WWE's script writers. The storylines revolving around these matches before, during, and after the event were also planned by the script writers. The event featured wrestlers and other talent from both the Raw and SmackDown! brands – a storyline expansion to which WWE assigned its employees. Wrestlers portrayed either a fan favorite or villainous gimmick, as they followed a series of events which generally built tension, leading to a wrestling match.


title: SummerSlam (2005)

text: The main feud heading into SummerSlam on the Raw brand was between Hulk Hogan and Shawn Michaels. A feud between Michaels, and Muhammad Hassan and Daivari began on the April 4 episode of "Raw", when Hassan and Daivari attacked Michaels. Michaels demanded a match against the two, but he would only be given one if he found a partner. Hogan eventually became Michaels' partner, and they defeated Hassan and Daivari at Backlash. Hogan did not appear again until the July 4 episode of "Raw" in Carlito's talk show segment "Carlito's Cabana". Carlito, along with Kurt Angle, made comments about Hogan's daughter Brooke and eventually attacked him. Michaels came out to help Hogan, and they defeated Carlito and Angle in a match later that night. The match saw Hogan and Michaels get the victory. During the post-match pose, Michaels superkicked Hogan, which knocked Hogan to the ground and turning Michaels heel for the first time since returning to the company in 2002. The following week, Michaels challenged Hogan to a match at SummerSlam, which Hogan accepted.


title: SummerSlam (2005)

text: The predominant feud on the SmackDown! brand was between Batista and John "Bradshaw" Layfield (JBL), with the two feuding over the World Heavyweight Championship. During the WWE Draft Lottery, SmackDown! was left temporarily without a top championship after John Cena, the reigning WWE Champion, was drafted to Raw. On the June 30 edition of "SmackDown!", a six-man elimination match between JBL, The Undertaker, Booker T, and SmackDown! draftees Chris Benoit, Christian, and Muhammad Hassan was made and General Manager Theodore Long was to present a new title to the winner called the SmackDown! Championship. JBL won the match by eliminating Christian last, but Long announced that plans had changed and there was no need for a SmackDown! Championship. Instead, Long revealed that Batista, who had been the reigning World Heavyweight Champion since defeating Triple H at WrestleMania 21, was joining the brand as the final draft pick and by winning the match, JBL was the number one contender for the World Heavyweight Championship. JBL faced Batista for the World Heavyweight Championship at The Great American Bash, where JBL won by disqualification when Batista used a steel chair. JBL was given a rematch at SummerSlam on the following episode of "SmackDown!" after defeating The Undertaker. Batista allowed JBL to choose the stipulation, and JBL made it a No Holds Barred match. On the August 11 episode of "SmackDown!", during Batista's match with Christian, JBL interfered and hit Batista with a steel chair. The following week, JBL faced Funaki in a No Holds Barred match, during which Batista interfered and attacked JBL.


title: SummerSlam (2005)

text: Another rivalry leading into the event was between John Cena and Chris Jericho, with the two battling over the WWE Championship. Their feud began when Cena was drafted to Raw during the draft lottery and began a feud with Raw General Manager Eric Bischoff. Cena refused to comply with Bischoff, who saw Cena as an unfit champion. After Cena successfully defended the WWE Championship in a triple threat match at Vengeance against Jericho and Christian, Bischoff hand-picked Jericho to face Cena for the WWE Championship at SummerSlam. On the August 1 episode of "Raw", Jericho refereed a WWE Championship match between Cena and Carlito (which Cena won). After the match, Jericho attacked Cena with a television camera. On the August 15 episode of "Raw", Cena defeated Jericho and Carlito in a handicap match. At the end, Jericho hit Cena with a steel chair.


title: SummerSlam (2005)

text: Before the event officially began, Chris Masters defeated The Hurricane in a match taped for "Sunday Night Heat".


title: SummerSlam (2005)

text: In the first match, Orlando Jordan faced Chris Benoit for the United States Championship. The match started with both locked up in a collar-and-elbow. Benoit forced Jordan into the corner, and as the referee was trying to break them up, Jordan punched Benoit. Benoit then avoided a clothesline and performed a German suplex. Benoit applied the Crippler Crossface to force Jordan to submit to win the match and the title in 25.5 seconds.


title: SummerSlam (2005)

text: In the second match, Edge faced Matt Hardy. Fueled by a storyline stemming from previous real-life tensions between the two former friends over 2-time WWE women's champion Lita, the fight started outside the ring, with Hardy gaining the early advantage. After repeated punches, Hardy applied a rear naked choke. Edge fought back with a headbutt and punches. Edge then performed a spear to the outside. Both were down briefly before Edge brought Hardy back into the ring. Hardy fought back with punches and mounted punches in the corner. During this, Edge pushed Hardy upwards, causing his head to hit the ringpost and bleed. Edge attacked Hardy's head repeatedly, and Hardy was incapable of defending himself. The referee finally stopped the match and awarded Edge the victory. This match, seen by many as a disappointment was highly anticipated due to the WWE's storyline exploiting real life events between Edge and Hardy.


