prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: In 135 BC, a second campaign was sent to intervene in a war between Minyue and another ancient kingdom established at the collapse of whom?

The following are given passages.
Context 1: Passage 1:
Nanyue
Nanyue (Chinese: 南越 or 南粵; pinyin: Nányuè; Jyutping: Naam4 Jyut6; lit  'Southern Yue'), was an ancient kingdom ruled by Chinese monarchs of the Zhao family that covered the modern Chinese subdivisions of Guangdong, Guangxi, Hainan, Hong Kong, Macau, southern Fujian and central to northern Vietnam  Nanyue was established by Zhao Tuo, then Commander of Nanhai of the Qin Empire, in 204 BC after the collapse of the Qin dynasty  At first, it consisted of the commanderies Nanhai, Guilin, and Xiang 
In 196 BC, Zhao Tuo paid obeisance to the Emperor Gaozu of Han, and Nanyue was referred to by the Han dynasty as a "foreign servant", i e  a vassal state  Around 183 BC, relations between the Nanyue and the Han dynasty soured, and Zhao Tuo began to refer to himself as an emperor, suggesting an equal status between Nanyue and the Han dynasty  In 179 BC, relations between the Han and Nanyue improved, and Zhao Tuo once again made submission, this time to Emperor Wen of Han as a subject state  The submission was somewhat superficial, as Nanyue retained autonomy from the Han, and Zhao Tuo was referred to as "Emperor" throughout Nanyue until his death  In 113 BC, fourth-generation leader Zhao Xing sought to have Nanyue formally included as part of the Han Empire  His prime minister Lü Jia objected vehemently and subsequently killed Zhao Xing, installing his elder brother Zhao Jiande on the throne and forcing a confrontation with the Han dynasty  The next year, Emperor Wu of Han sent 100,000 troops to war against Nanyue  By the year's end, the army had destroyed Nanyue and established Han rule  The dynastic state lasted 93 years and had five generations of monarchs 
The existence of Nanyue allowed the Lingnan region to avoid the chaos and hardship surrounding the collapse of the Qin dynasty experienced by the northern, predominantly Han Chinese regions  The kingdom was founded by leaders originally from the Central Plain of China and were all of Han Chinese in origin  They were responsible for bringing Chinese-style bureaucracy and handicraft techniques to inhabitants of  southern regions, as well as knowledge of the Chinese language and writing system  Nanyue rulers promoted a policy of "Harmonizing and Gathering the Hundred Yue tribes" (Chinese: 和集百越), and encouraged ethnic Han to immigrate from the Yellow River region to the south  Nanyue rulers were then not against the assimilation of Yue and Han cultures In Vietnam, the rulers of Nanyue are referred to as the Triệu dynasty  The name "Vietnam" (Việt Nam) is derived and reversed from Nam Việt, the Vietnamese pronunciation of Nanyue 

History
A detailed history of Nanyue was written in Records of the Grand Historian by Han dynasty historian Sima Qian   It is mostly contained in section (juan) 113, Chinese: 南越列傳; pinyin: Nányuè Liè Zhuàn; Jyutping: Naam4jyut6 Lit6 Zyun2 (Ordered Annals of Nanyue)  A similar record is also found in the Book of Han Volume 95: The Southwest Peoples, Two Yues, and Chaoxian 

Founding
Qin southward expansion (218 BC)
After Qin Shi Huang conquered the six other Chinese kingdoms of Han, Zhao, Wei, Chu, Yan, and Qi, he turned his attention to the Xiongnu tribes of the north and west and the Hundred Yue peoples of what is now southern China  Around 218 BC, the First Emperor dispatched General Tu Sui with an army of 500,000 Qin soldiers to divide into five companies and attack the Hundred Yue tribes of the Lingnan region  The first company gathered at Yuhan (Modern Yugan County in Jiangxi Province) and attacked the Minyue, defeating them and establishing the Minzhong Commandery  The second company fortified at Nanye (in modern Jiangxi Province's Nankang County), and was designed to put defensive pressure on the southern clans  The third company occupied Panyu   The fourth company garrisoned near the Jiuyi Mountains, and the fifth company garrisoned outside Tancheng (in the southwest part of modern Hunan Province's Jingzhou Miao and Dong Autonomous County)  The First Emperor assigned official Shi Lu to oversee supply logistics   Shi first led a regiment of soldiers through the Ling Channel (which connected the Xiang River and the Li River), then navigated through the Yangtze River and Pearl River water systems ensure the safety of the Qin supply routes  The Qin attack of the Western Valley (Chinese: 西甌) Yue tribe went smoothly, and Western Valley chieftain Yi-Xu-Song was killed  However, the Western Valley Yue were unwilling to submit to the Qin and fled into the jungle where they selected a new leader to continue resisting the Chinese armies  Later, a night-time counterattack by the Western Valley Yue devastated the Qin troops, and General Tu Sui was killed in the fighting  The Qin suffered heavy losses, and the imperial court selected General Zhao Tuo to assume command of the Chinese army  In 214 BC, the First Emperor dispatched Ren Xiao and Zhao Tuo at the head of reinforcements to once again mount an attack  This time, the Western Valley Yue were completely defeated, and the Lingnan region was brought entirely under Chinese control  In the same year, the Qin court established the Nanhai, Guilin, and Xiang Commanderies, and Ren Xiao was made Lieutenant of Nanhai  Nanhai was further divided into Panyu, Longchuan, Boluo, and Jieyang counties (among several others), and Zhao Tuo was made magistrate of Longchuan 
The First Emperor died in 210 BC, and his son Zhao Huhai became the Second Emperor of Qin  The following year, soldiers Chen Sheng, Wu Guang, and others seized the opportunity to revolt against the Qin government  Insurrections spread throughout much of China (including those led by Xiang Yu and Liu Bang, who would later face off over the founding of the next dynasty) and the entire Yellow River region devolved into chaos  Soon after the first insurrections, Nanhai Lieutenant Ren Xiao became gravely ill and summoned Zhao Tuo to hear his dying instructions  Ren described the natural advantages of the southern region and described how a kingdom could be founded with the many Chinese settlers in the area to combat the warring groups in the Chinese north  He drafted a decree instating Zhao Tuo as the new Lieutenant of Nanhai, and died soon afterward 
After Ren's death, Zhao Tuo, sent orders to his troops in Hengpu Pass (north of modern Nanxiong, Guangdong Province), Yangshan Pass (northern Yangshan County), Huang Stream Pass (modern Yingde region, where the Lian River enters the North River), and other garrisons to fortify themselves against any northern troops  He also executed Qin officials still stationed in Nanhai and replaced them with his own trusted friends 

Conquest of Âu Lạc
The kingdom of Âu Lạc laid south of Nanyue in the early years of Nanyue's existence, with Âu Lạc located primarily in the Red River delta area, and Nanyue encompassing Nanhai, Guilin, and Xiang Commanderies  During the time when Nanyue and Âu Lạc co-existed, Âu Lạc acknowledged Nanyue's suzerainty, especially because of their mutual anti-Han sentiment  Zhao Tuo built up and reinforced his army, fearing an attack by the Han  However, when relations between the Han and Nanyue improved, in 179 BC Zhao Tuo marched southward and successfully annexed Âu Lạc 

Proclamation (204 BC)
In 206 BC the Qin dynasty ceased to exist, and the Yue peoples of Guilin and Xiang were largely independent once more  In 204 BC, Zhao Tuo founded the Kingdom of Nanyue, with Panyu as capital, and declared himself the Martial King of Nanyue (Chinese: 南越武王, Vietnamese: Nam Việt Vũ Vương) 

Nanyue under Zhao Tuo
Liu Bang, after years of war with his rivals, established the Han dynasty and reunified Central China in 202 BC  The fighting had left many areas of China depopulated and impoverished, and feudal lords continued to rebel while the Xiongnu made frequent incursions into northern Chinese territory  The precarious state of the empire therefore forced the Han court to treat Nanyue initially with utmost circumspection  In 196 BC, Liu Bang, now Emperor Gaozu, sent Lu Jia (陸賈, not to be confused with Lü Jia 呂嘉) to Nanyue in hopes of obtaining Zhao Tuo's allegiance   After arriving, Lu met with Zhao Tuo and is said to have found him dressed in Yue clothing and being greeted after their customs, which enraged him  A long exchange ensued, wherein Lu is said to have admonished Zhao Tuo, pointing out that he was Chinese, not Yue, and should have maintained the dress and decorum of the Chinese and not have forgotten the traditions of his ancestors  Lu lauded the strength of the Han court and warned against a kingdom as small as Nanyue daring to oppose it  He further threatened to kill Zhao's kinsmen in China proper and destroying their ancestral graveyards, as well as coercing the Yue into deposing Zhao himself   Following the threat, Zhao Tuo then decided to receive Emperor Gaozu's seal and submit to Han authority  Trade relations were established at the border between Nanyue and the Han kingdom of Changsha  Although formally a Han subject state, Nanyue seems to have retained a large measure of de facto autonomy 
After the death of Liu Bang in 195 BC, the government was put in the hands of his wife, Empress Lü Zhi, who served as Empress Dowager over their son Emperor Hui of Han and then Emperor Hui's sons Liu Gong and Liu Hong  Enraged, Empress Lü sent men to Zhao Tuo's hometown of Zhending (modern Zhengding County in Hebei Province) who killed much of Zhao's extended family and desecrated the ancestral graveyard there  Zhao Tuo believed that Wu Chen, the Prince of Changsha, had made false accusations against him to get Empress Dowager Lü to block the trade between the states and to prepare to conquer the Nanyue to merge into his principality of Changsha  In revenge, he then declared himself the emperor of Nanyue and attacked the principality of Changsha and captured some neighboring towns under Han domain  Lü sent general Zhou Zao to punish Zhao Tuo   However, in the hot and humid climate of the south, an epidemic broke out quickly amongst the soldiers, and the weakened army was unable to cross the mountains, forcing them to withdraw which ended in Nanyue victory, but the military conflict did not stop until the Empress died  Zhao Tuo then annexed the neighboring state of Minyue in the east as subject kingdom  The kingdom of Yelang and Tongshi (通什) also submitted to Nanyue rule 

In 179 BC, Liu Heng ascended the throne as Emperor of the Han  He reversed many of the previous policies of Empress Lü and took a conciliatory attitude toward Zhao Tuo and the Kingdom of Nanyue  He ordered officials to revisit Zhending, garrison the town, and make offerings to Zhao Tuo's ancestors regularly  His prime minister Chen Ping suggested sending Lu Jia to Nanyue as they were familiar with each other  Lu arrived once more in Panyu and delivered a letter from the Emperor emphasizing that Empress Lü's policies were what had caused the hostility between Nanyue and the Han court and brought suffering to the border citizens  Zhao Tuo decided to submit to the Han once again, withdrawing his title of "emperor" and reverting to "king", and Nanyue became Han's subject state  However, most of the changes were superficial, and Zhao Tuo continued to be referred to as "emperor" throughout Nanyue 

Zhao Mo
In 137 BC, Zhao Tuo died, having lived over one hundred years  Because of his great age, his son, the Crown Prince Zhao Shi, had preceded him in death, and therefore Zhao Tuo's grandson Zhao Mo became king of Nanyue  In 135 BC, the king of neighboring Minyue launched an attack on the towns along the two nations' borders  Because Zhao Mo hadn't yet consolidated his rule, he was forced to implore Emperor Wu of Han to send troops to Nanyue's aid against what he called "the rebels of Minyue"  The Emperor lauded Zhao Mo for his vassal loyalty and sent Wang Hui, an official governing ethnic minorities, and agricultural official Han Anguo at the head of an army with orders to separate and attack Minyue from two directions, one from Yuzhang Commandery, and the other from Kuaiji Commandery  Before they reached Minyue, however, the Minyue king was assassinated by his younger brother Yu Shan, who promptly surrendered 

The Emperor sent court emissary Yan Zhu to the Nanyue capital to give an official report of Minyue's surrender to Zhao Mo, who had Yan return his gratitude to the Emperor along with a promise that Zhao would come visit the Imperial Court in Chang'an, and even sent his son Zhao Yingqi to return with Yan to the Chinese capital  Before the king could ever leave for Chang'an himself, one of his ministers strenuously advised against going for fear that Emperor Wu would find some pretext to prevent him from returning, thus leading to the destruction of Nanyue  King Zhao Mo thereupon feigned illness and never travelled to the Han capital 
Immediately following Minyue's surrender to the Han army, Wang Hui had dispatched a man named Tang Meng, local governor of Panyang County, to deliver the news to Zhao Mo   While in Nanyue, Tang Meng was introduced to the Yue custom of eating a sauce made from medlar fruit imported from Shu Commandery  Surprised that such a product was available, he learned that there was a route from Shu (modern Sichuan Province) to Yelang, and then along the Zangke River (the modern Beipan River of Yunnan and Guizhou) which allowed direct access to the Nanyue capital Panyu  Tang Meng thereupon drafted a memorial to Emperor Wu suggesting a gathering of 100,000 elite soldiers at Yelang who would navigate the Zangke River and launch a surprise attack on Nanyue   Emperor Wu agreed with Tang's plan and promoted him to General of Langzhong and had him lead a thousand soldiers with a multitude of provisions and supply carts from Bafu Pass (near modern Hejiang County) into Yelang   Many of the carts carried ceremonial gifts which Yelang presented to the feudal lords of Yelang as bribes to declare allegiance to the Han dynasty, which they did, and Yelang became Qianwei Commandery of the Han Empire Over a decade later, Zhao Mo fell genuinely ill and died around 122 BC 

Zhao Yingqi
After hearing of his father's serious illness, Zhao Yingqi received permission from Emperor Wu to return to Nanyue  After Zhao Mo's death, Yingqi assumed the Nanyue throne  Before leaving for Chang'an he had married a young Yue woman and had his eldest son Zhao Jiande  While in Chang'an, he also married a Han Chinese woman, like himself, who was from Handan  Together they had a son Zhao Xing  After assuming the Nanyue kingship, he petitioned the Han Emperor to appoint his Chinese wife (who was from the Jiu 樛 family) as Queen and Zhao Xing as Crown Prince, a move that eventually brought disaster upon Nanyue  Zhao Yingqi was reputed to be a tyrant who killed citizens with flippant abandon  He died of illness around 113 BC 

Zhao Xing and Zhao Jiande
Zhao Xing succeeded his father as king, and his mother became Queen Dowager  In 113 BC, Emperor Wu of Han sent senior minister Anguo Shaoji to Nanyue summon Zhao Xing and his mother to Chang'an for an audience with the Emperor, as well as two other officials with soldiers to await a response at Guiyang  At the time, Zhao Xing was still young and the Queen Dowager was a recent immigrant to Nanyue, so final authority in matters of state rested in the hands of Prime Minister Lü Jia  Before the Queen Dowager married Zhao Yingqi, it was widely rumored that she had had an affair with Anguo Shaoji, and they were said to have renewed it when he was sent to Nanyue, which caused the Nanyue citizens to lose confidence in her rule 
Fearful of losing her position of authority, Queen Dowager Jiu persuaded Zhao Xing and his ministers to fully submit to Han dynasty rule   At the same time, she dispatched a memorial to Emperor Wu requesting that they might join Han China, that they might have an audience with the Emperor every third year, and that the borders between Han China and Nanyue might be dissolved  The Emperor granted her requests and sent Imperial seals to the Prime Minister and other senior officials, symbolizing that the Han court expected to directly control the appointments of senior officials  He also abolished the penal tattooing and nose-removal criminal punishments that were practiced among the Yue and instituted Han legal statutes  Emissaries that had been sent to Nanyue were instructed to remain there to ensure the stability of Han control  Upon receiving their Imperial decrees, King Zhao and the Queen Dowager began planning to leave for Chang'an Prime Minister Lü Jia was much older than most officials and had served since the reign of Zhao Xing's grandfather Zhao Mo  His family was the preeminent Yue family in Nanyue and was thoroughly intermarried with the Zhao royal family  He vehemently opposed Nanyue's submission to the Han dynasty and criticized Zhao Xing on numerous occasions, though his outcries were ignored  Lü decided to begin planning a coup and feigned illness to avoid meeting the emissaries of the Han court  The emissaries were well aware of Lü's influence in the kingdom – it easily rivalled that of the king – but were never able to remove him  Sima Qian recorded a story that the Queen Dowager and the Zhao Xing invited Lü to a banquet with several Han emissaries where they hoped to find a chance to kill Lü: during the banquet, the Queen Dowager mentioned that Prime Minister Lu was against Nanyue submitting to the Han dynasty, with the hope that the Han emissaries would become enraged and kill Lü  However, Lü's younger brother had surrounded the palace with armed guards, and the Han emissaries, led by Anguo Shaoji, didn't dare attack Lü  Sensing the danger of the moment, Lü excused himself and stood to leave the palace  The Queen Dowager herself became furious and tried to grab a spear with which to kill the Prime Minister personally, but she was stopped by her son, the king  Lü Jia instructed his brother's armed men to surround his compound and stand guard and feigned illness, refusing to meet with King Zhao or any Han emissaries  At the same time, be began seriously plotting the upcoming coup with other officials When news of the situation reached Emperor Wu, he dispatched a man named Han Qianqiu with 2,000 officials to Nanyue to wrest control from Lü Jia   In 112 BC the men crossed into Nanyue territory, and Lü Jia finally executed his plan  He and those loyal to him appealed to the citizens that Zhao Xing was but a youth, Queen Dowager Jiu a foreigner who was plotting with the Han emissaries with the intent to turn the country over to Han China, giving over all of Nanyue's treasures to the Han Emperor and selling Yue citizens to the Imperial court as slaves with no thought for the welfare of the Yue people themselves  With the people's support, Lü Jia and his younger brother led a large group of men into the king's palace, killing Zhao Xing, Queen Dowager Jiu, and all the Han emissaries in the capital 
After the assassinations of Zhao Xing, the Queen Dowager, and the Han emissaries, Lü Jia ensured that Zhao Jiande, Zhao Yingqi's eldest son by his native Yue wife, took the throne, and quickly sent messengers to spread the news to the feudal rulers and officials of various areas of Nanyue 

War and the decline of Nanyue
The 2,000 men led by Han Qianqiu began attacking towns along the Han-Nanyue border, and the Yue residents ceased resisting them, instead giving them supplies and safe passage  The group of men advanced quickly through Nanyue territory and were only 40 li from Panyu when they were ambushed by a regiment of Nanyue soldiers and completely annihilated  Lü Jia then took the imperial tokens of the Han emissaries and placed them in a ceremonial wooden box, then attached to it a fake letter of apology and installed it on the border of Han and Nanyue, along with military reinforcements  When Emperor Wu heard of the coup and Prime Minister Lü's actions, he became enraged  After issuing compensation to the families of the slain emissaries, he decreed the immediate mobilization of an army to attack Nanyue 
In autumn of 111 BC, Emperor Wu sent an army of 100,000 men divided into five companies to attack Nanyue  The first company was led by General Lu Bode and advanced from Guiyang (modern Lianzhou) down the Huang River (now called the Lian River)  The second company was led by Commander Yang Pu and advanced from Yuzhang Commandery (modern Nanchang) through the Hengpu Pass and down the Zhen River  The third and fourth companies were led by Zheng Yan and Tian Jia, both Yue chieftains who had joined the Han dynasty  The third company left from Lingling (modern Yongzhou) and sailed down the Li River, while the fourth company went directly to garrison Cangwu (modern Wuzhou)  The fifth company was led by He Yi and was composed mainly of prisoners from Shu and Ba with soldiers from Yelang; they sailed directly down the Zangke River (modern Beipan River)  At the same time, Yu Shan, a king of Dong'ou, declared his intention to participate in the Han dynasty's attack on Nanyue and sent 8,000 men to support Yang Pu's company  However, upon reaching Jieyang, they pretended to have encountered severe winds that prevented them from advancing, and secretly sent details of the invasion to Nanyue 

By winter of that year, Yang Pu's company had attacked Xunxia and moved on to destroy the northern gates of Panyu (modern Guangzhou), capturing Nanyue's naval fleet and provisions  Seizing the opportunity, they continued south and defeated the first wave of Nanyue defenders before stopping to await the company led by Lu Bode  Lu's forces were mostly convicts freed in exchange for military service and made slow time, so at the planned rendezvous date with Yang Pu only a thousand of Lu's men had arrived  They went ahead with the attack anyway, and Yang's men led the advance into Panyu where Lü Jia and Zhao Jiande had fortified inside the inner walls  Yang Pu set up a camp southeast of the city and, as darkness fell, set the city on fire  Lu Bode encamped the northwest side of the city and sent soldiers up to the walls to encourage the Nanyue soldiers to surrender  As the night passed, more and more Panyu defenders defected to Lu Bode's camp out of desperation, so that as dawn arrived most of the Nanyue soldiers were gone  Lü Jia and Zhao Jiande realized Panyu was lost and fled the city by boat, heading west before the sun rose  Upon interrogating the surrendered soldiers, the Han generals learned of the two Nanyue leaders' escape and sent men after them  Zhao Jiande was caught first, and Lü Jia was captured in what is now northern Vietnam  Based on many temples of Lü Jia (Lữ Gia), his wives and soldiers scattering in Red River Delta of northern Vietnam, the war might last until 98 BC After the fall of Panyu, Tây Vu Vương (the captain of Tây Vu area of which the center is Cổ Loa) revolted against the First Chinese domination from Western Han dynasty  He was killed by his assistant Hoàng Đồng (黄同) Afterwards, the other commanderies and counties of Nanyue surrendered to the Han dynasty, ending Nanyue's 93-year existence as an autonomous and mostly sovereign kingdom  When news of Nanyue's defeat reached Emperor Wu, he was staying in Zuoyi County in Shanxi Province while travelling to perform imperial inspections, and promptly created the new county of Wenxi, meaning "Hearing of Glad News"  After Lü Jia's capture he was executed by the Han soldiers and his head was sent to the emperor  Upon receiving it, he created Huojia County where he was travelling, meaning "Capturing [Lü] Jia" 

Geography and demographics
Borders
Nanyue originally comprised the Qin commanderies of Nanhai, Guilin, and Xiang  After 179 BC, Zhao Tuo persuaded Minyue, Yelang, Tongshi, and other areas to submit to Nanyue rule, but they were not strictly under Nanyue control  After the Western Han dynasty defeated Nanyue, its territory was divided into the seven commanderies of Nanhai, Cangwu, Yulin, Hepu, Jiaozhi, Jiuzhen, and Rinan  It was traditionally believed that the Qin conquest of the southern regions included the northern half of Vietnam, and that this area was also under Nanyue control  However, scholars have recently stated that the Qin likely never conquered territory in what is now Vietnam, and that Chinese domination there was first accomplished by the Nanyue themselves 

Administrative Divisions
Zhao Tuo followed the Commandery-County system of the Qin dynasty when organizing the Kingdom of Nanyue  He left Nanhai Commandery and Guilin Commandery intact, then divided Xiang Commandery into the Jiaozhi and Jiuzhen Commanderies   Nanhai comprised most of modern Guangdong Province, and was divided by the Qin into Panyu, Longchuan, Boluo, and Jieyang Counties, to which Zhao Tuo added Zhenyang and Hankuang 