title: SummerSlam (2005)

text: The third match was a Ladder match between Eddie Guerrero and Rey Mysterio for the custody of Dominik. A briefcase with legal documents inside was suspended above the ring. After throwing Mysterio into the steel steps, Guerrero ascended a ladder. Mysterio performed a springboard dropkick to knock down the ladder. Mysterio then performed a dropkick, sending the ladder into Guerrero's face, and a springboard seated senton to the outside. Guerrero then performed a powerbomb off the ladder, and a Hilo to Mysterio, who was sandwiched between two ladders. Both ascended the ladder again, and Mysterio performed a back body drop onto another ladder. Guerrero performed an Alley Oop to Mysterio onto a ladder balanced on the top rope. As Guerrero ascended the ladder, Dominick entered the ring and attempted to shake the ladder. Guerrero confronted him and, as he was about to attack him, Mysterio fought off Guerrero and performed a 619 and a Droppin' Da Dime with the ladder. Both attempted to obtain the briefcase, but was stopped by the other. After Guerrero performed the Three Amigos onto a ladder, he ascended the ladder, but Vickie Guerrero came down and pushed down the ladder. She then held onto Eddie as Mysterio retrieved the briefcase to win the match.


title: SummerSlam (2005)

text: The fourth match was between Eugene and Kurt Angle for the Olympic gold medal that originally belonged to Angle. Angle gained the early advantage with repeated short-arm clotheslines. Eugene then countered with a spinebuster and attempted a People's Elbow, but Angle performed a clothesline. Angle then performed several German suplexes. Eugene fought back and performed a Rock Bottom. Eugene then performed a Stone Cold Stunner and applied the ankle lock. Angle countered and performed an Angle Slam. He then applied the ankle lock and forced Eugene to submit to win the match. After the match, Angle threw Eugene out of the ring and had the referee place the gold medal around his neck.


title: SummerSlam (2005)

text: The fifth match was between The Undertaker and Randy Orton. The Undertaker gained the advantage after a leaping flying clothesline and attacks in the corner. Orton gained the advantage by avoiding a big boot. Orton then attacked The Undertaker's left knee. The Undertaker eventually countered an attack by sending Orton outside the ring. The Undertaker then performed a guillotine leg drop to Orton, who was on the apron. The Undertaker then performed an Old School and a reverse STO. The Undertaker then performed a Snake Eyes, but Orton came back with a dropkick. The Undertaker avoided an RKO attempt and attempted a Tombstone Piledriver, which Orton countered into an inverted headlock backbreaker. Orton then performed a crossbody, but The Undertaker rolled through and performed a chokeslam. A fan then entered the ring and distracted The Undertaker, allowing Orton to perform an RKO and win the match. Orton then revealed the fan to be "Cowboy" Bob Orton in disguise.


title: SummerSlam (2005)

text: In the sixth match, John Cena faced Chris Jericho for the WWE Championship. Jericho gained the early advantage until missing a springboard crossbody to the outside. Cena fought back briefly, but Jericho fought back, dropkicking and superplexing Cena. Cena fought back with a back body drop, but missed a leaping shoulder block. Jericho then delivered a one-handed bulldog, but missed a lionsault. Jericho countered an FU attempt and attempted to apply the Walls of Jericho, but Cena kicked Jericho outside. Cena performed a diving leg drop bulldog and attempted an FU, but Jericho countered into a DDT. Jericho then performed a pendulum backbreaker and repeated elbow drops to Cena's back. Cena fought back and performed a spin-out powerbomb. He then attempted a Five Knuckle Shuffle, but Jericho countered and applied the Walls of Jericho. He then performed a belly to back suplex from the top rope. As he attempted another attack, Cena countered into an FU to win the match and retain his title.


title: SummerSlam (2005)

text: The seventh match was a No Holds Barred match between John "Bradshaw" Layfield (JBL) and Batista for the World Heavyweight Championship. JBL attacked Batista during his entrance, and they fought on the entrance ramp and at ringside, using several weapons. Batista performed a spear to JBL through the security wall. JBL shoved Batista into the ringpost and continued to beat down Batista after a short-arm clothesline. He then whipped and choked Batista with a leather belt. Batista fought back with a belly to back suplex and whipped JBL with the belt. JBL fought back, performing a Clothesline from Hell for a near-fall and bringing the steel steps into the ring. He attempted an attack on the steps, but Batista countered with a back body drop. He then performed a spinebuster and two Batista Bombs, with the second onto the steel steps, to win the match and retain his title.


title: SummerSlam (2005)

text: The main event was between Shawn Michaels and Hulk Hogan. This was Hogan's first SummerSlam appearance since 1991. During Hogan's entrance, a huge American flag unrolled from the top of the stage and covered the entire set. The match started slowly, until Hogan sent Michaels outside. Hogan performed a scoop slam on the announce table and sent Michaels into the ringpost. Michaels reversed another attempt and sent Hogan into the ringpost twice. Michaels continued to attack his head with punches and mounted punches and applied the sleeper hold. Hogan fought out of it with a belly to back suplex, but failed to gain the advantage as Michaels performed a flying forearm smash. Michaels then missed a diving elbow drop, and Hogan fought back briefly. Michaels performed another flying forearm smash and applied the sharpshooter. Hogan broke the hold and avoided another attempt by kicking Michaels into the referee. Michaels performed a low blow and hit Hogan with a steel chair. Michaels then performed a diving elbow drop and a superkick. Michaels attempted a pinfall but Hogan kicked out at a two count. Hogan then delivered a big boot and a leg drop to win the match. After the match, Michaels extended his hand to Hogan saying, "I needed to know and I found out," and Hogan shook his hand.