Ethnicities
The majority of Nanyue's residents consisted of mainly Yue peoples  The Han Chinese population consisted of descendants of Qin armies sent to conquer the south, as well as girls who worked as army prostitutes, exiled Qin officials, exiled criminals, merchants and so on 
The Yue people were divided into numerous branches, tribes, and clans 
The Nanyue lived in north, east, and central Guangdong, as well as a small group in east Guangxi 
The Xi'ou lived in most of Guangxi and western Guangdong, with most of the population concentrated along the Xun River region and areas south of the Gui River, both part of the Xi River watershed  Descendants of Yi-Xu-Song, the chieftain killed resisting the Qin armies, acted as self-imposed governors of the Xi'ou clans  At the time of Nanyue's defeat by the Han dynasty, there were several hundred thousand Xi'ou people in Guilin Commandery alone 
The Luoyue clans lived in what is now western and southern Guangxi, northern Vietnam, the Leizhou Peninsula, Hainan, and southwest Guizhou  Populations were centered in the Zuo and You watersheds in Guangxi, the Red River Delta in northern Vietnam, and the Pan River watershed in Guizhou  The Chinese name "Luo", which denoted a white horse with a black mane, is said to have been applied to them after the Chinese saw their slash-and-burn method of hillside cultivation 

Government
Administrative system
Because the Kingdom of Nanyue was established by Zhao Tuo, a Chinese general of the Qin dynasty, Nanyue's political and bureaucratic systems were, at first, essentially just continuations of those of the Qin Empire itself  Because of Zhao Tuo's submissions to the Han dynasty, Nanyue also adopted many of the changes enacted by the Han, as well  At the same time, Nanyue enjoyed complete autonomy – and de facto sovereignty – for most of its existence, so its rulers did enact several systems that were entirely unique to Nanyue Nanyue was a monarchy, and its head of state generally held the title of "king" (Chinese: 王), though its first two rulers Zhao Tuo and Zhao Mo were referred to as "Emperor" within Nanyue's borders   The kingdom had its own Calendar era system based (like China's) on Emperors' reign periods  Succession in the monarchy was based on hereditary rule, with the King or Emperor's successor designated as crown prince  The ruler's mother was designated empress dowager, his wife as empress or queen, and his concubines as "Madam" (Chinese: 夫人)  The formalities extended to the ruler's family were on the level of that of the Han dynasty Emperor, rather than that of a feudal king Although Nanyue continued the Commandery-County system of the Qin dynasty, its leaders later enfeoffed their own feudal princes and lords – a mark of its sovereignty – in a manner similar to that of the Western Han  Imperial documents from Nanyue record that princes were enfeoffed at Cangwu, Xixu, as well as local lords at Gaochang and elsewhere  Zhao Guang, a relative of Zhao Tuo, was made King of Cangwu, and his holdings were what is now Wuzhou in the Guangxi Zhuang Autonomous Region  In what is considered a manifestation of Zhao Tuo's respect for the Hundred Yue, he enfeoffed a Yue chieftain as King of Xixu in order to allow the Yue of that area to enjoy autonomy under a ruler of their own ethnicity  The chieftain's name is unknown, but he was a descendant of Yi-Xu-Song, the chieftain killed while fighting the original Chinese invasion under the Qin dynasty Nanyue's bureaucracy was, like the famed bureaucracy of the Qin dynasty, divided into central and regional governments  The central government comprised a prime minister who held military and administrative authority, inner scribes who served under the prime minister, overseeing Censors of various rank and position, commanders of the Imperial Guard, senior officials who carried out the King's official administration, as well as all military officers and officials of the Food, Music, Transportation, Agriculture, and other bureaus Nanyue enacted several other policies that reflected Chinese dominance, such as the household registration system (an early form of census), as well as the promulgation of the use of Chinese characters among the Hundred Yue population and the use of Chinese weights and measures 

Military
Nanyue's army was largely composed of the several hundred thousand (up to 500,000) Qin Chinese troops that invaded during the Qin dynasty and their descendants   After the kingdom's founding in 204 BC, some Yue citizens also joined the army  Nanyue's military officers were known as General, General of the Left, Xiao ("Colonel"), Wei ("Captain"), etc , essentially identical to the Chinese system   The army had infantry, naval troops, and cavalry 

Ethnic policy
The Kingdom continued most of the Qin Commanderies' policies and practices dealing with the interactions between the local Yue and the Han immigrants, and Zhao Tuo proactively promoted a policy of assimilating the two cultures into each other  Although the Han were certainly dominant in holding leadership positions, the overwhelming disparity was largest immediately after the Qin conquest  Over time, the Yue gradually began holding more positions of authority in the government  Lü Jia, the last prime minister of the Kingdom, was a Yue citizen, and over 70 of his kinsmen served as officials in various parts of the government   In areas of particular "complexity", as they were called, Yue chieftains were often enfeoffed with great autonomy, such as in Xixu   Under the impetus of Zhao Tuo's leadership, Chinese immigrants were encouraged to adopt the customs of the Yue  Marriages between the Han Chinese and Yue became increasingly common throughout Nanyue's existence, and even occurred in the Zhao royal family  Many marriages between the Zhao royal family (who were Han Chinese) and the Lü family (Yue – they likely adopted Chinese names early in Nanyue's history) were recorded  Zhao Jiande, Nanyue's last king, was the son of previous king Zhao Yingqi and his Yue wife   Despite the dominating influence of the Chinese newcomers on the Hundred Yue, the amount of assimilation gradually increased over time 

Language
Other than Old Chinese which was used by Han settlers and government officials, native Nanyue people likely spoke Ancient Yue, a now extinct language  Some scholars suggest that they spoke a language related to the modern Zhuang language  Some suggest that the descendants spoke Austroasiatic languages instead  It is plausible to say that the Yue spoke more than one language  Old Chinese in the region was likely much influenced by Yue speech (and vice versa), and many loanwords in Chinese have been identified by modern scholars 

Diplomacy
With the Western Han
Beginning with its first allegiance to the Han dynasty in 196 BC, Nanyue alternately went through two periods of allegiance to and then opposition with the Han dynasty that continued until Nanyue's destruction at the hands of the Han dynasty in early 111 BC 

The first period of Nanyue's subordination to the Han dynasty began in 196 BC when Zhao Tuo met Lü Jia, an emissary from Emperor Gaozu of Han, and received from him a Han imperial seal enthroning Zhao Tuo as King of Nanyue  This period lasted thirteen years until 183 BC, during which time significant trade took place  Nanyue paid tribute in rarities from the south, and the Han court bestowed gifts of iron tools, horses, and cattle upon Nanyue  At the same time, the countries' borders were always heavily guarded Nanyue's first period of antagonism with the Han dynasty lasted from 183 BC to 179 BC, when trade was suspended and Zhao Tuo severed relations with the Han  During this period, Zhao Tuo openly referred to himself as Emperor and launched an attack against the Changsha Kingdom, a feudal state of the Han dynasty, and Han troops were sent to engage Nanyue   Nanyue's armies successfully halted the southern progress of the advance, winning the respect and then allegiance of the neighboring kingdoms of Minyue and Yelang Nanyue's second period of submission to the Han dynasty lasted from 179 BC to 112 BC  This period began with Zhao Tuo abandoning his title of "Emperor" and declaring allegiance to the Han Empire, but the submission is mostly superficial as Zhao Tuo was referred to as emperor throughout Nanyue and the kingdom retained its autonomy  Zhao Tuo's four successors did not display the strength he had, and Nanyue dependence on Han China slowly grew, characterized by second king Zhao Mo calling upon Emperor Wu of Han to defend Nanyue from Minyue 
Nanyue's final period of antagonism with Han China was the war that proved Nanyue's destruction as a kingdom  At the time of Prime Minister Lü Jia's rebellion, Han China was enjoying a period of growth, economic prosperity, and military success, having consistently defeated the Xiongnu tribes along China's northern and northwestern borders   The weakened state of Nanyue and the strength of China at the time allowed Emperor Wu to unleash a devastating attack on Nanyue, as described above 

With Changsha
The Changsha Kingdom was, at the time, a feudal kingdom that was part of Han dynasty  Its territory comprised most of modern Hunan Province and part of Jiangxi Province  When Emperor Gaozu of Han enfeoffed Wu Rui as the first King of Changsha, he also gave him the power to govern Nanhai, Xiang, and Guiling Commanderies, which caused strife between Changsha and Nanyue from the start   The Han China-Nanyue border was essentially that of Changsha, and therefore was constantly fortified on both sides   In terms of policies, because the Kingdom of Changsha had no sovereignty whatsoever, any policy of the Han court toward Nanyue was by default also Changsha's policy 

With Minyue
Minyue was located northeast of Nanyue along China's southeast coast, and comprised much of modern Fujian Province   The Minyue were defeated by the armies of the Qin dynasty in the 3rd century BC and the area was organized under Qin control as the Minzhong Commandery, and Minyue ruler Wuzhu was deposed  Because of Wuzhu's support for Liu Bang after the collapse of the Qin dynasty and the founding of the Han, he was reinstated by the Han court as King of Minyue in 202 BC 
The relations between Nanyue and Minyue can be classified into three stages: the first, from 196 BC to 183 BC, was during Zhao Tuo's first submission to the Han dynasty, and the two kingdoms were on relatively equal footing  The second stage was from 183 BC to 135 BC, when Minyue submitted to Nanyue after seeing it defeat the Han dynasty's first attack on Nanyue  The third stage began in 135 BC when King Wang Ying attacked a weakened Nanyue, forcing Zhao Mo to seek aid from Han China  Minyue once again submitted to the Han dynasty, making itself and Nanyue equals once more 

With the Yi tribes
The southwestern Yi people lived west of Nanyue, and shared borders with Nanyue in Yelang, Wulian, Juding, and other regions  Yelang was the largest state of the Yi people, comprising most of modern Guizhou and Yunnan Provinces, as well as the southern part of Sichuan Province  Some believe the ancient Yi to have been related to the Hundred Yue, with this explaining the close relationship between Yelang and Nanyue  After Nanyue first repelled the Han, nearly all of the Yi tribes declared allegiance to Nanyue, and most of them retained that allegiance until Nanyue's demise in 111 BC  During Emperor Wu of Han's final attack on Nanyue, most of the Yi tribes refused to assist in the invasion  One chieftain called Qie-Lan went so far as to openly oppose the move, later killing the emissary sent by the Han to his territory as well as the provincial governor installed in the Qianwei Commandery 

Monarchs
Archaeological findings
The Nanyue Kingdom Palace Ruins, located in the city of Guangzhou, covers 15,000 square metres  Excavated in 1995, it contains the remains of the ancient Nanyue palace  In 1996, it was listed as protected National Cultural Property by the Chinese government  Crescent-shaped ponds, Chinese gardens and other Qin architecture were discovered in the excavation 
In 1983, the ancient tomb of the Nanyue King Wáng Mù (王墓) was discovered in Guangzhou, Guangdong  In 1988, the Museum of the Mausoleum of the Nanyue King was constructed on this site, to display more than 1,000 excavated artefacts including 500 pieces of Chinese bronzes, 240 pieces of Chinese jade and 246 pieces of metal  In 1996, the Chinese government listed this site as a protected National Heritage Site 
A bronze seal inscribed "Tư Phố hầu ấn" (Seal for Captain of Tu Pho County) was uncovered at Thanh Hoa in northern Vietnam during the 1930s  Owing to the similarity to seals found at the tomb of the second king of Nam Viet, this bronze seal is recognized as an official seal of the Nam Viet Kingdom  There were artifacts that were found in which belonged to the Dong Son culture of northern Vietnam   The goods were found buried alongside the tomb of the second king of Nam Viet 

Status in Vietnamese historiography
In Vietnam, the rulers of Nanyue are referred to as the Triệu dynasty, the Vietnamese pronunciation of the surname Chinese: 趙; pinyin: Zhào  While traditional Vietnamese historiography considered the Triệu dynasty to be an orthodox regime, modern Vietnamese scholars generally regard it as a foreign regime that ruled Vietnam The name "Vietnam" is derived from Nam Việt (Southern Việt), the Vietnamese pronunciation of Nanyue  However, it has also been suggested that the name "Vietnam" was derived from a combination of Quảng Nam Quốc (the domain of the Nguyen lords, from whom the Nguyễn dynasty descended) and Đại Việt (which the first emperor of the Nguyễn dynasty, Gia Long, conquered)  Qing emperor Jiaqing refused Gia Long's request to change his country's name to Nam Việt, and changed the name instead to Việt Nam  Đại Nam thực lục contains the diplomatic correspondence over the naming Peter Bellwood suggested that ethnic Vietnamese are descended from the ancient Yuè of northern Vietnam and western Guangdong  However, the Austroasiatic predecessor of modern Vietnamese language has been proven to originate in modern-day Bolikhamsai Province and Khammouane Province in Laos as well as parts of Nghệ An Province and Quảng Bình Province in Vietnam, rather than in the region north of the Red River delta  Chamberlain demonstrates with textual evidence that many rebel groups during the Tang dynasty originated from the Cả River and subsequently pushed northward to the Red River, linking this to the linguistic shift  Chamberlain demonstrates, based on the concentration of linguistic diversity of the Vietic, the lack of any trace of Austroasiatic in relevant ancient records, or in the neighbouring Tai languages, as well as the short time depth of Proto-Vietic, that "[t]here is no evidence of Vietic, Proto-Việt-Mường or other Austroasiatic speakers living in and around Jiaozhi in the lower Red River basin prior to the 10th or 11th centuries " However, John Phan (2010), citing Maspero 1912, Wang 1948, & Miyake 2003, points out the existence of an "Early Sino-Vietnamese" layer of loanwords traceable back to Later Han Chinese (25 AD–220 AD), which he claims was spoken in the 2nd century BCE  Ferlus (2009) also demonstrates that Northern Vietic (Việt–Mường) and Central Vietic (Cuoi-Toum) invented from original verbs, rather than borrowed foreign words, lexical items corresponding to innovations like "trident", "oar", "pan to cook sticky rice", & "pestle", characteristic of the Dong Son culture, existing in the 1st millennium BCE in the Red River delta Evidence gathered by modern Western scholarship indicates that the Dong Son culture were most likely ethnically Hlai people (a Tai people), Austronesians or both  Citing other scholars (Shafer 1970, Blust 1996, Sagart 2004, Sagart 2005, Ostapirat 2013, Kelley 2013, and Chamberlain), Joachim Schliesinger states that the theory that the Vietnamese language was originally based in the area of the Red River in what is now northern Vietnam has been widely rejected by modern Western scholarship, based on historical records and linguistic evidence  The Red River Delta region is now considered to be originally Tai-speaking, ethnic Hlai people in particular  The area is believed to have become Vietnamese-speaking as late as the tenth century, as a result of immigration from the south, i e , modern central Vietnam Zhao Tuo wrote that he only considered his native subjects to be "barbarians"  Vietnamese historian Ngô Thì Sĩ (1726–1780) refused to consider Zhao Tuo as a Vietnamese leader, saying that he was based in Panyu (Guangzhou), and only ruled the Hong River Delta indirectly  He compared this to the example of the Southern Han dynasty based in Guangzhou There is evidence that Vietnamese elites of the Red River Delta, during the medieval ages, tried to invent an origin of their own (the legendary Hồng Bàng dynasty) based on ancient Chinese texts, which recorded the movements of Tai-speaking peoples across the region of South China 

Culture
There was a fusion of the Han and Yue cultures in significant ways, as shown by the artifacts unearthed by archaeologists from the tomb of King Zhao Mo in Guangzhou  The Nanyue tomb in Guangzhou is extremely rich  There are quite a number of bronzes that show cultural influences from the Han, Chu, Yue and Ordos regions 

Gallery
Jade wares unearthed from the Mausoleum of the Nanyue King
See also
Notes
Passage 2:
Han campaigns against Minyue
The Han campaigns against Minyue were a series of three Han military campaigns dispatched against the Minyue state  The first campaign was in response to Minyue's invasion of Eastern Ou in 138 BC  In 135 BC, a second campaign was sent to intervene in a war between Minyue and Nanyue  After the campaign, Minyue was partitioned into Minyue, ruled by a Han proxy king, and Dongyue  Dongyue was defeated in a third military campaign in 111 BC and the former Minyue territory was annexed by the Han Empire 

Background
The Qin dynasty's military incursions in the south of what is now China began a period of expansion that continued under the next dynasty, the Han   After the fall of the Qin, Minyue was established in 202 BC, and Eastern Ou in 192 BC, with the support of the Han  They were rewarded with greater autonomy in return for their contributions to the revolt against the Qin  The local rulers of the Minyue region had also sided with Liu Bang's Han instead of Xiang Yu's Chu during the Chu–Han Contention, a civil war that ensued during the collapse of the Qin Minyue was created by carving out the former Qin province of Minzhong, with Dongye as the capital, into a new kingdom ruled by Zou Wuzhu  A decade later, Zou Yao was granted control over Donghai, popularly referred to as Eastern Ou after the name of the kingdom's capital  The title was bestowed with a declaration by the Han emperor that "Zou Yan, the chief of Min, achieved great merit and his people supported the Han cause"  The Han historian Sima Qian claims both rulers were descendants of Goujian, the 5th century BC ruler of Yue  The family had lost their status as rulers during the Qin's wars of unification, when they were demoted to local chieftains 

Han–Minyue wars
Intent of Minyue
While Minyue invasion of its neighbours appears to be a "spontaneous whim of a foolhardy and greedy king Zou Ying" in the Han dynasty history books, given the geopolitical circumstances, Brindley (2015) wrote that "We should therefore consider Minyue aggression in the 130s in terms of a series of pre-emptive, southerly strikes intended to stave off Han encroachment and potential takeover" 

Initial military intervention
In 138 BC, Minyue invaded the Eastern Ou, prompting Eastern Ou to request the intervention of Han forces  The Han court was divided over offering military support  The campaign was opposed by the Han commander-in-chief Tian Fen, who argued that warfare between the Yue tribes occurred frequently and the affairs of Yue were not the responsibility of the Han government  The concept of Chinese centrality among nations persuaded the court to dispatch an army  In accordance with Chinese political philosophy, the ruler or Son of Heaven held a mandate that obligated the emperor to help smaller countries in need  Otherwise, as the Han official Zhuang Zhu phrased it, "how could we treat the myriad kingdoms as our children?"A Han naval force led by Zhuang Zhu departed from Shaoxing in northern Zhejiang towards Minyue  The Minyue surrendered before the arrival of the Han troops, and withdrew from Eastern Ou  There were plans to move the residents of Eastern Ou to the area between the Huai River and Yangtze River, following a request by the king of Eastern Ou 

Second intervention
In 135 BC, war broke out when Minyue invaded Nanyue  Zhao Mo, the king of Nanyue, asked for and received the military assistance of the Han  In 180 BC, Zhao had offered to submit as a vassal and the Han agreed, a decision that was partly based on Zhao's ancestral roots in northern China  An army led by the generals Wang Hui and Han Anguo was ordered to invade Minyue  The campaign was cut short by palace infighting in the Minyue court  Panicked at news of an invasion, the younger brother of the Minyue king Zou Ying, Zou Yushan, conspired with the royal court to depose Ying  Yushan killed his brother with a spear, decapitated the corpse, and sent the head to Wang  The Han forces withdrew soon after Zhao Mo was grateful for the speed of the intervention against Minyue  The Han official Zhuang Zhu was dispatched to meet with the Nanyue emperor, who expressed his gratitude  Zhao sent his son, the prince Zhao Yingqi, to the Han capital at Chang'an, where he was to work for the Emperor  In the aftermath of the campaign, Minyue had split into a dual monarchy, Minyue and Dongyue  Minyue was controlled by the Han through a proxy ruler, while Dongyue was independently ruled by Zou Yushan, the brother who deposed the former king during the invasion Zou Chou was selected to fill the role of Han proxy ruler because he was the only member of the Minyue royal family who refused to take part in the war against Nanyue  However, his efforts to exert control over the people of Minyue were not successful  The subjects of the kingdom pledged their loyalty to Zou Yushan instead  Yushan declared himself king of Minyue without the consent of the Emperor Wu, the Han ruler  The emperor was informed of Yushan's actions, and recognized him as king of Dongyue instead of ordering a second invasion  Emperor Wu considered it a reward to Yushan for killing Zou Ying and ending the war  The assassination had prevented the Han from wasting any more resources on the conflict  Dongyue had an uneasy relationship with the Han  In 112 BC, Han officials were killed in a military engagement with Dongyue 

Third campaign and conquest
As Han troops returned from the Han–Nanyue War in 111 BC, the Han government debated annexing Dongyue  Dongyue, under King Zou Yushan, had agreed to assist the Han campaign against Nanyue, but the Dongyue army never reached Nanyue  Yushan blamed the delay on the weather  The proposal to annex Dongyue was suggested by General Yang Pu, but was dismissed by Emperor Wu  The naval force arrived home without having attacked Dongyue  Zou caught wind of Yang's request, and responded by revolting against the Han  Han forces were led by General Han Yue, General Yang Pu, commander Wang Wenshu, and two marquises of Yue ancestry  The army crushed the rebellion and captured Dongyue in the last months of 111 BC, placing the former Minyue territory under Han rule Historical records report that Minyue and Dongyue were emptied of people, and that its residents were deported to the territories between the Huai River and the Yangtze River  The alleged population transfer was a resumption of a policy that had been planned since 138 BC  The Han government considered the mountainous region difficult to control and was wary of trusting its residents  Modern historians doubt the event happened  The deportation of an entire kingdom is implausible, and nothing has been found to verify a migration of Han settlers to the Minyue region around the year 1, something that would have occurred had the area been abandoned while under Han control  There was only one town of Han settlers, Dongyue, in Minyue  Dongyue was built where the Min River meets the sea, around the time of Emperor Wu's reign  It is more likely that the assimilation of Minyue into Han Chinese culture through Han conquest happened later in the dynasty 

Historical significance
From one settlement in year 1, the Han Dynasty's involvement in the Minyue region grew into several counties  There were many Chinese counties in the area by the 4th century AD  The Minyue had been culturally assimilated by the time the Han Dynasty collapsed, and Chinese civilization was undergoing a transition to the Three Kingdoms period of Cao Wei, Shu Han, and Eastern Wu  Political upheaval in the north, such as Wang Mang's usurpation, had caused Han migrants to resettle in the south  The Han Dynasty's military expansion widened its commercial ties in addition acquiring large amounts of new territories  The empire's conquest of Minyue and Nanyue spoke of its vast size that it bordered the ancient kingdoms of Southeast Asia  Economic ties with the Han and subsequent dynasties affected the trajectory of maritime trade of Southeast Asia, where goods have been excavated made in styles resembling that of the ancient Han Chinese  Maritime trade and the Silk Road also linked China with Ancient Rome, India, and the Near East 

Citations
Bibliography
Brindley, Erica (2015)  Ancient China and the Yue Perceptions and Identities on the Southern Frontier, c 400 BCE–50 CE  Cambridge University Press 
Gernet, Jacques (1996)  A History of Chinese Civilization  Cambridge University Press  ISBN 978-0-521-49781-7 
Holcombe, Charles (2001)  The Genesis of East Asia: 221 B C  – A D  907  University of Hawaii Press  ISBN 978-0-8248-2465-5 
Yu, Yingshi (1986)   Twitchett, Denis; Loewe, Michael (eds )  Cambridge History of China: Volume I: the Ch'in and Han Empires, 221 B C  – A D  220  University of Cambridge Press  ISBN 978-0-521-24327-8 
Lorge, Peter (2012)   Graff, David Andrew; Higham, Robin D  S  (eds )  A Military History of China  University Press of Kentucky  ISBN 978-0-8131-3584-7 
Sima, Qian; Watson, Burton (1993)  Records of the Grand Historian: Han Dynasty II  Translation and commentary by Watson  Columbia University Press  ISBN 978-0-231-08166-5 
Passage 3:
Ballaios
Ballaios (Ancient Greek: Βαλλαῖος; ruled c  260 – c  230 BC) was an Illyrian king of the Ardiaei tribe  Attested only in coinage, Ballaios is considered as the predecessor of Agron  He is considered to have been a powerful and influential king as testified by the abundance of his silver and bronze coinage found along both coasts of the Adriatic  A hoard found in 2010 is one of the biggest hoards of ancient coins known, not only from Illyria  The capital of Ballaios' kingdom was Rhizon His silver issues are rare, but bronze coins, without the royal title, occur on Hvar, both in single finds and in hoards, and at Rhizon in a different series bearing the royal title  In the city of Ulcinj there is still a fully functioning water source bearing his name: "Kroni i Ballos"  The coins of Ballaios were widely imitated in the region, sometimes so crudely that they are unintelligible 

Reign
Prior to the recent excavations carried out in the 2010s, archaeologist Arthur Evans dated Ballaios' coinage c  between 167 BC and 135 BC, in the period between the fall of Macedon and the expedition by the consul Servius Fulvius Flaccus against the Illyrians  J  M  F  May (1930s) dated it c  between 195/190 BC and 175 BC, which was followed by G  Gorini (1991), and Šašel Kos (2007) After the recent excavations, the archaeological contexts of the coin hoards of Ballaios found in the 2010s indicate an earlier period  Archaeological investigations conducted in the area of Rhizon have revealed that Ballaios was in power and minted coins in the period between c  260 and 230 BC, providing a clear dating for his reign 

Coinage
Ballaios minted coins in his own name  His coins with the long legend ΒΑΣΙΛΕΩΣ ΒΑΛΛΑΙΟΥ (BASILEOS BALLAIOY) were minted in Rhizon while the coins with the short legend ΒΑΛΛΑΙΟΥ and the head of the king Ballaios which is of a different type and are older, were minted in Pharos  In some cases it is possible to observe that Ballaios' coins were over struck on the older Pharos specimens  The distribution of his coinage indicates that they were concentrated in the central Dalmatian area, while the large number of different dies that have been identified to date indicates a long minting of his coins  Numismatic evidence shows that Ballaios reigned for quite a lengthy time  His coins are also frequently found in Italy, which confirms the trade contacts between both Adriatic coasts 
On the obverse of the coins a bust of the king facing left to right is depicted, while on the reverse Artemis, advancing or standing, is represented with or without a torch, sometimes carrying one or two spears, surrounded by either the long or short legend  Most of these coins are bronze, some, and always those with the long legend are silver  Their weight, c  3 5g corresponds top the Roman victorium  It is significant the Ballaios also had silver coins minted, which indicates his wealth and power, since elsewhere in Hellenistic Dalmatia silver coinage is very rarely documented from Greek/Illyrian mints  The weight of the bronze coins of Ballaios is between 1 0 and 4 5g, while most of the documented specimens weigh between 2 0 and 2 5g  The relatively great impact of the coinage of Ballaios is also indicated by a large number of imitations of his coins  In several instances on some coins, an embossed circular Illyrian shield on one side and the flying horse Pegasus, a mythological creature, and the letter "B", "A" and "L" on the other side, are depicted 
Ballaios' coins were in circulation in the regions along both Adriatic coasts; along the eastern Adriatic, they have been found in a broad area extending from Phoenice in Epirus to Shkodër, in present-day Albania, to Pharos, and along the western Adriatic from Leuca and Locri to Aquileia, indicating trade activity of Ballaios that was no longer controlled by Issa  As expected the coins of Ballaios were also found in the broad area of Narona, the most important Greek/Illyrian emporium which maintained along with the river Neretva, commercial and other contacts with the interior regions or Illyricum 

See also
List of rulers of Illyria
Illyrian coinage
Passage 4:
List of solar eclipses in the 2nd century BC
This is a list of selected solar eclipses from antiquity, in particular those with historical significance  Eclipses on this list were not only recorded, but sometimes would have large effects such as ending a war 

Historically significant solar eclipses
Statistics
Longest total eclipses
Below is a list of the 10 longest total eclipses between the 30th century BC and the 4th century 

Solar eclipses by century
Passage 5:
Dong'ou Kingdom
Dong'ou (simplified Chinese: 东瓯; traditional Chinese: 東甌; pinyin: Dōng'ōu) also known as Ouyue (simplified Chinese: 瓯越; traditional Chinese: 甌越; pinyin: Ōuyuè), was an ancient  kingdom in modern Wenzhou and Taizhou, Zhejiang Province, China  The realm of Dong'ou was given to Zou Yao by Emperor Gaozu of Han in 192 BC  During the Han campaigns against Minyue in 138 BC, the king of Dong'ou no longer wished to live in his realm after the incident, and had all his people moved into the Han dynasty 
Passage 6:
Dian Kingdom
Dian (Chinese: 滇) was an ancient kingdom established by the Dian people, a non-Han metalworking civilization that inhabited around the Dian Lake plateau of central northern Yunnan, China from the late Spring and Autumn period until the Eastern Han dynasty  The Dian buried their dead in vertical pit graves  The Dian language was likely one of the Tibeto-Burman languages  The Han Empire's annexation of the Dian Kingdom in 109 BCE eventually led to the establishment of the Yizhou commandery  Dian culture started from at least the 8th century BCE, until it fell under the control of the Han dynasty in 109 BCE 

History
Dian was an ancient kingdom situated in modern Yunnan, southwestern China, in the region around the Dian Lake  According to Han historian, Sima Qian, it was established in 279 BCE when King Qingxiang of Chu sent a military force to the southwest  Zhuang Qiao, a general of Chu, reached the Dian Lake as part of the Chu military campaign  When the Chu homeland was invaded by the Qin, Zhuang Qiao decided to stay in Yunnan and adopt the native ways, establishing the Dian kingdom  The Qin dynasty was subsequently overthrown by the Han, and the commanderies of the new dynasty, Ba and Shu, bordered Dian According to the Shiji, the southwest was dominated by barbarians, among whom the ruler of Yelang was the most powerful  To the west of Yelang were the Mimo and the most powerful among them was the ruler of Dian  North of Dian was Qiongdu  All these people styled their hair in a mallet-shaped fashion  These were settled peoples who worked the fields and lived in settlements In the area from Tongshi east to Yeyu were the Sui and Kunming tribes who braided their hair and moved from place to place with their herds  They had no fixed abodes or rulers  Northeast of the Sui were the Xi and Zuodu  The most powerful of the Zuodu were the Ran and Mang, who lived west of Shu  Some of them moved from place and place but others lived in fixed abodes  Northeast of the Ran and Mang were the Baima, who belonged to the Di tribe 
Shu is the only place that makes ju berry sauce  large quantities of it are exported in secret to the markets of Yelang, which is situated on the Zangke  The Zangke at that point is over 100 paces across, wide enough to allow boats to move up and down it  The king of Southern Yue sends money and goods in an effort to gain control of Yelang, extending his efforts as far west as Tongshi, but so far he has not succeeded in getting Yelang to acknowledge his sovereignty 
In 135 BCE, the Han envoy Tang Meng brought gifts to Duotong, the king of Yelang, which bordered Dian, and convinced him to submit to the Han  The Jianwei Commandery was established in the region  In 122 BCE, Emperor Wu dispatched four groups of envoys to the southwest in search of a route to Daxia in Central Asia  One group was welcomed by the king of Dian but none of them were able to make it any further as they were blocked in the north by the Sui and Kunming tribes of the Erhai region and in the south by the Di and Zuo tribes  However they learned that further west there was a kingdom called Dianyue where the people rode elephants and traded with the merchants from Shu in secret In 111 BCE, Emperor Wu of Han ordered the barbarian tribes of Jianwei Commandery to raise troops for the campaign against Nanyue  Fearing that neighboring tribes would attack them in the absence of their men, the tribe of Julan rebelled against the Han and killed the governor of Jianwei Commandery  After Nanyue was defeated, Han forces turned north and subjugated the various tribes of Yelang, Julan, Toulan, Qiong, Zuo, Ran, and Mang The Dian Kingdom was annexed by the Han under the reign of Emperor Wu of Han in 109 BCE and the Yizhou commandery established  The Dian King willingly received the Chinese invasion in the hopes of assistance against rival tribes  It was at this time he received his seal from the Chinese, and became a tributary Emperor Wu sent Wang Ranyu to persuade the king of Dian to submit, pointing out that many of the neighboring tribes had already been defeated  The king of Dian was initially reluctant to accept the offer for he still possessed some 30,000 troops as well as the allegiance of the nearby Laojin and Mimo tribes  However, in 109 BCE, Han troops from Ba and Shu wiped out the Laojin and Mimo, leading the king of Dian to surrender  While Dian became Yizhou Commandery (Chinese: 益州), the king was allowed to continue his rule until a rebellion during the reign of Emperor Zhao of Han  The Han proceeded with colonization and conquered the people of Kunming in 86 and 82 BCE, reaching all the way to what is now modern day Myanmar 

Royal burials
The Dian buried their kings at Shizhaishan, which was uncovered in 1954 near Shizhai Village in Jinning County, Yunnan  The burials were identified by the inscription King Dian's Seal  The inscription was written in seal script on a gold imperial seal of investiture given by the Han Emperor  Sima Qian noted that the Dian were one of only two local groups to have received an imperial seal, the other being Yelang  Both have survived: the Yelang Seal emerged in 2007 from a Hmong man in Guizhou, claiming to be the Yelang King's 75th generation descendant 

Culture
Bronze working
The largest tin deposits on the Eurasian continent are located on the Malay peninsula, and as such, the Dian people were sophisticated metal workers, casting both bronze and iron  The Dian cast bronze objects using both the piece mould method and the lost wax method  Dian elite burials contained an impressive array of bronze objects, although late Dian burials also contained locally cast iron objects 
Large bronze drums were employed by the Dian to communicate in battle; ritual burials of Dian elites were accompanied by large bronze drums filled with cowrie shells  The tops of the drums were removed and replaced by a bronze lid 

Saka influences
Iaroslav Lebedynsky and Victor H  Mair speculate that some Sakas may also have migrated to the area of Yunnan in southern China following their expulsion by the Yuezhi in the 2nd century BCE  Excavations of the prehistoric art of the Dian civilization of Yunnan have revealed hunting scenes similar to that of Indo-European artwork depicting horsemen in Central Asian clothing  The scenes depicted on these drums sometimes represent these horsemen practicing hunting  Animal scenes of felines attacking oxen are also at times reminiscent of Scythian art both in theme and in composition 

Depiction of Dian society
The bronze lids were covered with miniature figurines and structures, depicting various scenes from the life of the Dian people  The bronze lids depicted the Dian people engaged in everyday activities such as hunting, farming and weaving  Other scenes depicted the leisurely pursuits of the Dian people, such as bullfighting, dancing and music-making  The Dian people dressed in tunics over short pants and wore their hair in topknots  The bronze lids corroborated Sima Qian's description of the Dian hairstyle 
Many scenes depicted the Dian at war, often riding horses  Archaeological evidence shows that horses had been domesticated by the Dian people as early as the sixth century BCE  The bronze lids also depicted the Dian decapitating their enemies (who wore their hair in long plaits) 
The Kingdom was based on agriculture, the bronzes also showed head hunting, human sacrifice, and slaves as part of Dian society 

Underwater ruins
Archaeologists recently discovered the inundated remains of Dian-period buildings and pottery fragments under Fuxian Lake and were able to verify their age with carbon dating 

Other artifacts
At Dabona, a site connected with the Dian culture, archaeologists discovered a large double coffin burial; The outer coffin was made of wood and the inner coffin was made of bronze  The inner coffin was shaped like a house and weighs over 157 kg 
The Yunnan Provincial Museum holds many archaeological relics of the Dian culture 

Gallery
Passage 7:
Go dynasty
Go Royal Family (Reigned from 37 BC to 668 AD) was the dynasty that founded and ruled over the ancient Korean kingdom of Goguryeo  Its founder, Jumong (Korean: 주몽; Hanja: 朱蒙), broke away from another ancient Korean kingdom called Dongbuyeo to start his own kingdom  The Taewangs were all members of the Go Royal Family 

Ancestry of Jumong
Jumong was the 4th generation descendant of Hae Mosu, as the grandson of Hae Mosu's second son, King Go Jin, the ruler of Gori  This explains why Jumong was able to rise to the throne of Bukbuyeo 

The Founding
The Go Royal Family (Hangul: 고씨 왕족), The Han Royal Family (Hangul: 한씨왕족) was founded and descended from one common ancestor, who was Jumong, also the first ruler of Goguryeo  Jumong was the son of Go Mosu and Lady Yuhwa (Korean: 유화부인; Hanja: 柳花夫人)  Lady Yuhwa was the daughter of Habaek (Korean: 하백; Hanja: 河伯), the god of the Amnok River or, according to an alternative interpretation, the sun god Haebak (Korean: 해밝)  Go Mosu was a descendant of Haemosu, the founder of Bukbuyeo, or North Buyeo, and was also said to have been a direct descendant or successor to the Emperors of Ancient Joseon (also known as Gojoseon)  As a descendant of Haemosu, Jumong was driven by the goal of reuniting all of Gojoseon's ancient territory into one whole empire and one whole nation  With this goal in mind, he set off from Dongbuyeo and began building the foundations for his kingdom  After three years, he had already conquered several of the neighboring kingdoms and was ready to go into the final phase of constructing his kingdom  He completed this phase by holding hands with Jolbon and bringing it under his control  In 37 BC, Jumong finally established his kingdom and named it 'Goguryeo' (Hangul: 고구려)  He also changed his last name from 'Hae' to 'Go,' which means 'high ' Goguryeo progressed and continued to grow stronger under Go Jumong's reign of 19 years  His first wife and their son, Yuri, soon to be Emperor King Yuri, fled from Dongbuyeo and came to Goguryeo during the last year of Jumong's reign  Jumong proclaimed Yuri his successor and Crown Prince (Hangul: 태자) before dying five months later 

Complete Transition of the family name
King Yuri rose to the throne in 19 BC and ruled until his death in 18 AD  During his reign, the royal family had absolute power and all power was in the hands of the reigning emperor  Under Yuri, the kingdom was able to grow powerful enough to fight the Han Dynasty  After King Yuri, Daemusin, Mobon, and Minjung, the young prince Gung took the surname "Go" (Hanja: 高) for the first time in 3 generations  From King Taejo to King Bojang, the rulers of Goguryeo kept their ancestor's surname "Go" and "Han" 
According to the Samguk Sagi, the Goguryeo royal family claimed descent from the mythical god Gao Yang, who was the grandson of the Yellow Emperor of Chinese mythology, and thus took the surname of "Go" (高); however, this legend was discredited in the commentaries (논찬; 論贊) by Kim Busik, the compiler of the Samguk Sagi, who concluded that both Baekje and Goguryeo originated from Buyeo 

Height of Imperial power
Goguryeo's height of power came in the reign of Taewang Gwanggaeto the Great of Goguryeo, who created and strengthened Goguryeo's cavalry and naval units to pacify the south and the north  Gwanggaeto the Great attacked and conquered Buyeo, Biryu-guk, the Later Yan, Malgal, and the Ainu tribes  Goguryeo's height of power finally came, but the bringer of glory died at the young age of 39 

Decline of Imperial power
King Munjamyeong continued to expand Goguryeo's territories after receiving the full surrender of the ancient Korean state of Buyeo in 494  After the reign of King Munjamyeong, his son Heung-An became King Anjang  King Anjang continued to attack the southern kingdoms and weaken their power, further establishing the empire's power over both the Korean peninsula and Manchuria  After King Anjang, his son became King Anwon 

Fall of Goguryeo
Goguryeo's 27th ruler, King Yeongryu, submitted to the newly-risen Tang Dynasty, despite the overwhelming victories that Goguryeo had achieved over the Sui  King Yeongryu was assassinated by Yeon Gaesomun (연개소문), who was Dae Magniji (대막리지/Grand Prime Minister) of Goguryeo until 666 CE  King Bojang, the nephew of King Yeongryu, rose to the throne and ruled until 668 CE, when Goguryeo was destroyed 

See also
History of Korea
Three Kingdoms of Korea
Taewang
Context 2: Passage 1:
Carolina Moraes
Carolina Moraes (born 5 April 1980) is a former synchronized swimmer from Brazil  She competed in the women's duet competition with her twin sister, Isabela Moraes, at both the 2000 and 2004 Summer Olympics  Both also competed for Ohio State University, winning 11 national championships, including the team routine title in 2000, and four straight titles in duet and trio routines between 1999 and 2002  Following the Olympics, Carolina and Isabela retired and joined Cirque du Soleil, with their first performance being as part of the 2005 World Aquatics Championships opening ceremony  Both have been  part of the cast of Le Rêve, a show presented in Las Vegas since 2007, though Carolina is less frequent as she travels with her husband, part of Cirque du Soleil's technical team 
Passage 2:
Isabela Moraes
Isabela Moraes (born 5 April 1980) is a former synchronized swimmer from Brazil  She competed in the women's duet competition with her twin sister, Carolina Moraes, at both the 2000 and 2004 Summer Olympics   Both also competed for Ohio State University, winning 11 national championships, including the team routine title in 2000, and four straight titles in duet and trio routines between 1999 and 2002  Following the Olympics, Carolina and Isabela retired and joined Cirque du Soleil, with their first performance being as part of the 2005 World Aquatics Championships opening ceremony  Isabela has been since 2007 part of Le Rêve, a show presented in Las Vegas 
Passage 3:
Zumanity
Zumanity (zoo-manity)  was a resident cabaret-style show by Cirque du Soleil at the New York-New York Hotel & Casino on the Las Vegas Strip, placed into the theatre previously occupied by Michael Flatley's Lord of the Dance (musical)  The production was unveiled on September 20, 2003 (previews started on August 14, 2003) and had its last performance on March 14, 2020  It was announced on November 16, 2020 that the show would be closing permanently  It is the first "adult-themed" Cirque du Soleil show, billed as "the sensual side of Cirque du Soleil" or "another side of Cirque du Soleil"  Created by René Richard Cyr and Dominic Champagne, Zumanity is a departure from the standard Cirque format  Intended to be for mature adult audiences only, this show is centered on erotic song, dance, acrobatics, and comedy The inspiration to create Zumanity  came from multiple sources  Cirque du Soleil founder Guy Laliberté had been offered the chance to create two new shows in Las Vegas, and wanted something completely new and original rather than multiple similar shows that would cannibalize off of each other's sales and audiences  Another reason was that the New York-New York Hotel and Casino wanted to make their entertainment appear more "trendy " The hotel liked the concept of a more adult Cirque du Soleil performance Laliberté admits that the biggest reason to produce this show was the chance to create something with riskier subject matter  He was interested in the idea of creating a show that explored human sexuality, something that was at complete odds with the other, more family-oriented Cirque du Soleil shows  "Our previous shows have all been family-oriented and politically correct, which is great," Laliberté said, "but we're human beings, we won't hide it  We're a bunch of happy campers  We like to live new experiences  Zumanity deals with some of those experiences "On February 22, 2022, Cirque du Soleil announced that a new show, "Mad Apple," would replace the Zumanity show at New York-New York Hotel and Casino, which opened on May 26, 2022 

Costumes
Thierry Mugler designed the costumes for Zumanity; he created the costumes to enhance the sensual atmosphere and heightened sexuality of the production   Many of the costumes are highly colorful, yet some are minimal to an exaggerated extreme  Fur, feathers, leather, lace, fishnet stockings, velvet dresses, tiny corsets, cone bras, and plastic accessories were primary materials utilized to create the costumes' provocative appeal  Jonel's costume, for example, is made of stretch vinyl and is airbrushed to create a semi-nude effect; her bright red wig is made of expanded foam  Faun has fur on his pants which is made from toothbrush bristles, human hair, and yak fur  Molinier's long velvet dress was created by using a stencil and net onto which black silicone was applied  Though some characters are made to look entirely nude, the sex organs are fake pieces  Zumanity had Cirque's most expensive and elaborate costumes, the Rose Boy's g-string alone costing $75,000 
For a great selection of character costumes and concept art, see Le Grand Chapiteau - Zumanity - Personages

The Human Zoo
The lobby was created in European style, with an emphasis on curves  A long lighting fixture on the ceiling looked to be made of many strips of golden silk  One of the walls was lined with what looked to be a burgundy, padded headboard  Along the headboard, there were peepholes that originally were conceived to show clips of erotic, vintage films, but eventually showed promotional posters of the show  There was a large window filled with blue swirls, and a glowing, golden fixture in the wall that seemed to resemble a labia  Another window with a frame that looked like branches or vines showcased the "Amsterdam Room," which had one of the performers in it, dancing and teasing the guests in the lobby  You could talk to the performer through a phone built into the wall  The lamps were elegant and attached to the wall by arms that looked porous  There was a small nook with a couch you could lay on, usually with one of the performers  The grand staircase leading to the balconies also looked to be made of vines, or even nerves possibly symbolizing the sense of touch 
The theatre had 3 bars, the Eroticafés: two on the ground floor and one upstairs  They served sushi and various drinks, the highlight being the Zumanitini  The Zumanitini was 1 oz  Vodka Citron, 1/2 oz  Cherry Pucker, and a splash of Triple Sec, Sweet and Sour, and cranberry  Next to one of the bars was a small stage that looked like someone's bedroom  You would always find one of the cast members beckoning to the guests from the bed  The restrooms were unique in that you would hear whispering and teasing at each station  Different from the other shows, Zumanity had multiple performers roaming the lobby, always ready to playfully flirt and take photos 
Entering the theatre itself, you'd find yourself in a cabaret, smaller and more intimate than the other resident Cirque du Soleil Las Vegas shows  The stage looked to be a marble parquet, with elegant, red curtains and two spiral staircases on either side  Above the stage was a bridge that the band played from, which could move up and down  Many chandeliers hung around the stage  The walls were lined with very dimly lit lamps  The carpet featured naked women in a style that looked similar to a Renaissance or Baroque painting  Around the back sides of the stage were barstools, and around the front circle of the stage were loveseats - special options on top of the normal theatre seating 
When the curtains opened, a giant structure called "The Wave" was exposed  These were two massive, wavey screens that images could be projected on  The screens could be moved into different positions 
The shop contained all sorts of novelties, from Zumanitini glasses to chocolate soap bars  Naturally, one could also find various adult-themed items 

The Show: 2003 - 2005
Animation
"Through a series of scene transitions, this comedic quartet supplies the counterpoint to all that is erotic and provocative about ZUMANITY  In a show filled with serious sexual tension, Spymonkey is a reminder of the importance of having a laugh at ourselves and having fun in the bedroom!"Spymonkey was composed of Toby Park, Petra Massey, Aitor Basauri Barruetabena, and Stephan Kreiss
Eliot Douglass plays a jazzy cabaret tune on the piano as the Molinier stands by with a cigarette  Zumans descend the spiral staircases to walk among the audience, with some stripping on stage  Luciene and Licemar Medeiros, twin sisters in showy French maid outfits, brush up against audience members in the aisles as they feed them strawberries  Antonio Drija, Zumanity's resident Gigolo, flirts with audience members, passes out calling cards, and takes polaroids  The Puritans, Spymonkey dressed up as Quakers, take to the stage protesting the show's obscenities, while ironically being a bit sexual themselves Welcome, "Hello boys, hello girls"
"Half-lit cigarette, empty martini glass, all these chicks lined up in a row on a street with no name in a city that never sleeps "
The Puritans are booted off stage  Joey Arias, our "Mistress of Seduction" madame, emcee and drag artist, sings a jazzy tune in her sensuous, smokey voice reminiscent of Billie Holiday  She then welcomes and warms the audience up for the coming show with laughs and very personal questions for the guests Warnings, "Rules of the House"
Lonnie Gordon, acclaimed dance, pop, and R&B singer, takes the stage, singing a song that highlights some things about the effects of the show that may surprise audiences, and what is prohibited  Eventually, Corinne Zarzour, Zumanity's rock diva, would join her Extravaganza
“Blaring horns and hammering drums announce the beginning of the fanfare  One by one the cast makes its fashionable entrance, parading down the catwalk in costumes every bit as vibrant, bold, and diverse as their spectrum of talents and personalities  It’s an incandescent introduction to the colorful cast of performers who will guide the audience on their journey into the world of ZUMANITY ”Wind and Wassa
"We summon the spirits of passion and hope "
"All at once a storm sweeps over the stage as Marcela [de la Vega Luna], Queen of the Wind, summons the spirits in a fevered flamenco dance  With smoldering intensity, her hypnotic trance stirs the soul, arouses the imagination and prepares the senses for an uninhibited transformation "
"Marcela awakens the unbridled passion in Wassa [Coulibaly]  Exploding into a vigorous African dance, her arms, legs and torso take on a primal energy of their own, flying erratically and erotically in rhythm to the intoxicating tribal pulse "Water Bowl
"Do you remember that first hint of something delicious and strange? Of water on parched lips? Or that very first glass of champagne? Do you remember how, in one magical moment, everything changed?"
"Abandoning their innocence, contortionists Gyula [Gyulnara Karaeva] and Bolormaa [Zorigtkhuyag] bathe in inhibition and taste love for the first time  Fluidly they glide through the water striking a sensual array of inconceivable poses to explore the limits of physicality, sexuality and creativity all at once "
Cirque's Amaluna would also showcase a water bowl act years later in 2012 Hoops
"Oh, innocence: so fleeting, so fragile  One day the sweet young thing, the next thing you know, you're soaking wet and lying naked in a hotel room in Vegas  Story of my life: 'what goes around, comes around '"
"Julia [Kolosova] brings to life the school girl fantasy  She gyrates and swivels as she guides her hoops up and down her lithe frame, ultimately engulfing her body  Then, without warning, the dream takes flight as she soars through the air performing daring feats of aerial choreography "
Julia hula hooped in midair while swinging around the theatre The Rose Boy
"I've been looking at all these beautiful, sexy, wonderful women up on stage tonight, and I know some of you are wondering, 'Where's the beef?' Does anybody want some roses?"
"Alex [Castro] peels away the tough exterior to expose his weakness    for the ladies  He tantalizes and teases the audience by revealing his chiseled body bit by bit in a sinfully seductive striptease "Pom Poms
Spymonkey comes out entirely nude (the privates were prosthetics) and teases the audience by covering themselves only by pom poms, which they remove to give quick flashes of their bodies  At one point, one of the members crawls over the audience's seats with his privates getting entangled in guests' hair Body2Body
"These days I live for the elicit tingle of skin on skin, the taste of sweat, and the pungent scent of passion  How about you? Are there parts of your lover's body you've left unexplored, untouched, untasted? Well, my only question is, "What are you waiting for?'"
"Sara [Joel] and Stéphan [Choinière] entwine in a tantric, hand-balancing duet that underscores the beauty of sex  Featuring a breath-taking array of Kama Sutra-inspired maneuvers, their act portrays the discovery of a lover’s body with dramatic strength, flexibility and trust "
The artists maneuver their bodies into various shapes, making living, human sculptures  Body2Body can be related to hand-2-hand, although it is done quite differently  The performers use their entire bodies to lift each other, and the act has high emphasis on choreography Expressions and Dislocation
Expressions: Interlude into Dislocation where the Fauna [Jesse Villa] breakdances on the stage 
Dislocation: "Limber Lothario, Moukhtar [Gusengadzhiev], performs on command for his sadomasochistic sirens, who derive pleasure from watching him squirm  Redefining flexibility, his elastic body bends, twists, and contorts into nature-defying positions that inspire both 'awes' and 'ows '"Dance on TV
"Gorgeous good girl, Elena [Gatilova], breaks out of her shell to grab her lover’s attention  Turning up the heat on love gone flat, she ignites the scene with her feminine wiles, sultry gymnastics and dance to rekindle the flame and make her lover see her again as if for the very first time "
This act features a television set in the middle of the stage, with multiple men watching the sports game playing on the set  Elena dances on the TV, trying to get their attention  Eventually she succeeds and the sports game turns to static  Zumanity's other female dances take the stage, and they all remove their tops and dance on chairs for the men 2Men
"Tumultuous lovers Patrick [King] and Johan [King Silverhult] tango in the throes of passion  Through their fierce choreography unfolds a love story between two deities, Love and War  Again and again they attract and repel in intense conflict until the magnetic energy between them becomes more than they can bear "
Patrick and Johan perform a violent dance in a cage, symbolizing fighting  They are sparring over Marcela, who dances in the background in a flamenco dress, egging them on  As the fight goes on, it becomes softer and more sensual, and the brilliant red light behind Marcela starts to grow smaller  The fighters eventually lose all focus on Marcela, give one big, passionate kiss, and walk off the stage together, to Marcela's great dismay Revenge of the Doll
Spymonkey reappears to shed their sexual inhibitions  One of them carries a sex doll onto the stage, preparing to have fun with it  He is chased by a few of the others dressed as policemen  When he comes back out, the doll comes to life to hump the audience members and the cast  Originally, there was also a segment where Spymonkey used gags to mock some of the previous acts, much like in Cirque's Dralion Savage Love, Market, Fire, and Aerial Straps
"Are you still hiding from monsters under your bed? Skeletons in your closet? Follow me to a place where rules are broken and pleasure dances with pain  Just be careful what you ask for    you might just get exactly what you deserve "
Market, part 1: First, arabesque music plays as the Boteros juggle dildos, Zumans flail in chains, and Jonel Earl dances with a whip  The interlude resembles a sadomasochistic circus  This act originally contained 2 pythons, Adam and Yves, some of Cirque's only animals ever used in its shows  This interlude would remain in the show until its closing 
Fire: Fire was only in the show for a few weeks, but it featured Heidi Good and Jila Alaghamandan in very showy S&M leather outfits as they performed a fire dance  Androgynous Cape ["Almukatab" Jacobo Espina] also danced with one of the snakes  This act was removed from the show because Guy Laliberté, Cirque's founder, did not want a fire act in the show  The smoke left in the air after the act also made it difficult for the Straps artist to perform 
Savage Love: It is unknown when exactly this act was in the show, but it is believed to be either the replacement for Fire or a back-up act  This act featured Vanessa Convery and Ugo Mazin violently dancing in the 2Men cage  See reference for a video of the act 
Market, part 2 (also called Inferno in press releases): "Pleasure dances with pain as ZUMANITY’s resident gigolo, Antonio [Drija], feels the wrath of the women [Jonel Earl, Laetitia Ray, Vanessa Convery, Sophie Ayache, and Agnès Roux] he has scorned  Captured by a militia of vixens in a barred prison cell he finds himself caught in the middle of rough-and-tumble romantic revenge "This act replaced either Fire or Savage Love, and was in the show until around 2005  There was also a version of it that used 7 men and 1 woman 
Straps: "Laurence [Jardin], alone on stage in fragile silence, is bound by her straps  An exercise in self-inflicted pleasure and pain, she uses the leather contraption to tease and torture herself  All the while she watches her bonds ease into auto-erotic aerial maneuvers  Scored by heavy breathing, gentle moans of ecstasy and the friction of her straps, Laurence’s self-satisfying bondage flight draws to a climactic finale "From 2005 and onwards, Market, referred to above as "part 1," would lead directly into straps S&M Hoedown
Spymonkey comes onstage dressed in S&M leather with various pain-inducing items  They do a hoedown dance while inflicting pain on themselves as a sexual stimulant Sheets and Tissus
Sheets: An opening interlude to Tissus," this is a short ballet where the dancers had silken, white sheets on their hands that they danced with 
Tissus: "Though he desperately tries to catch her attention, Alan [Jones Silva] passes unnoticed by the glamorous goddess Olga [Vershinina]  Finally, the once unattainable object of his affection is within arms reach as their two worlds entwine mid-flight in mesmerizing aerial dance "Midnight Bath
"Let your imagination have free reign  Let your fantasies take you to unexpected places "
"With the suggestion that you can’t keep love locked up in a bedroom, Vanessa [Convery] and Ugo [Mazin] give imagination free reign and let fantasy take them to unexpected places  Using milk as their medium they caress each other’s flesh in this luscious lactic sexual experiment "As the name suggests, this act was performed in a bathtub in the middle of the stage  The act was opened by another jazz number from Joey Arias: "Touch me, hold me, never let me go "Orgy, has been referred to in the show as Lazy Susan of Sex, Sex Station 69, Garden of Delights, and Zumanitarium
"The cast emerges from every orifice of the theatre in search of hedonistic prey  In duos, trios (and some flying solo), they assume a smörgåsbord of sexual positions on the Lazy Susan of Sex, where they touch, stroke, moan and embrace until the tension builds to an orgasmic conclusion "This is an audience participation segment  Antonio would lead two members of the audience onto the stage, usually one male and one female  Each would be given to a few of the cast members that would try to arouse them based on their sexual orientation  Antonio usually caressed and rubbed up against the female as the emcee would ask personal questions and make sexual innuendos  The emcee would then move on to the male and try to arouse him  If he was okay with it, his shirt and pants would be removed by the time the emcee got to him  Joey Arias would stick her microphone into his underwear and speak into it Pacemakers and Finale
"Bringing the show full circle, senior-most members of the cast, Birgit and Fleming [Thomsen], surprise the audience with an astonishing hand balancing adagio  Together they defy time and gravity with physical feats of strength, flexibility and control  This real life couple, married for over 48 years, is a testament to the enduring, everlasting nature of true love "
Birgit and Fleming were sitting in the audience and brought on stage as "guests," when in reality they were cast members and would break into acrobatics 

The Show: 2005 - 2015
There were various changes throughout 2005, from acts to costumes  The Body2Body artists left the show and the act was replaced by Hand-to-Hand  Spymonkey also left and the "Sexperts," Dick and Izzy, replaced them for the remainder of Zumanity's run  While Pom Poms stayed in the show through 2014 (and would feature Dick, Izzy, and the Boteros), all of the other clown acts were new  Pacemakers and Extravaganza would also be changed around 2006, when Extravaganza was moved to the end of the show and Pacemakers left permanently 

Dick and Izzy: "Zumanity’s resident sex therapists, Dick [Nicky Dewhurst] and Izzy [Shannan Calcutt] aim to please with their sexy and silly methods engaging the audience in a hilarious round of not-so-innocent repartee  The sexual tension runs high as Dick, a French sex merchant, peddles his wares, while Izzy, his wife!, searches the audience night after night for a boyfriend "Animation: Instead of the Puritans, Dick and Izzy come out dressed in 1950s-esque prom outfits  Both hit on various members of the audience and try to swing with the couples  They make sexual innuendos with bananas and fence with dildos 
Scotch Baggies!: Izzy pitches her new business - little plastic sandwich baggies that she fills with scotch (in reality, tea) to use instead of breast implants  She removes her top and has one of the male members from the audience hold the baggies to her breasts as she tapes them to herself  "You are not going to see this at the Celine Dion show "
Knives (possibly called Sex Toys): Volunteers from the audience is strapped to a board and blindfolded while tricked into thinking knives are being thrown at them 
Vegas Hook-Up (also referred to as Express Dating): Audience members are once again brought on stage  Dick and Izzy explain that it's better to forget all of the normal wooing on a first date and go straight for the bedroom  They teach the audience members how to turn each other on  Then, they make them get onto a bed and ride each other as they sink into the stage and silly string shoots up Hand-2-Hand
"In an aggressive but intimate hand-balancing duet, [Joanie Leroux-Côté] and [Nicolas Alain Michel Besnard] entwine in a powerful act with breathtaking acrobatic-inspired manoeuvres  Their flawless movements thrust the two kindred spirits into a provocative tale of lust "I Like It
Back-up act where Joey Arias would sing another jazz song 
"Oh, What a Feelin" may have also been sung more than during Joey's final performance Mistress of Sensuality, Edie
"Part showgirl, part cabaret queen, Mistress of Sensuality Edie [Christopher Kenney] plays hostess to your every fantasy  As the sun sets and desires come alive, Edie uses her signature blend of sass and sensuality to guide the audience through the erotic escapades that make up the world of Zumanity "
Joey Arias left the show at the end of 2007, and Edie became Zumanity's main emcee for the rest of the run Roue Cyr (Cyr Wheel)
"Jonas [Woolverton] is brought to the stage on his knees   A slave to love and forced to perform for his Mistress, he spins and turns inside his wheel while she cracks her whip  He is eager to please, even donning a blindfold for some of his tricks  One can only hope the pleasure is worth the pain he receives   "Handbalancing
"Dima ["Shine" Bulkin] is alone, going in circles around his pole  He has just about given up on love when he meets a lovely contortionist who seems to fit into his world  She brings him back to earth in this beautiful act "Chains
"Brandon [Pereyda] brings fantasies to life  He flies and defies gravity on his chains  Dreams take flight as he soars through the air, performing daring feats of aerial athleticism choreography and strength "
Though this act is associated with the refresh in 2015, Zumanity's 2012 b-roll shows this act being used  It was most likely a back-up or rotational act until it was made a main act in 2015 

The Refresh: 2015 - 2020
On January 20, 2015, a refresh of the show was introduced to the public in which roughly 30% of the show was changed from its original concept  Certain acts, including Hoops, Dance on TV, Pom Poms and  Tissus (in its original form) were retired  Entirely new acts included chains, Aerial Dream, and Perfect Jam  Tissus was changed into a solo act and the Rose Boy evolved into Magnum, mostly the same routine but the dancer became a secret agent  Yanis Marshall choreographed new dance segments throughout the show, and there are multiple acts in which men dance in high heels (including Wind, Perfect Jam and for a short amount of time, the 2Men act)  The show also features new and updated music, costumes, comedic acts, characters and artists 

Come Together
"All at once, a storm sweeps over the stage as three characters, Spirits of the Wind [Marie Ndutiye, Tiffany de Alba, Arnaud Boursain], summon passion, desire and lust in a fevered dance  With smouldering intensity, their hypnotic dance stirs the soul, arouses the imagination and prepares the senses for an uninhibited transformation "Magnum
"Look out, ladies, 'cuz here comes Magnum  He's an undercover agent, and it's no secret he's on a mission  Who's gonna share that special bond? Is it you? Catch him if you can "
"Magnum [Willie Hulett], our very special secret agent, peels away his tough exterior in a sensual mission for the ladies  He tantalizes and teases the audience by revealing his chiseled body bit by bit before showing off his secret weapon "Perfect Jam
"Let me entice you to unlock and unleash your inner diva "
"Gorgeous, and powerful, the dancers [Tiffany de Alba, Anouck Margueritte, Briana McKee, Marie Ndutiye, Kaitlyn Reese Davin, Leah Sykes-Hodgson, Monteece Taylor, Arnaud Boursain, Pepe Muñoz Martinez] invade the space to express and celebrate their female and male energy and unleash their inner diva  Turning up the heat, they ignite the stage performing a sultry and dynamic dance that will entice the imagination "Aerial Dream (also called M&M)
"Is there someone in your life that you lust for, long for, but the only safe place to rendezvous is in your dreams? You fall asleep and hope he's there again tonight  The best part? Nobody needs to know, not even the person right next to you, shhh   "
"One woman and one man [Marina Tomanova and Michael McNamara]  One bed  One airborne fantasy  She dreams about him, the intense secret object of her desires  They will meet and experience a magnificent, sensual and passionate performance  Dream or reality?"2Men
"2 men in a cage [Arnaud Boursain, Pepe Muñoz Martinez]  Through their fierce choreography, a passionate story of impossible love and anger unfolds  Again and again, they attract and repel in intense conflict until the magnetic energy between them becomes more than they can bear "As previously stated, the big thing that changed about this act was that the men danced in bright red heels and in an entirely new form of dance 
This was eventually changed into a wushu (sport) act with ninjas [Philip Sahagun and Wes Scarpias] Tissus 2 0
"Though he desperately tries to catch her attention, Alan [Jones Silva] remains unnoticed by Mariko [Muranaka], the musical muse whose beauty propels him to soar to new heights  Finally, the once-unattainable object of his affection is within arms’ reach, and their two worlds come together at the finale of this mesmerizing aerial dance "Body2Body 2 0
Used as a back-up for hand-2-hand, Stéphan Choinière returned to the show in 2017 and performed a new version of Body2Body with Tsvetelina Tabakova Solo Strap
A solo strap back-up act that was performed by Tsvetelina Tabakova from 2019 onwards Light
A comedic act with Dick and Izzy as they rave on the stage with one of the audience members Trapeze
Halfway around the world, his loved one is away  It's raining, and descending in his thoughts are the warmth of her love, the softness of her lips, the caress of her touch    It’s late, he’s restless and alone again tonight, and not knowing when they’ll be together again sends his emotions flying "
Arthur Morel van Hyfte's act in 2017  This used the bed and music from Aerial Dream and replaced the act for awhile 

Emcees
Main emcees
Mistress of Seduction, Joey Arias: August 14, 2003 to December 31, 2007
Raven O: August 14, 2003 to December 31, 2006
Mistress of Sensuality, Edie [Christopher Kenney]: Jan 1, 2008 to March 14, 2020Understudy emcees
Queen of Québec, Vanessa Convery: back-up for an unknown time, but she was in the show from August 14, 2003 to January 3, 2014
Señorita Extravaganza, Antonio Drija: back-up for an unknown time, but he was in the show from August 14, 2003 to January 3, 2014
AXLE Beaurouge [Brandon Pereyda]: May 1, 2017 to March 14, 2020
Pepe Muñoz Martinez: roughly 2014 to 2016
Pulga, Alan Jones Silva: July 18, 2016 to March 14, 2020Guest emcee
NeNe Leakes: June 27, 2014 to July 01, 2014

Characters
Mistress of Seduction/Mitzi la Bouche/Mitzi la Gaine/Mistress of Ceremonies - Joey Arias
Mistress of Sensuality, Edie - Christopher Kenney
Pulga - Alan Jones Silva as emcee
AXLE Beaurouge - Brandon Pereyda as emcee
Queen of Québec - Vanessa Convery as emcee
Señorita Extravaganza - Antonio Drija as emcee
Wind/La Muerte - Marcela de la Vega Luna
Dick and Izzy/The Sexperts - Nicky Dewhurst and Shannan Calcutt
Afrique/African Queen - Wassa Coulibaly
Ginger - Shereen Hickman as clown understudy to Izzy
Jane - clown understudy to Izzy
Jessica - Laetitia Dewhurst as clown understudy to Izzy
Rose Boy - Alex Castro
Spider Shadow - Dima "Shine" Bulkin
Magnum - Willie Hulett
Blue Robotica - Mariko Muranaka
Biker - Brandon Pereyda
Fauna - Jesus Villa
Athon and Arno Extravaganza/The Gods of Love and War - Patrick King (Athon) and Johan King-Silverhult (Arno)
Molinier (see Pierre Molinier) - Jonel Earl
Botero Sisters - Licemar and Luciene Medeiros
Casanova/Gigolo/El Siete - Antonio Drija
Miss Salsa - Agnès Roux
Mec Branché - Ugo Mazin
Mademoiselle Loup/Blue Blade - Laurence Jardin
Dominatrix - Jonel Earl
Ballerine - Sophie Ayache
Comet - Stéphan Choinière (originally called Ultraman during creation, after the Japanese super hero)
Romantique/Vixen Vanessa/Diamond Girl - Vanessa Convery
Scottish Fantasy - Alex Stabler
Tissu Star - Olga Vershinina
Airman - Nicolas Alain Michel Besnard
Androgynous Cape - "Almukatab" Jacobo Espina
Carol/La Catin - Elena Gatilova
Valentino
Bunny Girl
Lothario - Moukhtar Gusengadzhiev
Roadrunner - Jerónimo Garcia-Cabral Medina
Illusia and Illaria
Queen of Barbare - seems to be Jila Alaghamandan

Music
The studio album for Zumanity was released on March 22, 2005, under Cirque du Soleil's music label  This is an "inspired by" album containing music that was not actually used in the show and was very loosely based on the live music  This is similar to the songs If I Could Reach Your Heart, We've Been Waiting So Long, and Reach for Me Now on the KÀ album  The CD does not feature Zumanity's musicians, although it does contain the voice of Joey Arias and that of Anna Liani, who worked with Zumanity's composer, Simon Carpentier, on the show's music and wrote the lyrics to Mio Bello, Bello Amore
Context 3: Passage 1:
Anacardiaceae
The Anacardiaceae, commonly known as the cashew family or sumac family, are a family of flowering plants, including about 83 genera with about 860 known species  Members of the Anacardiaceae bear fruits that are drupes and in some cases produce urushiol, an irritant  The Anacardiaceae include numerous genera, several of which are economically important, notably cashew (in the type genus Anacardium), mango, Chinese lacquer tree,  yellow mombin, Peruvian pepper, poison ivy, poison oak, sumac, smoke tree, marula and cuachalalate   The genus Pistacia (which includes the pistachio and mastic tree) is now included, but was previously placed in its own family, the Pistaciaceae 

Description
Trees or shrubs, each has inconspicuous flowers and resinous or milky sap that may be highly poisonous, as in black poisonwood and sometimes foul-smelling Resin canals located in the inner fibrous bark of the fibrovascular system found in the plant's stems, roots, and leaves are characteristic of all members of this family; resin canals located in the pith are characteristic of many of the cashew family species and several species have them located in the primary cortex or the regular bark   Tannin sacs are also widespread among the family The wood of the Anacardiaceae has the frequent occurrence of simple small holes in the vessels, occasionally in some species side by side with scalariform holes (in Campnosperma, Micronychia, and Heeria argentea (Anaphrenium argenteum)   The simple pits are located along the vessel wall and in contact with the parenchyma Leaves are deciduous or evergreen, usually alternate (rarely opposite), estipulate (without stipule) and imparipinnate (rarely paripinnate or bipinnate), usually with opposite leaflets (rarely alternate), while others are trifoliolate or simple or unifoliolate (very rarely simple leaves are palmate)  Leaf architecture is very diverse  Primary venation is pinnate (rarely palmate)  Secondary venation is eucamptodromous, brochidodromous, craspedodromous or cladodromous (rarely reticulodromous) Cladodromous venation, if present is considered diagnostic for Anacardiaceae Flowers grow at the end of a branch or stem or at an angle from where the leaf joins the stem and have bracts 
Often with this family, bisexual and male flowers occur on some plants, and bisexual and female flowers are on others, or flowers have both stamens and pistils (perfect)   A calyx with three to seven cleft sepals and the same number of petals, occasionally no petals, overlap each other in the bud   Stamens are twice as many or equal to the number of petals, inserted at the base of the fleshy ring or cup-shaped disk, and inserted below the pistil(s) 
Stamen stalks are separate, and anthers are able to move 
Flowers have the ovary free, but the petals and stamen are borne on the calyx 
In the stamenate flowers, ovaries are single-celled   In the pistillate flowers, ovaries are single or sometimes quadri- or quinticelled   One to three styles and one ovule occur in each cavity Fruits rarely open at maturity
and are most often drupes Seed coats are very thin or are crust-like  Little or no endosperm is present    Cotyledons are fleshy 
Seeds are solitary with no albumen around the embryo 

Taxonomy
History
In 1759, Bernard de Jussieu arranged the plants in the royal garden of the Trianon at Versailles, according to his own scheme  That classification included a description of an order called the Terebintaceæ, which contained a suborder that included Cassuvium (Anacardium), Anacardium (Semecarpus), Mangifera, Connarus, Rhus, and Rourea   In 1789, Antoine Laurent de Jussieu, nephew of Bernard de Jussieu, published that classification scheme Robert Brown described a subset of the Terebintaceae called Cassuvlæ or Anacardeæ in 1818, using the herbarium that was collected by Christen Smith during a fated expedition headed by James Hingston Tuckey to explore the River Congo   The name and genera were based on the order with the same name that had been described by de Jussieu in 1759   The herbarium from that expedition contained only one genus from the family, Rhus Augustin Pyramus de Candolle in 1824, used Robert Brown's name Cassuvlæ or Anacardeæ, wrote another description of the group, and filled it with the genera Anacardium, Semecarpus, Holigarna, Mangifera, Buchanania, Pistacia, Astronium, Comocladia, and Picramnia John Lindley described the "essential character" of the Anacardiaceæ, the "Cashew Tribe" in 1831, adopting the order that was described by de Jussieu, but abandoning the name Terebintaceæ   He includes the genera that were found in de Candolle's Anacardieæ and Sumachineæ: Anacardium, Holigarna, Mangifera, Rhus, and Mauria 

Phylogeny
The genus Pistacia has sometimes been separated into its own family, the Pistaciaceae, based on the reduced flower structure, differences in pollen, and the feathery style of the flowers The nature of its ovary, though,  does suggest it belongs in the Anacardiaceae, a position supported by morphological and molecular studies, and recent classifications have included Pistacia in the Anacardiaceae  The genus Abrahamia was separated from Protorhus in 2004 (Pell 2004)

Subdivision
The family has been treated as a series of five tribes by Engler, and later into subfamilies by Takhtajan, as Anacardioideae (including tribes Anacardieae, Dobineae, Rhoideae, and Semecarpeae) and Spondiadoideae (including tribe Spondiadeae)  Pell's (2008) molecular analysis reinstated the two subfamilies without further division into tribes (Pell 2004)  Later, Min and Barfod, in the Flora of China (2008) reinstated the five tribes (four in Anacardioideae), and the single tribe Spondiadeae as Spondiadoideae 

Selected genera
Ecology
The cashew family is more abundant in warm or tropical regions with only a few species living in the temperate zones  Mostly native to tropical Americas, Africa and India   Pistacia and some species of Rhus can be found in southern Europe,  Rhus species can be found in much of North America and Schinus inhabits South America exclusively 

Uses
Members of this family produce cashew and pistachio nuts, and mango and marula fruits Some members produce a viscous or adhesive fluid which turns black and is used as a varnish or for tanning and even as a mordant for red dyes  The sap of Toxicodendron vernicifluum is used to make lacquer for lacquerware and similar products 

Etymology
The name Anacardium, originally from the Greek, refers to the nut, core or heart of the fruit, which is outwardly located: ana means "upward" and -cardium means "heart") 
Passage 2:
Commiphora gileadensis
Commiphora gileadensis, the Arabian balsam tree, is a shrub species in the genus Commiphora growing in Saudi Arabia, Yemen, southern Oman, Sudan and in southeast Egypt where it may have been introduced  Other common names for the plant include balm of Gilead and Mecca myrrh, but this is due to historical confusion between several plants and the historically important expensive perfumes and drugs obtained from them 

True balm of Gilead was very rare, and appears to have been produced from the unrelated tree Pistacia lentiscus  The Commiphora gileadensis species also used to include Commiphora foliacea, however it was identified and described as a separate species

Use
Historical
The plant was renowned for the expensive perfume that was thought to be produced from it, as well as for exceptional medicinal properties that were attributed to its sap, wood, bark, and seeds  Commiphora gileadensis is instantly recognisable by the pleasant smell given out when a twig is broken or a leaf crushed 

Modern
The bark of the balsam tree is cut to cause the sap to flow out  This soon hardens, and has a sweet smell that quickly evaporates  The hardened resinous gum is chewed, is said to taste either like a lemon or like pine resin, and it is also burned as incense 

Description
Depending on where Commiphora gileadensis is growing, it can vary in size, ranging from a small-leaved shrub to a large-leaved tree usually up to 4m tall   It is rarely spiny, bark peeling or flaking when cut and exuding a pleasant smelling resin  Its leaves alternate on short condensed side shoots, pinnate with 3-5 leaflets   The leaflets are oblong, 5-40mm long x 3-35mm across with acute tips and are thinly hairy   The flowers are red, sub-sessile and the plant has 1-5 of them on short condensed side shoots amongst the leaves  The fruits are dull red and marked with four longitudinal white stripes, one-seeded and splitting into 2-4 valves 
Passage 3:
Pistacia
Pistacia is a genus of flowering plants in the cashew family, Anacardiaceae  It contains 10 to 20 species that are native to Africa and Eurasia from the Canary Islands, all of Africa, and southern Europe, warm and semidesert areas across Asia, and North America from Mexico to warm and semidesert United States, such as Texas or California 

Description
Pistacia plants are shrubs and small trees growing to 5–15 m (16–49 ft) tall  The leaves are alternate, pinnately compound, and can be either evergreen or deciduous depending on species  All species are dioecious, but monoecious individuals of Pistacia atlantica have been noted  The genus is estimated to be about 80 million years old It is a genus of flowering plants belonging to the family Anacardiaceae  The plants are dioecious, and have male and female trees independently; a viable population should have both sexes Well-known species in the genus Pistacia include P  vera, the pistachio, grown for its edible seeds; P  terebinthus, from which terebinth resin, a turpentine, is produced; P  lentiscus, source of the plant resin mastic; and P  chinensis, the Chinese pistache, cultivated as an ornamental tree 

P  vera genome
Scientists from Iran and China assembled a draft genome of pistachio and resequenced 107 whole genomes, including 93 domestic and 14 wild individuals of P  vera and 35 other genomes from different wild Pistacia species  Integrating genomic and transcriptomic analyses revealed expanded gene families (e g , cytochrome P450 and chitinase) and the jasmonic acid (JA) biosynthetic pathway that are likely involved in stress adaptation  Comparative population genomic analyses revealed that pistachio was domesticated about 8000 years ago, and that likely key genes for domestication are those involved in tree and seed size, which experienced artificial selection 

Species
Bursera simaruba (L ) Sarg  was formerly classified as P  simaruba L 

Ecology
The Pistacia species are vicarious Anacardiaceae with few species outside the Old World, and are mostly more adapted to water shortage and alkaline soil Many plant species are adapted to desert or summer drought typical of Mediterranean climate, so have a high tolerance to saline soil  They grow well in water containing up to 3 0 to 4 0% of soluble salts  They are quite resilient in their ecological requirements, and can survive in temperatures ranging from −10 °C in winter to 45 °C in summer  They prefer places oriented toward the sun and well-drained soil, but grow well in the bottom of ravines  Though very hardy and drought resistant, Pistacia species grow slowly and only begin to bear fruit after about 7-10 years from planting, obtaining full development only after 15-20 years  The fruit ripens in the Mediterranean from August; only female trees have fruit Although some species prefer moderate humidity, they do not grow well in high-humidity conditions  They are susceptible to root rot, molds, and fungi, and parasites attack if they receive too much water and the soil has insufficient drainage  They require a period of drought each year for proper development 
Their leaves are intensely bright green and leathery, with three to nine leaflets  The leaves are alternate, compound, and paripinnate 
The flowers are unisexual, apetalous, and grouped in clusters  The flowers range from purple to green  The fruit is a drupe, generally unpalatable to humans, the size of a pea, and red to brown in color, depending on the degree of maturation  The seeds do not have endosperm 
The seeds are eaten and dispersed by birds, for which they are a valuable resource because of the scarcity of food in some important times of year, as the time of breeding, migration, or the dry season  The commercial species of pistachio has larger fruits and is edible The plants emit a bitter, resinous, or medicative smell, which in some species is very intense and aromatic  Some species develop "galls" that occur in the leaves and leaflets after the bite of insects  Although marred by the presence of galls, they are very vigorous and resistant plants that survive in degraded areas where other species have been eliminated  They multiply by seeds, stolons, and root shoots  Various species hybridize easily between them, and hybrid plants are difficult to identify Some tree species (e g  Pistacia aethiopica, Pistacia atlantica) can exist as small bushes and shrubs due to the extremes of their habitat, adverse conditions, or the excessive consumption by wildlife or livestock that hinders growth Pistacia lentiscus is a very common plant related to P  terebinthus with which it hybridizes  P  terebinthus is more abundant in the mountains and inland in the Iberian Peninsula, and mastic is usually found more frequently in areas where the Mediterranean influence of the sea prevents or moderates frost  Some species with very small ranges cover only one or a group of islands in the Mediterranean  P  terebinthus is also found on the east coast of the Mediterranean, Syria, Lebanon, and Israel, filling the same ecological niche of these species  On the west coast of the Mediterranean, the Canary Islands, and the Middle East, it can be confused with Pistacia atlantica Pistacia species are used as food plants by the larvae (caterpillars) of some species of Lepidoptera including the emperor moth 

Cultivation and uses
Best known as the pistachio, P  vera is a small tree native to Iran, grown for its edible seeds  The seeds of the other species were also eaten in prehistory, but are too small to have commercial value today   Records of Pistacia from preclassical archaeological sites, and mentions in preclassical texts, always refer to one of these other species (often P  terebinthus) P  terebinthus (the terebinth), also a native of Iran, and the western Mediterranean countries, is tapped for turpentine  It is also common in the eastern Mediterranean countries   Because terebinths have the ability to kill certain bacteria, terebinth resin was widely used as a preservative in ancient wine   In the Zagros Mountains of Iran, in one of the earliest examples of winemaking, archaeologists discovered terebinth resin deposits from 5400 to 5000 BC in jars that also contained grape-juice residue P  lentiscus, an evergreen shrub or small tree of the Mediterranean region, supplies a resin called mastic P  chinensis (Chinese pistache), the most frost-tolerant species in the genus, is grown as an ornamental tree, valued for its bright red autumn leaf colour 
Passage 4:
Akbesia
Akbesia is a monotypic moth genus in the family Sphingidae erected by Walter Rothschild and Karl Jordan in 1903  Its only species, Akbesia davidi, the pistacia hawkmoth, was first described by Charles Oberthür in 1884  It is known from southern Turkey, northern Syria, northern Israel, western Jordan, south-eastern Turkey, north-eastern Iraq, south-eastern Georgia, northern Iran, eastern Afghanistan and Iranian Beluchistan  It may also occur across Azerbaijan, the Alborz Mountains of northern Iran, the Zagros Mountains of western and southern Iran, and northern Afghanistan  It often occurs in large numbers at certain sites in rocky, hilly areas supporting scattered trees and shrubs of Quercus, Olea, Ceratonia and Pistacia 
The wingspan is 60–70 mm  Although the adults do not feed, they will drink water if offered  There are two generations per year in Iran with adults on wing in April and from late July to August  In northern Iraq, adults are on from May to June and in August 
The larvae have been recorded feeding on Pistacia atlantica and terebinth (Pistacia terebinthus)  Larvae have also been reared on Cotinus coggygria and Rhus coriaria 

Etymology
The genus is named after the town of Akbez (near Hassa) in Turkey 

Subspecies
Akbesia davidi davidi
Akbesia davidi gandhara de Freina & Geck, 2003 (Afghanistan)
Passage 5:
Dracula wallisii
Dracula wallisii is a species of orchid belonging to the genus Dracula  The species is found at altitudes of 1,600 to 2,600 m (5,200 to 8,500 ft) in Cordillera Central, Colombia  It is a common species, with large flowers that are often highly variable in form The species was first discovered near Frontino, Antioquia, Colombia by the German plant collector Gustav Wallis in 1871  It was formally described in 1875 by the German orchidologist Heinrich Gustav Reichenbach who named it after Wallis 
Passage 6:
Terebinth
Pistacia terebinthus also called the terebinth  and the turpentine tree, is a deciduous tree species of the genus Pistacia, native to the Mediterranean region from the western regions of Morocco and Portugal to Greece and western and southeastern Turkey  At one time terebinths growing on the eastern shores of the Mediterranean Sea (in Syria, Lebanon and Israel) were regarded as a separate species, Pistacia palaestina, but these are now considered to be a synonym of P  terebinthus 

Description
The terebinth is a deciduous flowering plant belonging to the cashew family, Anacardiaceae; a small tree or large shrub, it grows to 10 m (33 ft) tall  The leaves are compound, 10–20 cm (3 9–7 9 in) long, odd pinnate with five to eleven opposite glossy oval leaflets, the leaflets 2–6 cm (0 79–2 36 in) long and 1–3 cm (0 39–1 18 in) broad  The flowers are reddish-purple, appearing with the new leaves in early spring  The fruit consists of small, globular drupes 5–7 mm (0 20–0 28 in) long, red to black when ripe  All parts of the plant have a strong resinous smell The terebinth is a dioecious tree, i e  it exists as male and female specimens  For a viable population both sexes must be present  The oblong leaf is bright green, leathery, with 10 cm (3 9 in) long or more with three to nine leaflets  Leaves alternate, leathery and compound paripinnate (no terminal leaflet) with three or six deep green leaflets  They are generally larger and rounder than the leaves of the mastic, reminiscent of the leaves of carob tree  The flowers range from purple to green, the fruit is the size of a pea and turns from red to brown, depending on the degree of maturation  The whole plant emits a strong smell: bitter, resinous, or medicinal  In the vegetative period they develop "galls" shaped like a goat's horn (from which the plant gets the name "cornicabra", the common name in Spanish), that occur on the leaves and leaflets which have been bitten by insects  The species propagates by seeds and shoots  Although marred by the presence of galls, it is a very strong and resistant tree which survives in degraded areas where other species have been eliminated  Pistacia terebinthus is related to Pistacia lentiscus, with which it hybridizes frequently in contact zones  Pistacia terebinthus is more abundant in the mountains and inland and the mastic is usually found more frequently in areas where the Mediterranean influence of the sea moderates the climate  The mastic tree does not reach the size of the Pistacia terebinthus, but the hybrids are very difficult to distinguish  The mastic has winged stalks to its leaflets, i e , the stalks are flattened and with side fins, whereas these stems in Pistacia terebinthus are simple  On the west coast of the Mediterranean, Canary Islands and Middle East, P  terebinthus can be confused with P  atlantica 

Habitat
The terebinth prefers relatively moist areas, up to 600 m (2,000 ft) in elevation  It tolerates Mediterranean summer drought and frost more intense than mastic does  The plant is common in the garrigue and maquis  It appears in deciduous oak wood  It has a gray trunk that is very aromatic, and may have multiple trunks or stems when grown as a shrub  Usually reaching 5 m (16 ft) in height, although in rare cases can reach 10 m (33 ft)  P  terebinthus is one of the European species of Anacardiaceae, a family of about 600 mostly tropical species  It can be found to 1,500 m (4,900 ft) above sea level  P  terebinthus is more moisture demanding than the mastic and more resistant to cold  It requires a sunny exposure and average soils, tolerating lime and some salt, often grows near the sea, deep ravines and near salt-lakes and streams 

History
Historian of Mycenae John Chadwick believes that the terebinth is the plant called ki-ta-no in some of the Linear B tablets  He cites the work of a Spanish scholar, J L  Melena, who had found "an ancient lexicon which showed that kritanos was another name for the turpentine tree, and that the Mycenaean spelling could represent a variant form of this word "The Latin name is underlain by the Ancient Greek name τερέβινθος which, in turn, is underlain by a pre-Greek Pelasgian word, marked by the characteristic consonant complex νθ 
Terebinth from Oricum is referred to in Virgil's Aeneid, Book 10, line 136, where Ascanius in battle is compared to "ivory skilfully inlaid in [   ] Orician terebinth" ("inclusum[   ] Oricia terebintho [   ] ebur") 
Terebinth is referred to by Robin Lane Fox in Alexander the Great: "When a Persian king took the throne, he attended Pasargadae, site of King Cyrus's tomb, and dressed in a rough leather uniform to eat a ritual meal of figs, sour milk and leaves of terebinth "The terebinth is mentioned in the Hebrew Scriptures (or Old Testament), where the Hebrew word elah (plural elot) is used, although the word is sometimes translated as 'oak'  It is clear that the translators are uncertain which translation is correct, [   ], yet the two are very different trees to any but the most superficial observation  (The Hebrew word alon means 'oak', and the words may be related ) 
The word terebinth is found in three successive chapters of Genesis (12:6, 13:18, 14:13, 18:1) in reference to the places where Abram (later Abraham) camped called "Terebinths of Mam're the Amorite"  Here, the traditional rendering in English is "oaks of Mamre "
It is also found in Genesis chapter 35, where Jacob commands his family to remove idols that were taken as booty from the battle in Shechem before travelling to Bethel 
Terebinths are also found in Isaiah in possible reference to idolatry associated with the trees, although in the Septuagint and Vulgate the word is translated 'idols', as the plural of el )

For you will be ashamed of the terebinths that you have taken pleasure in 
The best known clear reference to a terebinth (elah) in the Hebrew Scriptures is that of the Valley of Elah or 'Valley of the Terebinth' (עמק האלה), where David fought Goliath (1 Samuel 17:2, 17:19) 
Later in 2 Samuel 18:9 David's rebellious son Absalom is caught in the terebinth tree and is killed by Joab's men, David's army 
At least a few references occur in Judges: chapter 4 (in reference to Heber, the Kenite, of the children of Hobab), chapter 6 (in reference to an angel of the Lord who came to visit Gideon—most versions use 'oak'), and Ch 9 (in reference to the crowning of Abimelech, by the terebinth of the pillar that was in Shechem—again most versions use 'oak')  This reference of Abimelech's crowning by an oak is actually referring to the Palestine oak, closely related to the Kermes oak (Quercus coccifera)  The Hebrew distinguishes the Palestine oak and the terebinth  It is also mentioned in Hosea 4:13 when Hosea is talking about Israel's spiritual adultery by sacrificing to false gods and how to repent and be forgiven in Hosea 14 

Uses
The word "turpentine" was originally used for the exudate of terebinth trees (P  terebinthus and related species such as P  atlantica), now called Chian, Chios, or Cyprian turpentine, and it was later transferred to the crude turpentine (oleoresin) and the oil of turpentine (essential oil) of conifer trees  The word turpentine derives (via Old French and Latin) from the Greek word τερεβινθίνη (terebinthínē), the feminine form (to go with the feminine Greek word for resin) of an adjective τερεβίνθινος (terebínthinos), derived from the Greek noun τερέβινθος (terébinthos), the name for the terebinth tree  However, the main source of the terebinth turpentine is P  atlantica which produces abundant resin instead of P  terebinthus of which the amount of resin is limited The fruits are used in Cyprus for baking of a specialty village bread  In Crete, where the plant is called tsikoudia, it is used to flavor the local variety of pomace brandy, also called tsikoudia  In the Northern Sporades the shoots are used as a vegetable (called tsitsíravla)  The plant is rich in tannins and resinous substances and was used for its aromatic and medicinal properties in classical Greece  A mild sweet scented gum can be produced from the bark, and galls often found on the plant are used for tanning leather  A triterpene has been extracted from these galls  In Turkey, it is known as menengiç or bıttım  A coffee-like beverage, Kurdish coffee or menengiç kahvesi, is made from the roasted fruit, and a soap is made from the oil  Terebinth resin was used as a wine preservative in the entire ancient Near East, as proven by many findings in areas such as the foot of the Zagros Mountains and Middle Bronze Age Galilee 

Gallery
See also
Pistacia lentiscus
Mastic (plant resin)
Balm of Gilead
Passage 7:
Pistacia aethiopica
Pistacia aethiopica is an African and Arabia coast peninsula species of plant in the family Anacardiaceae  It is a dioecious evergreen shrub or tree of the pistacio genus, growing up to 20 m (66 ft) tall, adapted to the dry environment  It is found in Ethiopia, Kenya, Somalia, Somaliland, Tanzania, Uganda, and Yemen 

Description
It is an evergreen slow-growing tree that emits a  very intense smell: bitter, resinous or similar to medication  The tree reaches 5–15 m tall, and rarely is a shrub, often with multiple stems, the trunk of 0 6 m in diameter, and its bark color is brown-black and fissured  It has glabrous leathery leaves, with a thick cuticle  The leaves are aromatic, 4-16-18 foliolate, and glossy bright green  The leaves have rachis 10 cm long 
The tree is dioecious, with male and female trees producing different sex flowers  Both types of flowers are small and greenish  It grows slowly, becoming 1000 years old 

Ecology
It is found in dry evergreen forest (often with Juniperus and Olea - Euclea) and associated shrubs or wooded grassland, thickets of Buxus, deciduous with Combretum, Acacia and Barkey in soils of limestone, sandstone, or basalt, to an altitude of 900–2550 m  P  aethiopica have many adaptations to aridity, such as an advanced development of palisade tissue and extensive root growth  These adaptive traits allow species to grow in very harsh and dry areas with low rainfall  In the main part of its range in North and East Africa, the species is fairly common because is used for a variety of purposes, including timber, dye, fodder, agriculture and livestock food  An outlying subpopulation in Arabia is restricted to Jebel Iraf on the old North Yemen-South Yemen border  The species is thought to be extinct in Eritrea 
Passage 8:
Pistacia chinensis
Pistacia chinensis, the Chinese pistache (Chinese: 黄連木; pinyin: huángliánmù), is a small to medium-sized tree in the genus Pistacia in the cashew family Anacardiaceae, native to central and western China  This species is planted as a street tree in temperate areas worldwide due to its attractive fruit and autumn foliage 

Description
It is hardy, can withstand harsh conditions and poor quality soils, and grows up to 20 m (66 ft)  The leaves are deciduous, alternate, pinnate, 20–25 cm long, with 10 or 12 leaflets, the terminal leaflet usually absent  The flowers are produced in panicles 15–20 cm (5 9–7 9 in) long at the ends of the branches; it is dioecious, with separate male and female plants The fruit is a small red drupe, turning blue when ripe, containing a single seed 

Taxonomy
Synonyms include: Pistacia formosana Matsumura; P  philippinensis Merrill & Rolfe; Rhus argyi H  Léveillé; R  gummifera H  Léveillé Some botanists merge Pistacia integerrima into this species as the subspecies P  chinensis ssp  integerrima, with the plants considered here then becoming the subspecies P  chinensis ssp  chinensis 

Distribution and habitat
Its native range is on hill and mountain forests on rocky soils at 100–3,600 m (330–11,810 ft) above sea level  It is found in Mainland China (excluding the far north and the far west) and Taiwan 

Ecology
Chinese pistache grows best in full sun, being intolerant of shade; it is the most frost-tolerant species of Pistacia, tolerating temperatures down to about -25 °C, yet it is most highly regarded in warm climates  It is planted for its impressive fall colors, which develop at least as far south as Orlando, Florida  In the low-elevation deserts of Arizona, it is the only tree whose leaves turn scarlet in fall 

Uses
It is a popular choice for street trees in urban settings because it is very drought tolerant and can survive harsh environments  It is also used as an understock for Pistacia vera  In China, the oil from the seeds is used for biodiesel production  The wood is used for production of furniture, and yields a yellow dye It is also used in classical Chinese garden design 

Gallery
Passage 9:
Dracula (plant)
The orchid genus Dracula, abbreviated as Drac in horticultural trade, consists of 118 species native to Mexico, Central America, Colombia, Ecuador and Peru  The name Dracula literally means "little dragon", an allusion to the mythical Count Dracula, a lead character in numerous vampire novels and films  The name was applied to the orchid because of the blood-red color of several of the species, and the strange aspect of the long spurs of the sepals 
The plants were once included in the genus Masdevallia, but became a separate genus in 1978  This genus has been placed in the subtribe Pleurothallidinae 

Description
They are epiphytic and terrestrial species distributed in Central America and the northwest Andes  Almost half the species are found in Ecuador  They prefer shade and rather cool temperatures 
These caespitose orchids grow in tufts from a short rhizome, with a dense pack of stems  They lack pseudobulbs  On each stem grows one large, thin, plicate leaf with a sharply defined midrib  These glabrous, light to dark green  leaves may be spongy, taking over the function of the missing pseudobulb  They are tipped with a mucro (a short tip) 
The flower stalks grow either horizontally from the base of the plant or descend, often for great distances   A few species grow upright flower stalks   The long-tailed terminal flowers are basically triangular  The flowers are borne singly or successively  Three species (sodiroi, decussata/neisseniae, and papillosa) may have up to three simultaneously open flowers on a single stalk  In general, though, if there is more than one flower bud on the raceme, they open up with long intervals  These flowers have a weird aspect, due to the long tails on each sepal  The petals are small and somewhat thickened  Quite commonly, various species of Dracula are known for blooms resembling the faces of primates, a notable example being Dracula simia  However, this likeness to monkeys’ faces seems to be purely a natural coincidence to the primates living in the same forests  In fact, these flowers are pollinated by the common fungus gnat; the bloom’s lip is often quite large (for a Pleurothallid), and from the fungus gnat’s perspective, resembles an irresistible mushroom or fungus  Research by biologists at the University of Oregon indicates that D  lafleurii also possesses a uniquely volatile chemistry, similar to localized species of mushrooms  This mimicry attracts mushroom-associated flies which play a role in pollination  The basal part of the lip (hypochile) is cleft  The terminal part (epichile) is rounded and concave  The margins of the perianth are often fringed  There is a well-developed column with two pollinia 

Taxonomy
The species of Dracula have tentatively been divided into three subgenera, with sections and subsections within one of the subgenera 

Subgenus Dracula : This subgenus contains all the species of the genus except two exceptional species (D  sodiroi and D  xenos)
Section Andreettaea : Monotypic: Dracula andreettae
Section Chestertonia : two species: Dracula chestertonii, D  cutis-bufonis
Section Cochliopsia : Monotypic: Dracula cochliops
Section Dodsonia : Four species: Dracula dodsonii, D  insolita, D  iricolor, D  portillae
Section Dracula : largest section
Subsection Costatae : e g  Dracula bella, D  vespertilio
Subsection Dracula :
Series Dracula : e g  Dracula chimaera, D  tubeana, D  vampira
Series Grandiflorae-Parvilabiatae : e g  Dracula gigas, D  platycrater
Series Parviflorae : e g  Dracula houtteana, D  lotax
Subgenus Sodiroa : Two Dracula sodiroi, D  erythrocodon
Subgenus Xenosia : Monotypic : Dracula xenosDracula adrianae (Colombia)
Dracula alcithoe (SW  Colombia to NE  Ecuador)
Dracula amaliae (W  Colombia)
Dracula andreettae (W  Colombia to NE  Ecuador)
Dracula anthracina (NW  Colombia)
Dracula antonii (Colombia)
Dracula aphrodes (W  Colombia)
Dracula astuta (Costa Rica)
Dracula barrowii (Peru)
Dracula bella (WC  Colombia)
Dracula bellerophon (W  Colombia)
Dracula benedictii (WC  Colombia)
Dracula berthae (Colombia)
Dracula brangeri (C  Colombia)
Dracula callithrix  (Colombia)
Dracula carcinopsis (W  Colombia)
Dracula carlueri (Costa Rica)
Dracula chestertonii (W  Colombia)
Dracula chimaera (W  Colombia)
Dracula chiroptera (SW  Colombia to NE  Ecuador)
Dracula christineana (Ecuador)
Dracula circe (Colombia)
Dracula citrina (Colombia)
Dracula cochliops (SW  Colombia)
Dracula cordobae (SW  Ecuador)
Dracula cutis-bufonis (NW  Colombia)
Dracula dalessandroi (SE  Ecuador)
Dracula dalstroemii (NW  Ecuador)
Dracula decussata (Colombia)
Dracula deltoidea (SE  Ecuador)
Dracula deniseana (Peru)
Dracula diabola (Colombia)
Dracula diana (W  Colombia)
Dracula dodsonii (Colombia to NC  Ecuador)
Dracula erythrochaete (Costa Rica to W  Panama)
Dracula erythrocodon (Ecuador)
Dracula exasperata ( SW  Colombia)
Dracula fafnir (SE  Ecuador)
Dracula felix (SW  Colombia to NW  Ecuador)
Dracula fuligifera (C  Ecuador)
Dracula gastrophora (Ecuador)
Dracula gigas (W  Colombia to NW  Ecuador)
Dracula gorgona (W  Colombia)
Dracula gorgonella (Colombia)
Dracula hawleyi (NW  Ecuador)
Dracula hirsuta (SE  Ecuador)
Dracula hirtzii (SW  Colombia to NW  Ecuador)
Dracula houtteana (Colombia)
Dracula immunda (Panama)
Dracula inaequalis (W  Colombia)
Dracula incognita (Colombia)
Dracula inexperata (Costa Rica)
Dracula insolita (W  Colombia)
Dracula janetiae (C  Peru)
Dracula kareniae (Ecuador)
Dracula lafleurii (NW  Ecuador)
Dracula lehmanniana (SW  Colombia)
Dracula lemurella (Colombia)
Dracula leonum (Peru)
Dracula levii (SW  Colombia to NW  Ecuador)
Dracula ligiae (Colombia)
Dracula lindstroemii (NW  Ecuador)
Dracula lotax (Ecuador)
Dracula mantissa (SW  Colombia to NW  Ecuador)
Dracula marsupialis (NW  Ecuador)
Dracula mendozae Luer & V N M Rao (Ecuador)
Dracula minax (Colombia)
Dracula mopsus (Ecuador)
Dracula morleyi (NW  Ecuador)
Dracula navarrorum (Ecuador)
Dracula nigritella (Ecuador)
Dracula nosferatu (Colombia)
Dracula nycterina (Colombia)
Dracula octavioi (SW  Colombia)
Dracula olmosii (Panama)
Dracula ophioceps (SW  Colombia)
Dracula orientalis (NE  Colombia)
Dracula ortiziana (W  Colombia)
Dracula papillosa (NW  Ecuador)
Dracula pholeodytes (NE  Colombia)
Dracula pileus (W  Colombia)
Dracula platycrater (Colombia)
Dracula polyphemus (NW  Ecuador)
Dracula portillae (SE  Ecuador)
Dracula posadarum (Colombia)
Dracula presbys (Colombia)
Dracula psittacina (Colombia)
Dracula psyche (NW  Ecuador)
Dracula pubescens (Ecuador)
Dracula pusilla (SE  Mexico to C  America)
Dracula radiella (NW  Ecuador)
Dracula radiosa (E  Colombia to NW  Ecuador)
Dracula rezekiana (Ecuador)
Dracula ripleyana (Costa Rica)
Dracula robledorum (Colombia)
Dracula rojasii (Colombia)
Dracula roezlii (W  Colombia)
Dracula saulii (Peru)
Dracula schudelii (Ecuador)
Dracula senex-furens(Colombia)
Dracula sergioi (Colombia)
Dracula severa (NW  Colombia)
Dracula sibundoyensis (SW  Colombia to NW  Ecuador)
Dracula sijmii (Ecuador)
Dracula simia (SE  Ecuador)
Dracula sodiroi (Ecuador)
Dracula syndactyla (SW  Colombia)
Dracula terborchii (Ecuador)
Dracula trichroma (W  Colombia to NW  Ecuador)
Dracula trinympharum (NW  Ecuador)
Dracula tsubotae (Colombia)
Dracula tubeana (Ecuador)
Dracula ubangina (Ecuador)
Dracula vampira (Ecuador)
Dracula veliziana (Colombia)
Dracula velutina (NW  Colombia)
Dracula venefica (W  Colombia)
Dracula venosa (W  Colombia to NW  Ecuador)
Dracula verticulosa (W  Colombia)
Dracula vespertilio (Nicaragua to NW  Ecuador)
Dracula villegasii (Colombia)
Dracula vinacea (NE  Colombia)
Dracula vlad-tepes (NE  Colombia)
Dracula wallisii (W  Colombia)
Dracula woolwardiae (Ecuador)
Dracula xenos (Colombia)

Hybrids
Dracula × anicula (D  cutis-bufonis × D  wallisii) (Colombia) 
Dracula × radiosyndactyla (D  radiosa × D  syndactyla) (SW  Colombia) 

Footnote
Passage 10:
Pistacia khinjuk
Pistacia khinjuk is a species of plant in the family Anacardiaceae native to Egypt, western Asia and parts of the Himalayas  The tree grows up to 10 metres  The epithet comes from the name for the plant in Balochistan, khinjuk (خنجک) 



ground_truth: the Qin dynasty

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Le Rêve was created by the director behind what Cirque du Soleil production from 1998 onward?

The following are given passages.
Context 2:  She also sings Mio Bello, Bello Amore on Cirque's Midnight Sun DVD  The music on the album is mainly a collaboration between Simon Carpentier, Robbi Finkel, and Robbie Dillon 
A promotional album entitled Foreplay was included with the original program  It was released on July 31, 2003, and contains select work-in-progress songs from the show's creation period  The program was last sold around 2005, and this album is now considered a collector's item  Four other work-in-progress songs were released on Zumanity's website in 2003, all completely different from anything used in the show, although one of them was quite clearly an early version of Wind 

Names for live music:

Zumanity Tango (2Men, 2003-2020)
Sex Is Beautiful (Body2Body, 2003-2005; Body2Body 2 0, 2017-2020; Hand-2-Hand, 2005-2020)
Love Myself (possible name for Straps, 2003-2020)
Girl Attitude (Cyr Wheel, ?-2018)
Libera me (Hoops, 2003-2015; Aerial Dream, 2015-2020; Trapeze, 2017)
The tune to this song was changed from 2015 onwards 
I Like It (Rotational act sung by Joey Arias and possibly Raven O, 2005(?)-2007)
What a Feelin’ (Act sung by Joey Arias during her final performance on December 31, 2007)
The Rose Boy (Rose Boy, 2003-2015; Magnum, 2015-2020)
My Erotic Lounge (Scotch Baggies!, 2005-2020)
Major-Minor (Welcome, 2003-2007)
Wind (Wind, 2003-2015; Come Together, 2015-2020)
Mio Bello, Bello Amore (Pacemakers, 2003-2006(?); Handbalancing, 2010-2018; Solo Strap, 2019-2020)
Disco Alan (Tissus 2 0, 2015-2020)
The opening of this song contains an instrumental medley of Wind and Mio Bello, Bello Amore 
Into Me (Chains, 2012(?)-2020)
Water Bowl (Water Bowl, 2003-2020)
Perfect Jam (Perfect Jam, 2015-2020)
First Taste (Water Bowl opening, 2003-2020)

Vocalists
Emcee
See the Emcee section above for a list of the hosts of the show  The emcee sang Major-Minor for Welcome, Midnight Bath, Sex Is Beautiful, the Rose Boy, and I Like It from August 14, 2003 to December 31, 2007  From 2008 onwards, the emcee only sang during the Rose Boy and Sex Is Beautiful  The songs sung by the emcee are mainly in the jazz/cabaret genre Hip Hop Singer
Kinnie Starr: August 14, 2003 to September 2003
Little is known about this period in Zumanity's history, but Kinnie may have sung some of the rock singer's songs for acts like Dance on TV and Water Bowl R&B/Soul Singer
Lonnie Gordon: August 13, 2003 to December 31, 2006
Debbie "Divine" Davis: January 2007 to December 31, 2007
Paris Red: January 1, 2008 to March 14, 2020
Cassiopée: August 2017 to December 2017
Cassiopée also sang as a back-up for both the R&B and rock roles, depending on which one was needed, during 2016 to 2020 Rock Singer
Corinne Zarzour: October 3, 2003 to January 2004; September 2004 to March 14, 2020
Nathalie Noël: January 2004 to September 2004
Laur Fugère: 2004; 2006Backing Singer
Geneviève Dubé: August 14, 2003 to March 14, 2020
Melle Vasquez: August 14, 2003 to March 14, 2020
Anne Charbonneau: August 14, 2003 to December 2008

Original Musicians
Anne Charbonneau (bandleader/accordion/keyboards/keyboard programming) - August 14, 2003 to December 2008
Jean-François "Djeff" Houle (assistant bandleader/bass/programming/laptop fx) - August 14, 2003 to 2006(?)
Jean-François Blais (clarinet/flute/soprano and tenor saxophone/percussion) - August 14, 2003 to March 14, 2020
Jean-François Thibeault (trombone/percussion) - August 14, 2003 to June 2009
Larry Aberman (drums/percussion/programming) - August 14, 2003 to October 31, 2019
Melle Vasquez (guitar/percussion/banjo) - August 14, 2003 to March 14, 2020
Geneviève Dubé (vibraphone/violin) - August 14, 2003 to March 14, 2020
Eliot Douglass (piano) - August 14, 2003 to October 31, 2019
Lonnie Gordon (percussion) - August 14, 2003 to December 31, 2006
Sébastien Jean (flügelhorn/trumpet) - August 14, 2003 to October 31, 2019
Passage 4:
Mystère (Cirque du Soleil)
Mystère (French: [mis tɛʁ], mee-STAIR, "mystery") is one of six resident Cirque du Soleil shows in Las Vegas, Nevada  Held in a custom theatre at the Treasure Island Hotel and Casino, the show was first performed on 25 December 1993, making it the company's longest running show  As with many Cirque du Soleil productions, Mystère features a mixture of circus skills, dance, elaborate sets, opera, worldbeat music, and street theatre-style comedy  Featuring a musical score composed by René Dupéré and Benoît Jutras, the show was created under the direction of Franco Dragone 

History
The idea for Mystère started around 1990  It was originally planned for Caesars Palace with a theme based on Greek and Roman mythology  The plan, however, was scrapped by the casino executives, who thought the project would be too financially risky  Mystère was very different from the typical material they were used to in a Las Vegas show  According to Mystère set designer Michel Crête, "Vegas    was still very influenced by Folies Bergère, with the scarves, feather boas, etc  There was a European culture already in place, oddly enough, not an American one  The people who opened the door for something new were Siegfried and Roy  They were the first to move away from the Folies Bergère thing "
Treasure Island picked up the show three years later  Mystère was their first show that would have its own theater, rather than touring with a circus tent   Mystère would have a permanent base in Las Vegas  They worked with Mirage Casino-Hotel to produce a show 
Recent milestones Mystère has achieved include:

Mystère celebrated their 20th anniversary on 25 December 2013  
Mystère celebrated their 10,000th show on 27 December 2014 
Mystère celebrated their 11,111th show on 17 May 2017 

Set and technical information
The theater is a unique theater built in the Treasure Island Hotel and Casino specifically for the show  The design of the theater was created by Michel Crête and that of Montreal-based team of Scéno Plus  This theater seats 1,541 audience members  The stage measures 120 feet by 70 feet deep and covers approximately 10,032 square feet  The stage floor is made of a layer of Base Mat, which is rubber made from recycled old tires and sneakers  This helps give the stage some bounce for tumbling  This is held together by polyurethane adhesive and covered with thousands of gallons of liquid that dries onto the surface  The Downstage D Lift is 36 feet in diameter and includes a 28-foot revolving stage  The revolving stage rotates up to 10 revolutions per minute  Props, equipment, and performers are elevated to stage level from the basement or trap by four moving lifts  These moving lifts were constructed in Montreal and then assembled in Las Vegas, NV The snail seen growing larger throughout the show is called Alice  By the end of the show, she is a giant inflatable puppet controlled by four puppeteers from the inside  The puppeteers move her around by following markings on the floor, since they can not see outside the puppet  They also control her eyes, torso, and tail The taiko drums in Mystère are created by the Japanese company Asano Taiko, located in Mattō, Ishikawa Prefecture  The largest drum in Mystère is the ōdaiko, which is 6 feet (1 8 m) in diameter and 15 feet (4 6 m) in length, and weighs half a ton  Due to the large size of the drum, it had to be brought into the theatre during construction  Since the completion of the theatre the drum can not be removed, as no door is large enough to accommodate it 

Characters
The cast of Mystère comprises a myriad of fantastic and mysterious characters  All this information was confirmed by Mystère's artistic director from 1995 to 2001: Pavel Brun 
Inti X & Y (Spermatos/Spermatites): A comic chorus representing the seeds of life 
Red Bird: Convinced he can fly  According to Pavel Brun, he is the main character in the entire narrative of Mystère's universe 
Les Laquais: The "lackeys" of Mystère who serve and support others  They perform in the Korean plank act 
Brian Le Petit: A troublemaker who steals people's popcorn and causes chaos both onstage and off  (2000–present)
Chanteuses Plumes: A duo of muses who sing the emotion of all humans 
The Firebirds: Along with the Double Faces, they perform the Chinese pole act 
Les Bébés: Two enormous babies on a quest for nourishment  There's Big Baby (also known as Bébé François) and the Baby Girl  There was a third baby for a short period, similar to Francois, who was a part of the original 1993 cast, until his eventual removal in Mid-1994 
Egon Egli: A strange, lanky, bespectacled youth who rides across the stage on his bicycle  No longer in the show 
La Vache à lait: Protector of youth and a symbol of fertility  When he sounds his horn, it heralds a new beginning 
Moha-Samedi: A man in pink, named after the first day of the new millennium  He is the narrator no one listens to, he was originally portrayed by Canadian actor Paul Ahmarani and later by Lorenzo Pisoni 
La Belle: Afraid of ugliness, she seeks to avoid pain at all costs 
Black Widow: The antithesis of La Belle  She represents a praying mantis who destroys the illusions and dreams of her victims  Originally portrayed by Katie Renauld
Birds of Prey: These unpredictable birds soar and fly throughout the world of Mystère  They are graceful, yet aggressive when hungry  Originally portrayed by Lejdka Zievert and Mark Ward
The Frog: Creepy characters witness to the strength of birth and time 
The Green Lizards: Mischievous and skittish chameleons  There is the Male Chameleon and the Female Chameleon (who are not present in the show anymore)  The Male Chameleon was originally portrayed by Karl Baumann
Double Faces: These two-faced creatures perform in the Chinese pole act 
Les Palmiers: Out of a purple-blue mist, these tropical ladies float by 
Deus ex machina: The machine that regulates the existence of everything 
The Tribe (Les Pagnes): The primitive, tragic ghosts of modern humanity  They descend from the skies to provide the earthly beat of our journey  They welcome us, and they bid us farewell  They perform in Taïko
Monarch Bird: A male bird introduced in 2022 as backup dancing character 
The Prince of the Darkness: The prince of the dark side of Mystère, performed by Miguel Godreau from 1993 to 1994; he left the show for health reasons and is no longer in the show  Left before the premiere due to complications from HIV  He was originally part of the group of dancers containing La Belle, Birds Of Prey, Green Lizard and Black Widow 
La Banane: A yellow creature with a large, bulbous head that performed with some artists from 1993 to 1995; no longer in the show  originally appeared on the Net-Up set, before Flying Trapeze 
The Shaman: A mysterious man who creates the sounds of the world; no longer in the show  Originally portrayed by Luis Perez
Bungee Warrior: A duo of muscle men able to fly in the air 
The Jugglers: A trio of jugglers that performed the Manipulation act from 1993 to 1995; no longer in the show 
The Cube Man: Exhibiting great strength and courage, he captures the attention of young souls in search of wonder ; no longer in the show  Originally played by Mikhail "Misha" Matorin, and later Paul Bowler
The Mountain Man: An archangel who is ready to sacrifice everything  Originally known as Gabriel reffereing his archangel statut 
Mephisto and Vénus: Part of the Giants race, they are thwarted, twisted creatures  Their presence wreaks havoc in any domain  Together they want to create chaos and destroy the balance that exists within the world of Mystère 
The Giants: A gentle race with feathers and long legs  There's the happy-go-lucky Pumpkin Giant, the grumpy Fly Giant, the magnificent Giraffe Giant, the rare Plume Giant (no longer in the show) and the Egg Giant, a delicate interior inside a protective shell 
Stas Greyner: a kind of playful dwarf  Performs handbalancing since 1998 
The Medusa: A long-appendaged creature that was part of the original cast between 1993 and 1995; no longer in the show  Appeared among the smoke and disappeared among the shadows, performed during the Net-Set Up 
The Wheel Rider: A slightly tattered man who performed the German Wheel act from 1995 to 1997; no longer in the show  Originally played by Wolfgang Bientzle
The Green Man: A curly-horned creature similar to a Satyr that was part of the cast from a short period in 1997, no longer in the show  Originally portrayed by Guennadi Tchijov 
Tony: A living doll that was part of the original cast between 1993 and 1995, Originally portrayed by Tony Manducas; no longer in the show 
 The Zucchinis: Two inflatable marionettes only used in the Net Set-up for the original trapeze act; no longer in the show 
The Egg: An egg-like creature who appeared sometimes during the Overture and Bungee acts from 1993 to 1995; no longer in the show 
Alice the Escargot: An enormous snail  Born from a spring rain, carrier of the souls of the ancestors and herald of the future 
The Bungees: Like majestic birds in flight, the Bungees dive fearlessly through the air, creating images of unison and separation 
Benny Le Grand: Mystère's original clown, a mad professor-esque character who was more dark and bitter  He would often cause mischief either by whacking one of the Spermatos with a drumstick, throwing a loaf of bread at the red bird, drenching people with bottled water, interrupting the show as an impromptu tour guide, throwing around silver dollars, popcorn, and women's purses, harassing ticket holders, discouraging guests from seeing the show, or kidnapping an audience member and driving them around in a golf cart  (1993 - 1995, 1996 - 2000)
Alex El Sobrino: Benny Le Grand's Spanish nephew, who was slightly more refined in personality  (1998 - 2000)
Alfredo et Adrenaline: A comedic duo of clowns who had previously appeared in Le Cirque Reinventé's European tour, and the special Zirkus Knie show  They often bickered with each other while trying to entertain the audience, from Alfredo trying to perform as a mime, to the two of them throwing paint at each other while trying to perform a song, but they soon literally kissed and made up  (1995 - 1996)

Acts
Mystère features several acrobatic acts, supplemented by clown acts and transitional scenes that advance the storyline 
Aerial Straps Duo (2017 – present): A pair of aerialists performs twists and turns as they fly over the stage 
Chinese Poles and Hand Balancing (2012–present): A group of acrobats climb up, jump between, and slide down four adjacent metal poles while an acrobat contorts into poses on two balancing canes on a platform above the Chinese poles 
Hand-to-Hand (1993 – present): Two artists perform an exhibition of strength and stamina on a rotating dome 
Bungee (1993 – present): A group of artists bounce and swing from the ceiling to the ground and back on bungees 
Teeterboard and Power Track (2017–present): Artists perform a combination of these two skills 
Taiko (1993 – present): A group of artists perform powerful rhythms on Japanese taiko drums 
Flying trapeze (2012 – present): Unlike the original version where two separate trapeze towers were surrounded by a platform on one side and an aerial cradle on the other, the current version has a platform on either side  Each trapeze tower now has two trapeze bars swinging beside each other  The act and music were originally from Zed (a resident show at Tokyo Disney Resort) which closed in 2011 

Reserve acts
Aerial Straps (1994, 2002 – present)On reserve for the aerial straps duo; features a single artist on straps with the Black Widow or La Belle performing choreography on stage 

Retired acts
Manipulation (1993 - 1995)
Flying Trapeze (1993 - 1995)
German Wheel (1995 - 1997)
Dual High Bar (1996 - 2012)
Flying Man in Silk (1997)
Aerial Cube (1996, 1998 – 2015)
Chinese Poles (1993 - 2011)
Trampoline, Fast Track, and Korean plank/Teeterboard (1993 - 2017)
Aerial Straps and Cube (2016 – 2017)
Aerial Silk (2012 – 2017)

Acts used in the film Cirque du Soleil: Journey of Man (2000)
Taiko
Aerial cube
Aerial straps

Acts used in the film Cirque du Soleil: Worlds Away (2012)
Aerial cube

Costumes
Dominique Lemieux took inspiration from nature to create the colorful costumes of Mystère  One such costume is the Firebird, which has red feathers and accents that give the impression of embers flying through the air  The odd-looking Spermatos and Spermatites are dressed in elongated costumes which bulge in the center and have a tendril-like feature on the head  To give the characters an organic nature, spandex/lycra was used in conjunction with fringes and borders 

Music
The original score of Mystère was composed by René Dupéré, who had composed all of Cirque du Soleil's earlier shows, including Nouvelle Expérience and Saltimbanco  In 1994 the show's music was released as a studio album featuring the vocals of Canadian singers Élise Gouin (now known as Élise Velle) and Nathalie Gauvin 
In 1995 the show underwent an artistic overhaul, including changes in the lineup of acts  The "Manipulation" act was replaced by the "Aerial Cube", the Flying Trapeze act by the Aerial High Bars (the Flying Trapeze returned in 2012), and the Acro Net setup dance act was excluded from the show  At the same time the musical score was renovated with assistance from Benoît Jutras, a longtime music director and arranger for Cirque who later went on to compose for Quidam and other Cirque shows  The result, captured in the album Mystère: Live in Las Vegas, was a score that reflects the diverse compositional styles of both composers   Mystère: Live in Las Vegas is a live, in-house recording of the new score, featuring Nathalie Gauvin and Wendy Talley on vocals; the album was released on November 12, 1996  After the release of the live album, the music was rearranged and altered once again  While the album resembles the current live music closely, it is not identical  For the celebration of the 25th anniversary of the show in 2018, a vinyl album specifically dedicated to the employees was created in limited quantities, just as it was done for the show Alegria in 1994 and Saltimbanco in 1997 
Below are the track lists for the 1994, 1996 and 2018 Mystère soundtrack albums  Acts are listed next to the songs they have accompanied in the show 

Songs not appearing on either album:

Alice (Ending, 1993 - 1995  Updated version of song right after "Finale," 1995 - present)
Benny (Clown act, 1996 – present)
Mime (Clown act, 1995 - 1996)
Bolero (Clown act, 1995 - 1996)
Benny Le Grand (Clown act, 1993 - 1995)
Cercles (German Wheel, 1995 - 1997)
High Bar II (Dual high bar, 2010 - 2012)
Avos (Bungee, 2022 - Present)
Hell/Angel (Dei ex machina, 1993 – present)
Rampant (Chineses poles Exit)
Nouvel Envol (Aerial cube, 2015 - 2017) (Solo Aerial Straps, 2015–present) (Duo Aerial Straps, 2017 - 2018)
Love Over (Duo Aerial Straps, 2018 - present)Vocalists
Singer 1

Nathalie Gauvin: Dec 1993 - Dec 2005
Jeannette D' Armand: 2000 (temporarily replaced Nathalie Gauvin)
Mirjana Milovanovic: Jan 2006 - Jul 2007
Sarah Boucher: Jul 2007 - Sep 2009
Silje Marie Norderhaugh: Sep 2009 - Jan 2013
Anna Bille: Jan 2013 - Dec 2014, Oct 2017
Kailee Ann: Dec 2014 - Aug 2017
Mackenzie Thomas: April 2018 - PresentSinger 2

Elise "Gouin" Velle: Dec 1993 - Sep 1994
Wendy Talley: Sep 1994 - Dec 1997, 1998 (temporarily replaced Chantal Hamel)
Chantal Hamel: Dec 1997 - Jul 1999
Stacey Beth Sanford: Jul 1999 - Dec 2000
Dina Emerson: Jan 2001 - Jan 2002, Apr 2007 - Jun 2017
Rochelle Collins: Jan 2002 - Jul 2003, Oct 2003 - May 2007
Briana Rossi: Jun 2017 - July 2021
Brittany Mae: July 2021 - PresentSinger 3

Luis Perez: Dec 1993 - Jul 1996

In popular culture
Mystère was a featured guest performance on Lopez Tonight, airing December 20, 2010  The featured acts included the hand-to-hand and aerial cube acts 
In the film Knocked Up, the main characters watched Mystère 
In the webseries Dorm Life, the character Courtney Cloverlock, a huge Cirque du Soleil fan, has posters of both Mystère and Love by her bed 
Yuji Naka, creator of the video game Nights into Dreams…, has cited Mystère as an inspiration for the game 
Mystère did a performance collaboration with alternative rock band Imagine Dragons for the Life is Beautiful Festival 
Passage 5:
O (Cirque du Soleil)
O is a water-themed stage production by Cirque du Soleil, a Canadian circus and entertainment company  The show has been in permanent residence at the Bellagio in Las Vegas, Nevada, United States, since October 1998  O, whose name is pronounced the same way as eau, the French word for "water", takes place around and above a 1 5-million-US-gallon (5,700 m3) pool of water  It features water acts such as synchronized swimming as well as aerial and ground acts   The O theatre, which is designed to resemble a 14th-century European opera house, has 1,800 seats, thus allowing the performance to be watched by 3,600 people a night since the performance usually plays twice in a given day, also designed to meet the special demands of the show O was inspired by the "infinity and elegance of water's pure form," which pays tribute to the beauty of the theatre  A group of 150 stage technicians assist in the production of the show, the cast of which is 85 performers: international acrobats, synchronized swimmers, and divers  Some of them are former Olympic athletes 

History
Since late October 2010, Cirque du Soleil has offered backstage tours of the O theatre  The experience allows visitors to see the backstage wings, training rooms, costume workshop, break area, underwater lighting area, and go up to a catwalk into the sound and lighting booths   Not every experience 
will be the same as the tour is conducted around a "regular day", so performers may or may not be training, rehearsing, or even working out As of early 2011, O has grossed over a billion dollars since the show opened in 1998 O has received many awards, including the following:

Entertainment Design Award, best production show, 1998
Las Vegas Review-Journal, best production show, 1999–2006
THEA, live show category, 1999
Prix Italia, creativity in high definition, 2009, for the documentary FlowO had its 10,000th performance on 1 September 2019 

Set and technical information
The show has a cast of 85 acrobats, synchronized swimmers and divers performing in and above a 1 5 million-gallon pool  When maintenance needs to be performed, the pool is drained in about 12 hours to the Bellagio Lake, causing the lake's water level to rise 1 inch (25 mm)  The pool is kept at 88 °F (31 °C) and has an underwater speaker system and regulators that allow performers to breathe underwater  Every member of the cast is scuba-certified 
The underwater stage lift was produced by Handling Specialty   In order for the platform stage to rise and fall in the water without a wake, the rubber surface of the stage is perforated Cold air vents under each seat help control the theatre temperature for the audience  The goal is to maintain two temperature zones in the theatre: the stage is kept at a higher temperature of 84 °F (29 °C), while the audience area is kept at a lower temperature of 72 °F (22 °C)  A mesh false ceiling allows warm moist air to escape out of the top of the theatre To minimize damage to the musical instruments, the musicians play from glass enclosures in the theatre  Some of the musical instruments used in the show are more than 100 years old  The unique string instrument heard in the soundtrack of O is an erhu, a traditional Chinese bowed string instrument 
To maintain a fresh look on the performers, some performers have multiple sets of costumes so they may reappear dry despite having been in the water   Some of the costumes only have a lifespan of approximately 20 shows due to the bromide and chlorine in the water Additional facts about the show:

Some of the props function as boats, like the umbrella that Le Vieux rides on the water 
There are 15 technicians underwater during the show, performing various tasks such as artist handling and props manipulation 
The horses that the Comets ride in the show weigh 900 pounds (410 kg) 
The clown house weighs over 7,000 pounds (3,200 kg) 
Hanging 49 feet above the stage, the carousel and téléphérique (a conveyor system) carry tons of equipment as well as performers during the show 
Most of the props that are used during the show are actually driven by the Performers who ride them   For instance, the carousel horses have a small propeller underneath their tails; they are controlled by a joystick located on the back of the horse 

Costumes
Costumes for O drew inspiration from many sources: commedia dell'arte, the Baroque, India, the Arabian Nights, as well as Venetian courtly fashions   The costumes' silhouettes are defined by the design and are accentuated by the transparency of the selected materials and fabrics   Many costumes' base design are leotards which are then expounded upon: this includes the Zebras and Flayed Ones, among others   The Flayed Ones' leotards, for example, originally had hand-painted muscles on them, as digital screen-printing was inaccessible at the time of creation   Another special attribute critical to costumes in O is their treatment to help withstand the water and chemicals in it   To achieve this feat, roughly 40% of the costumes have been applied with a specific type of silicon sizing   In addition, the materials chosen are more durable and had to be able to both mould to the performer's body and dry quickly  Over the years the best fabric found for the costumes has been nylon mesh, which performs well either wet or dry Additional facts regarding the costumes:
A separate room was built with timed heaters and fans to air-dry many of the costumes which cannot be tumble-dried 
Sixty loads of laundry are done nightly to wash the costumes which can be machine washed 
The swimmers' costumes are replaced every 3 months 
The Comets' costumes last for a full year 
All wigs and headpieces had to have chinstraps added 

Music
The music of O was composed by Benoit Jutras and features a mix of classical Western and world instrumentation, including Chinese violin (erhu), bagpipes, African guitar and harp (kora), Colombian guitar, cello, ancient woodwinds and a wide variety of percussion instruments  During the show, the score is performed by a live band situated behind glass walls above and to the side of the stage  The glass protects the musicians' equipment from moisture damage 
O's music was recorded at the Bellagio and released on November 24, 1998  (ASIN B00000FDJZ) The album was re-released on September 6, 2005  (ASIN B000A2H9WU) The songs are listed below with their corresponding act in parentheses Album track list (and acts in the show accompanied by each song):

Jeux d'Eau (Solo and duo trapeze)
Mer Noire (Barge)
Tzelma (Interlude from bateau)
Africa (Interlude from clown act 1)
Remous (Bateau)
Svecounia (Interlude from contortion, cerceaux)
Nostalgie (Intro to russian swings)
Simcha (Character parade, Russian swings)
Gamelan (Contortion)
Ephra (Flying man and cadre)
Désert (Opening, nage, solo and duo trapeze)
Terre Aride (Fire)
O (Finale)Additional songs in the show not included on the album:

Danse (Clown act 2) (2001-present)
Debbie (Journey of Man) (Washington/solo trapeze)
Festival (Interlude from Fire)
Sur Terre (Clown act 2) (1998-2000)
Plouf (High dive)
La Glace (Clown act 1) (1998-2000)
Reda Ver 1 (Opening) (1998-2000)
Reda Ver 2 (Opening) (2001-present)
Confluence (Interlude from Cerceaux)
Merou (Washington trapeze) (1998 only)
Nenuphar (Intro to contortion)
Robinet (Clown act 1) (2001–present)
Humoresque No  7 Opus 101 (Opening Interlude) (1998-2000)
Aurora (Opening Interlude) (2001–present)

Filmography
In 2007, Cirque du Soleil released the film Flow (A Tribute to the Artists of "O")   The documentary was filmed in the O theatre and by the Colorado River   The film shows certain artists performing out around the river as well as on stage and provides information on the necessary technical equipment used to produce the performance   Bonus features of Flow include: performance clips, Russian swing act, technical information and film below the surface of the O pool, and information about the creation of O itself In 2009, Flow won the Prix Italia award for the category of Creativity in High Definition The following acts were used in Cirque du Soleil: Worlds Away:

Synchronised swimming
Bateau
Fire
Duo trapeze
Contortion
Aerial hoops
Passage 6:
Le Rêve (show)
Le Rêve ("The Dream") was a stage production in residence at the Wynn Las Vegas casino resort  It was the only Las Vegas show set in an aquatic theater-in-the-round stage (>1 million US gallon (water capacity)  The show featured diving and feats of strength with special effects, including fire effects  No seat is more than 40 feet (12 m) from the stage   The production was originally created by Franco Dragone but has been substantially revised over time  The show featured more than 90 performers and 250 cast and crew members Each member of the cast must become SCUBA-certified before performing in the theater  In January 2018, Le Rêve completed a two-year reimagination of the production  The show now features all-new costumes designed by Suzy Benzinger, choreography by Marguerite Derricks, music by Benoit Jutras and lighting design by Jules Fisher and Peggy Eisenhauer  In April 2019, the show was voted “Best Production Show” by the Southern Nevada Hotel Concierge Association for the ninth consecutive year 

Show
While the show is continually revised over time, the central theme includes a female lead who see-saws back and forth between her dueling desires for love and passion, mind or body, as she finds herself attracted to two men  Put into a dream world to help her decide between the two suitors, she embarks on a mystical journey  The show concludes with what the production calls "a graceful and inspirational scene "The show includes dancing, swimming, gymnastics, diving and stunt performances, aerial performance and trained dove flights  During the production run, two of the athletes playing romantic leads fell in love themselves  Olympic athletes and notable gymnasts have joined the cast over the years 

History
The show had its world premiere on May 6, 2005 All rights to the show are owned by Wynn Las Vegas, so the resort is able to adapt the show at will  Le Rêve celebrated its 3,000th performance in January 2012   The show celebrated its 12th anniversary in the summer of 2017 and has performed approximately 5,700 shows  Le Rêve celebrated its 6,000th performance in May 2018 
The House of Dancing Water, has some similarities to Le Rêve and O by Cirque du Soleil The cast and crew of “Le Reve,” the signature production at Wynn Las Vegas since the hotel opened in 2005, were placed on furlough May 28, 2020  The first large-scale Las Vegas production show to permanently close due to the coronavirus pandemic is one of the most acclaimed performances to ever hit the Strip  Wynn Las Vegas confirmed “Le Rêve” has shuttered for good after more than 6,000 shows over the last 15 years 

Honors and awards
Media history
Six performers from Le Rêve were the models for the season finale of Face Off, aired on SyFy on March 26, 2013   They also performed an act in the make-up, complete with full immersion and dives into the water 
Le Rêve was featured on an episode of the Fine Living series What Makes it Tick, produced by NorthSouth Productions 
Cast members from the show performed on a results episode of NBC's summer hit America's Got Talent in 2010 
Cast members were also featured in the music video for the single "Only the Young", by Brandon Flowers 
32 performers from Le Rêve staged a "surreal, elaborate montage of scenes" from the show as part of the 2010 Latin Grammys at the Mandalay Bay Events Center in Las Vegas  The event was broadcast live on Univision 
Cast members and the show were featured on the first episode of Somebody's Gotta Do It with Mike Rowe on CNN 

Theater and Facilities
The show take places in a unique aquatic theater-in-the-round  The swimming pool has a capacity of more than 1 million US gallons with its deepest point at 27 feet  Performers climb to heights of more than 80 feet above the water before diving straight down  Public estimates of the cost of the theater itself were up to $75 million for the original construction, not including later renovations such as 180-speaker surround sound Two significant curtain effects have been used, including a 24-panel canopy that takes more than an hour to reset for the next show In 2008, a VIP seating area was added to the theater   In 2015, an additional 172 fountains, 120 LED lighting fixtures, and 16 fire-shooting devices were added by WET Design   Current capacity is 1,600 per show, not including an underwater SCUBA viewing area that is sometimes available for VIP guests 



ground_truth: O

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Whiich genus has more species, Dracula or Pistacia?

The following are given passages.
Context 4:  Häkkinen made his debut in sports cars when Team AMG China entered a Mercedes-Benz SLS AMG in November 2011 to participate in the Intercontinental Le Mans Cup at the 6 Hours of Zhuhai race alongside Lance David Arnold and Cheng Congfu  During the event, the team retired after completing two hours  In October 2013, Häkkinen participated in the GT Asia series for the two races held at the Zhuhai International Circuit, driving a Mercedes-Benz SLS AMG 300 alongside co-driver Matthew Solomon  Häkkinen drove to victory in the first race after starting from sixth position  The victory resulted in a 15-second handicap during his mandatory pitstop for his second race and finished in fourth position On 16 March 2017, McLaren announced that Häkkinen has rejoined the team as partner ambassador  In November 2021, Häkkinen helped McLaren IndyCar driver Pato O'Ward prepare for his test of the McLaren MCL35M by familiarizing O'Ward on his championship winning MP4/13 around Laguna Seca In August 2019, Häkkinen raced in the Suzuka 10 Hours, the fourth round of the 2019 Intercontinental GT Challenge driving a McLaren 720S GT3 alongside two-time Super Formula champion Hiroaki Ishiura and Japanese Formula 3 racer Katsuaki Kubota, with Planex Smacam Racing Häkkinen and Emma Kimiläinen competed together for Team Finland at the Race of Champions on 5–6 February 2022  He is set to again compete in the race in 2023 alongside Formula One driver Valtteri Bottas, who was originally going to be his partner at the 2022 edition before backing out In December 2021, Häkkinen was announced as a Formula One analyst for the sports broadcaster Viaplay  From 2022 onwards, Häkkinen became part of a permanent team of analysts on-site at the Grands Prix  In the team of analysts, Häkkinen is accompanied by David Coulthard and Jos Verstappen 

Driving style and personality
Häkkinen is known for his unique driving style; journalist Peter Windsor analysed in F1 Racing magazine that Häkkinen was an "oversteering" driver, resulting in driving faster on slippery surfaces and the preference of using "tail-happy" cars  This allowed him to perform better at circuits that have medium-speed corners  During his karting career, Häkkinen developed the skill of using the brake pedal with his left foot  He reverted to using his right foot when he participated in DTM, later discovering he became uncomfortable with this style and reverted to left-foot braking in mid-2006  He became known as a "late season driver"; the second half of a season suited Häkkinen due to experience on these tracks and allowed time for his car to be altered towards his preference Häkkinen was criticized for being a poor car developer, though this may have been exaggerated due to his initial struggles with the English language early in his career  Adrian Newey, the designer of Häkkinen's championship-winning McLarens, described an instance of Häkkinen's approach to input on car development when Häkkinen kept telling him during the initial testing of the McLaren MP4/13 that the car was understeering  Newey subsequently adjusted the car to correct for understeer, but this only made it slower  After digging deeper into the test data and listening closely to what Häkkinen was describing Newey realized the car was not understeering but had rear end biased instability on corner entry that Mika was compensating for with understeer  This experience proved crucial for Newey's relationship with Häkkinen during their run together at McLaren, as after that Newey no longer had issues understanding Häkkinen's inputs on car development  Newey also said Mika's countryman, protege, and future McLaren driver Kimi Räikkönen also had a similar approach to input on car development During his Formula One career, Häkkinen became known as a "taciturn" character—an individual who took lengthy pauses before answering questions placed before him and would give virtually nothing away to the media  This allowed him to prevent problems and potential scandals from within his team becoming public knowledge  Since his retirement, Häkkinen has often been voted among the greatest Formula One drivers  Michael Schumacher has stated that Häkkinen was the driver whom he gained the most satisfaction of racing against 

Personal life
Häkkinen has resided in Monaco since 1991  He also owns properties in France and Finland  On 18 May 2008, his newly completed mansion in France was burned down after a light in one of his trophy cabinets short circuited  No injuries were reported, although Häkkinen's collection of Formula One trophies was destroyed  Outside motorsport, Häkkinen enjoys skiing, swimming, tennis, scuba diving and jet ski  His favourite music acts are Phil Collins, Michael Jackson, Frank Sinatra and J  Karjalainen Häkkinen married Erja Honkanen, a former TV journalist, in 1998  The couple have one son and one daughter  The couple applied for divorce in 2008  Häkkinen also has two daughters and a son by his Czech second wife Markéta Remešová Häkkinen joined Johnnie Walker as Global Responsible Drinking Ambassador for Diageo in September 2006, campaigning for the message of responsible drinking  He also led the organisation's Join the Pact campaign to spread consumer commitments for the prevention of drunk driving  He is also brand ambassador for Mercedes-Benz and UBS  In 2016, he became an official brand ambassador for Nokian Tyres 

Car collection
Häkkinen maintains a collection of McLaren hypercars, all of which he keeps in Monaco  His collection is valued at an estimated €6 million 
The collection includes:

a McLaren P1, chassis VP3, painted in Dark Grey 
a McLaren Senna, painted in Mariana Blue, with a special plaque with Häkkinen's "Flying Finn" signature 
a McLaren Speedtail, painted in Volcano Red 

Karting record
Karting career summary
Racing record
Career summary
Complete British Formula 3 results
(key) (Races in bold indicate pole position) (Races in italics indicate fastest lap)

Complete Formula One results
(key) (Races in bold indicate pole position, races in italics indicate fastest lap)

† Did not finish, but was classified as he had completed more than 90% of the race distance 

Complete DTM results
(key) (Races in bold indicate pole position) (Races in italics indicate fastest lap)

‡ Half points were awarded in the race due to several errors made by the race officials 
Passage 2:
McLaren MP4/13
The McLaren MP4/13 was the car with which the McLaren team competed in the 1998 Formula One World Championship  The chassis was designed by Adrian Newey, Steve Nichols, Neil Oatley and Henri Durand, with Mario Illien designing the bespoke Ilmor engine  Driven by Mika Häkkinen and David Coulthard, the MP4/13 proved to be the dominant car of the season, with Häkkinen winning eight races en route to his first Drivers' Championship, while McLaren won their first Constructors' Championship since 1991 and, as of January 2023, their last 
The team's main sponsor was West, whose logos were not featured on the cars at the French, British and German Grands Prix due to the tobacco sponsorship bans in these countries 

History
Designer Adrian Newey had joined McLaren from Williams in 1997, but was unable to influence the design of the McLaren MP4/12 other than adjustment during the season  His work was rewarded when drivers Mika Häkkinen and David Coulthard finished first and second at the season-ending European Grand Prix 
When the 1998 season got underway four months later, it became clear that Newey had adapted to the rule changes for 1998 best  With the cars now narrower and running on grooved tyres, the all-new design of the MP4/13 made it the car to beat 
The dominance of the MP4/13 was displayed in the opening race of 1998 in Australia, as Häkkinen and Coulthard finished a lap ahead of the rest of the field  Newey's aerodynamic design was by far the most efficient one and Mercedes produced the most powerful engine of the season  The team was aided by a unique brake-steer system which allowed the driver to use any one of the car's brakes independently to aid cornering, a system first used in 1997  The Ferrari team protested, stating that the brake-steer system was a violation of the technical rules, which banned four-wheel steering  The FIA eventually sided with Ferrari and the system was banned, although the team was allowed to keep their results up to that point McLaren's dominance continued in the second race of the season in Brazil, before Ferrari started to close the gap from the Argentine Grand Prix onwards  The MP4/13 retained its superiority on high-speed tracks like Hockenheim and Silverstone, while Ferrari's F300 was closer to the McLaren on more technical circuits  Speaking of the MP4/13 some years later, Coulthard said that the car was fast but understeered through slow corners; this was due to Newey's design that maximized the car's aerodynamic grip over its mechanical grip  Häkkinen initially found the car to be nervous in testing due to a rearward biased instability, but this was corrected before the season started During 1998, Coulthard's MP4/13 speed-trapped the highest of all F1 cars that year when he was clocked at 353 km/h (219 mph) at the old Hockenheim circuit 
Although Ferrari's Michael Schumacher took the Drivers' Championship battle to the final race in Japan, Häkkinen took the title with his eighth race win of the season  Coulthard won one race, in San Marino, en route to third place overall, while McLaren won the Constructors' Championship  This was McLaren's first championship victory since 1991 with Ayrton Senna and, in terms of race wins, the team's most successful year since 1989 During 1998 both Nick Heidfeld and Ricardo Zonta acted as test drivers for McLaren and drove the MP4/13 at test sessions  The record time for the Goodwood Festival of Speed hillclimb was set in 1999 when Heidfeld drove an MP4/13 up the hill in 41 6 seconds  Twenty four years later the MP4/13 set the second outright fastest lap time around  Laguna Seca in the hands of Mexican IndyCar driver Pato O'Ward, when O'Ward lapped the circuit at 1 minute 10 3 seconds, nearly a second faster than a McLaren IndyCar around the same circuit 

Other
In July 2017, video game developer Codemasters announced that the MP4/13 would appear in the video game F1 2017 as a classic car  It also appears in F1 2018 and F1 2019 

Technical specifications
Car: McLaren MP4/13
Chassis: carbon fibre, aluminium
Gearbox: 6 gears
Cooling system: two McLaren/Calsonic water radiators, two McLaren/Marston oil radiators 
Length of the whole car: 4,550 mm (179 1 in)
Weight with water, oil and driver: 600 kg (1,322 8 lb)

Engine: Mercedes-Benz FO-110G
Cylinders: 10, in a 72° angle
Valves: 4 per cylinder
Length: 590 mm (23 2 in)
Breadth: 546 4 mm (21 5 in)
Height: 476 mm (18 7 in)
Weight: 107 kilograms (236 lb)
Power: 780–800 bhp (582–597 kW)

Supplies
Tyres: Bridgestone
Wheels: Enkei 13-in
Brakes: AP Racing discs and claws
Oil and Petrol: Mobil
Ignition: TAG 2000
Spark plugs: NGK

Complete Formula One results
(key) (results in bold indicate pole position; results in italics indicate fastest lap)
Passage 3:
McLaren MP4/1
The McLaren MP4/1 (initially known as the MP4) was a Formula One racing car produced by the McLaren team  It was used during the 1981, 1982 and 1983 seasons  It was the second Formula One car to use a monocoque chassis wholly manufactured from carbon fibre composite, after the Lotus 88 (which never raced), a concept which is now ubiquitous  The MP4/1 was first entered in a Formula One race at the third grand prix of the season in Argentina 
The chassis was designed by John Barnard, Steve Nichols and Alan Jenkins, with the car being powered by a Cosworth DFV engine 
The MP4 was the first car to be built following the merger of the McLaren team and Ron Dennis' Project 4 Formula 2 team; its designation was short for "Marlboro Project 4" 

Design and construction
The main engineer for the MP4 was John Barnard, who began drawing the car in late 1979  After a visit to the Rolls-Royce factory where he saw engineers working with carbon fibre technology on the Rolls-Royce RB211 jet engine, Barnard saw the potential of this technology and convinced Ron Dennis to fund the design and build of a whole new car out of this new bodywork material  The chassis itself was built by McLaren using carbon supplied by American firm Hercules Aerospace in Salt Lake City on the advice of McLaren engineer and former Hercules apprentice Steve Nichols, and quickly revolutionised car design in Formula One with new levels of rigidity and driver protection and its Carbon-Fibre-Composite (CFC) construction  Dennis and Barnard took Nichols' advice after being rejected by multiple British firms due to the ambitiousness of this method of chassis construction  Within months and subsequent years carbon fibre started being used by all of McLaren's rivals  The car was far more advanced than any of McLaren's previous cars- including its predecessor, the M29 and M30, and its design and construction was of a far more precise nature than before- just about at the level of fighter aircraft 
From 1981 until late 1983 the MP4/1 was powered by the 3 0 litre Ford-Cosworth DFV V8 engine, but in late 1983 the team switched to turbocharging, using a 1 5 litre TAG V6 engine built by Porsche 
In both 1981 and 1982 McLaren International benefited from the exclusive use of a development Nicholson-McLaren Cosworth DFV which powered the MP4  Developed and re-built in John Nicholson's Colnbrook workshops (an agreement with McLaren going back to the mid-1970s) the Nicholson DFV featured bigger pistons and valves that a conventional factory DFV, and thus could rev to around 11,500 RPM, producing around 510 BHP, enabling John Watson and Niki Lauda to all but match the factory Ferrari and Renault V6 twin-turbos in straight line speed during the 1982 season  The Nicholson DFV also used different castings to reduce frictional losses, as well as using MAHLE pistons rather than Cosworth's in house piston/con rods 
Hercules Aerospace keeps John Watson's car which was destroyed in the 1981 Italian Grand Prix and shows it off to visitors after allowing them to view footage of the accident, highlighting how it was possible for him to survive in a carbon fibre car 

Racing
John Watson and Andrea de Cesaris drove the MP4/1 for most of the 1981 season with Niki Lauda replacing de Cesaris for the 1982 and 1983 seasons  In 1982, the updated MP4B nearly brought Watson to the World Championship, but he finished third behind Keke Rosberg and Didier Pironi, with 39 points  In the same year, however, it did take second in the Constructors' Championship, collecting 69 points 

For the 1983 season, the car was then updated into the MP4/1C, and the season started with a 1–2 finish for the MP4/1C at Round 2 in Long Beach, in which Watson won from 22nd on the grid – the farthest back on the grid a driver has won from in Formula One – and Lauda finished second from 23rd despite suffering from a worsening leg cramp  This car was used throughout most of the season but against the more powerful turbos of Renault, Ferrari and BMW, results with the outdated Cosworth V8 were becoming harder to come by, though Watson did finish third at the Detroit Grand Prix and the final race for the Cosworth car in Holland 

With Porsche: the MP4/1E
During the 1983 season, McLaren worked with Techniques d'Avant Garde and Porsche to develop a turbocharged V6 engine built to John Barnard's specifications and the MP4/1D was the test mule  Later in the season at the Dutch Grand Prix at Zandvoort the Cosworth-powered MP4/1C was replaced by the TAG-powered MP4/1E, which was essentially also a test mule that competed in only 4 races; according to Watson in an interview given in 2009 this was a car that was forced into appearing at the Dutch Grand Prix after political maneuvering by Lauda  He went to Marlboro executive Aleardo Buzzi (the man responsible for giving McLaren their primary sponsorship money), behind the back of the McLaren team and complained extensively to Buzzi about the uncompetitiveness of the team without a turbo engine  Buzzi then withheld money that had been committed to McLaren to develop the TAG/Porsche turbo engine  This infuriated Dennis and designer John Barnard, who had designed the MP4/2 specifically for the new turbo-charged engine, but now had to re-design his MP4/1 to "E" spec for the TAG engine The MP4/1E was first driven by Watson, not Lauda, at the Porsche proving ground  It was competitive but the new engine was, thanks to Lauda's political maneuvering, underdeveloped and had teething troubles  This made the car very unreliable, and it did not win any races  However, this car was not really expected to win or even finish races  In total, the MP4/1 brought McLaren 6 wins, 11 other podium finishes and a total of 131 points 
BBC commentator Murray Walker drove the MP4/1C at Silverstone in 1983 The MP4B (listed as the MP4/1B) is available as a classic car in the video game F1 2019 

Complete Formula One World Championship results
(key) (results in bold indicate pole position; results in italics indicate fastest lap)
Passage 4:
McLaren MP4/10
The McLaren MP4/10 was the Formula One car with which the McLaren team competed in the 1995 Formula One World Championship  The chassis was designed by Neil Oatley, Steve Nichols, Matthew Jeffreys, David North, David Neilson, Paddy Lowe  and Henri Durand with Mario Illien designing the bespoke Ilmor engine  It was driven mainly by Mark Blundell, who started the year without a drive, and Mika Häkkinen, who was in his second full season with the team  The car was also driven by 1992 champion Nigel Mansell, and Jan Magnussen 

Early season
1995 was a season of great expectation for McLaren  The disappointing 1994 alliance with Peugeot had been annulled, and Mercedes-Benz switched to the team from Sauber including third-party engine builder partnership with Ilmor Engineering Ltd  after Ilmor decided to reposition its Formula One program by becoming a third-party engine builder and assembler, and thus earned full-factory works support from Mercedes-Benz  In addition, Mansell had been tempted out of retirement from his two prior years spent in the Indy Car series to partner the youthful Häkkinen  The MP4/10 was a radical design, incorporating a high "needle"-nose design and a wing mounted atop the airbox, among other innovations 
However, it became apparent that Mansell was unable to fit properly in the narrow cockpit, which affected his elbows and hips, that meant he was forced to miss the first two races of the season whilst a wider monocoque was built  His racing return lasted just two further Grands Prix, in San Marino and Spain, before leaving the team altogether, disgusted with the car's poor performance  Blundell, who had replaced Mansell for both the Brazil and Argentina, became a permanent race driver 
Despite handling problems due to a lack of front-end grip, and an often unreliable engine, the package proved competitive enough for the team to usually be "best of the rest", behind Benetton, Williams and Ferrari, and Häkkinen was able to score two podium finishes  Team-mate Blundell also took several points finishes 

Upgrades
The McLaren MP4/10B update made its debut at San Marino and was retained for most of the season  A further modification, the MP4/10C, appeared at the Portuguese and European Grands Prix, but was not used further 
McLaren endured a mixed end to the season  Häkkinen missed the Pacific Grand Prix with a case of appendicitis and was replaced by the rookie Jan Magnussen, but returned to finish a fine second in Japan  This was tempered by the fact that Blundell wrote off a chassis in practice, but this setback paled in comparison to Häkkinen's accident during qualifying for the final race of the season in Australia  A sudden left-rear puncture saw his car fly out of control and hit a concrete wall at high speed  Häkkinen was pulled out of his car unconscious with blood pouring from his mouth and nose  However, he made a full recovery for the first Grand Prix of 1996, which was also in Australia 
The team eventually finished fourth in the Constructors' Championship, with 30 points  The McLaren MP4/10 was the first McLaren car to run Mobil fuel before rebranding to Esso in 2015, beginning with the McLaren MP4-30 

Complete Formula One results
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Passage 5:
McLaren MP4/6
The McLaren MP4/6 is a successful Formula One racing car designed by McLaren's Neil Oatley, Matthew Jeffreys, David North, David Neilson, Bob Bell and Mike Gascoyne; powered by the Honda RA121E V12 engine for use in the 1991 Formula One season, with the engine's design and development led by Osamu Goto  It was driven by reigning World Champion, Brazilian Ayrton Senna, and Austria's Gerhard Berger  Ayrton Senna would win his third World Championship in the MP4/6  The MP4/6 was notable for being the last F1 car to win the championship with a manual gearbox and the only F1 car powered by a V12 engine to do so 

Design and pre-season testing
The MP4/6 was the first McLaren to be powered by a Honda V12 engine, which Honda quote at 735 PS (725 bhp; 541 kW) at 13,500rpm  The car was tested by Berger in the off-season, but he was unimpressed with the initial version of the new engine, feeling it was underpowered compared to the 690 bhp (515 kW; 700 PS) V10 engine used in the 1990 car, the MP4/5B  When Senna returned for pre-season testing he and Berger, along with Honda, knuckled down to try to solve the engine's problems  McLaren's domination in the early part of the year was mainly due to the lack of reliability of the 700 bhp (522 kW; 710 PS) Renault V10-powered Williams FW14 By the latter half of the season, Honda (at Senna's urging) had managed to improve the engine to 780 hp (581 6 kW) @ 14,800 rpm 
The MP4/6 raced throughout 1991 with a manual "H" pattern gearbox  A semi-automatic transmission was tested during the season (and shown at the Hungarian Grand Prix; the car equipped with it ran 4 laps on track in practice before Senna spun off; the car was then converted back to a manual) but was never regarded as good enough to be used in a race; Ferrari and Williams were the only teams to use semi-automatic gearboxes during 1991  The MP4/6 would go down as the last Formula One car to win a World Championship using a manual transmission and the only F1 car to win the World Championship with a V12 engine 

Season summary
Senna won the first four races of the season, in the United States, Brazil, San Marino and Monaco, before Williams and Nigel Mansell found their feet with the FW14, which dominated in mid-season  Consistent podium finishes on Senna's part throughout the year helped McLaren, but Senna insisted that Honda step up their engine development programme and demanded further improvements to the car before it was too late  Honda responded with updated versions of the V12 engine, while Oatley redesigned various features of the car, particularly the sidepods and wings  Senna won in Hungary and Belgium before clinching his third and final Drivers' Championship in Japan with second place behind Berger; he then won the final race in Australia to secure the team's fourth consecutive Constructors' Championship McLaren continued with the MP4/6, upgraded to 'B' specification, for the first two races of 1992, Senna finishing third in South Africa  The car was then replaced with the official 1992 car, the MP4/7A, though three MP4/6Bs were brought to the 1992 Brazilian Grand Prix as spares 
The MP4/6 was considered by some to be the most competitive car in the Formula One field until Williams sorted the FW14, which was aerodynamically and technically more advanced  In all, the MP4/6 took eight Grand Prix wins and ten pole positions and scored 148 points  The car brought a close to McLaren's and Honda's domination of the sport, stretching back to the mid-1980s 

In popular culture
The McLaren MP4/6 is included as included as a classic car in Codemasters F1 2017, F1 2018, F1 2019 and F1 2020 video games 

Complete Formula One results
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* Only 9 points scored with the MP4/6B  Remaining points scored with MP4/7A 
Passage 6:
McLaren MP4/9
The McLaren MP4/9 was a Formula One car designed by Neil Oatley and used by the McLaren team in the 1994 Formula One World Championship  The number 7 car was driven by Finn Mika Häkkinen, in his first full season with the team, while the number 8 car was driven by Briton Martin Brundle, who had signed from Ligier  Frenchman Philippe Alliot deputised in the number 7 car at the Hungarian Grand Prix when Häkkinen was banned from driving in this race  For the 21st consecutive year, Marlboro was the team's title sponsor, with additional sponsorship from Hugo Boss, Shell and Goodyear  The MP4/9 was the first and only McLaren F1 car to utilise Peugeot engines 

Background and design
Due to changes in Formula One regulations intended to return emphasis on driver skills, many technologies designed to aid the driver, such as active suspension, power-assisted brakes, ABS and traction control, which had featured on the previous season's car, were no longer permitted  Visually the car was otherwise very similar to the preceding MP4/8 
The MP4/9 was initially powered by the Peugeot A4 V10 engine which produced around 700 bhp (522 kW; 710 PS)  The engine proved unreliable and both Häkkinen and Brundle retired from the first two races with each suffering one engine failure  The 760 bhp (567 kW; 771 PS) A6 V10 was then introduced, and while it gave Häkkinen third place at San Marino and Brundle second at Monaco, the engine was generally regarded as a "hand grenade" due to frequent failures in testing, qualifying and races  It was not until Italy that Peugeot started to get reliability from the engine 

Second driver disputes
At the behest of Peugeot, the team's test driver was Frenchman Philippe Alliot  The French company preferred Alliot, who had been a lead driver with their World Sportscar team, over Brundle for the role of the second driver—something which infuriated McLaren team boss Ron Dennis, as he did not think much of Alliot's driving and clearly preferred Brundle; Alliot had been in F1 since 1984 and had a reputation for being fast but accident-prone  Brundle had also been racing Grands Prix since 1984 and, while fast, was also a much more steady driver  Alliot, whose only role in the team was as a test and reserve driver, only raced for the team as a one-off replacement for Häkkinen in Hungary, as the Finn was serving a one-race ban after being held responsible for a large accident on the first lap at the preceding German Grand Prix 

1994 season summary
By the standards of McLaren's recent cars the MP4/9 was a disappointment, failing to win any races (the first time McLaren had failed to win a race since 1980) and hampered by poor reliability and performance from its Peugeot engine (taken from the Peugeot 905 sports car that won Le Mans twice)  Early in the season, Ron Dennis had believed rivalry between the French manufacturer and compatriots Renault would lead to rapid development and performance  As the season progressed the engines suffered regular and frequently spectacular failures (including at the British Grand Prix where Brundle's engine erupted into flames within a second of the green flag), and causing the team to doubt Peugeot's commitment to the project  By late 1994 the team announced it had parted company with the engine supplier in favour of a long-term deal with Mercedes 
The MP4/9 was replaced in 1995 by the McLaren MP4/10 

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Passage 7:
McLaren MP4/11
The McLaren MP4/11 was the car with which the McLaren team competed in the 1996 Formula One World Championship  The chassis was designed by Neil Oatley, Steve Nichols, Matthew Jeffreys, David North, David Neilson, Paddy Lowe and Henri Durand, with Mario Illien designing the bespoke Ilmor engine  It was driven by Finn Mika Häkkinen, who was in his third full season with the team, and Briton David Coulthard, who moved from Williams 

Overview
Background
McLaren had endured a mostly disappointing season in 1995, with the MP4/10 beset by handling and reliability problems in the team's first year in partnership with Mercedes-Benz, although it did score two podiums and regular points  The second year of the arrangement was to be far more productive with both performance and reliability improved, but the team had yet to make the serious breakthrough necessary to challenge the "big three" of Williams, Ferrari and Benetton 

Pre-season testing
In pre-season testing, which took place at Estoril in February 1996 and Silverstone in March, four-times world champion Alain Prost was brought in as a technical advisor to test-drive the MP4/11 in Häkkinen's absence, who was still recovering from his near-fatal crash during qualifying for the 1995 Australian Grand Prix 

Racing history
The car's best result came in Monaco, with Coulthard finishing a close second to Olivier Panis' Ligier at the end of a chaotic race  However, Coulthard was outscored and generally outpaced by his teammate 
The car was developed throughout the season, with improvements initiated to eradicate an initial handling imbalance in time for Coulthard to lead the first 19 laps in San Marino   On the MP4/10, a small additional wing was mounted on the engine cover, but this was removed in mid-1995   The wing was brought back for the MP4/11 in Monaco, and was also used at Hungary   A "B" version of the chassis was developed for Silverstone, and Häkkinen responded with four podium finishes from then until the end of the season 
1996 was also notable for McLaren losing its long-term Marlboro sponsorship at the end of the season, but the team responded by recruiting rival German tobacco brand West, who had previously (1985–89) been the major sponsor of the small German Zakspeed team 
The team eventually finished fourth in the Constructors' Championship, with 49 points 

Complete Formula One results
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Passage 8:
McLaren MP4/3
The McLaren MP4/3 was the car with which the McLaren team competed in the 1987 Formula One World Championship  The car was designed under the leadership of long-time McLaren engineer Steve Nichols, in collaboration with Neil Oatley, Gordon Kimball, Tim Wright and Bob Bell  It was also the last McLaren car to be powered by the TAG-Porsche turbo engine that had been introduced in 1983  The car was driven by double World Champion Alain Prost, in his fourth season with the team, and Stefan Johansson, who moved from Ferrari 

Design
The MP4/3's aerodynamics were completely different from the MP4/2, and the car appeared much more low-slung, to take advantage of the maximum fuel capacity limit of 195 litres, rather than the 220 litre limit in effect from 1984 to 1985  With addition of side-ducted radiators, the car's basic exterior shape was all-new and sleeker than its bulbous looking predecessor with the only visual reminder of the car being its nose section, though this too had been re-designed and was in fact lower and approximately 10% smaller  The suspension set up of the new car was virtually identical to the MP4/2C
To many, the MP4/3 seemed to have been designed along the lines of the lowline Brabham BT55 used by the Brabham team in 1986  Brabham's long time designer Gordon Murray had joined McLaren in 1987 as its new Technical Director taking over from Barnard and this led to the popular belief that he had played a major role in the design of the new look McLaren  However, team manager Jo Ramírez downplayed Murray's involvement in the design of the MP4/3, saying that the BT55's design had no bearing on the car and that Murray had primarily been in charge of quality control  However, Murray himself has since said that this car, and its successor the McLaren MP4/4, were designed using his original Brabham BT55 drawings as a base (as they were legally his, Murray had brought the BT55's drawings with him to McLaren)  The claim has since been disputed by engineering director Steve Nichols 

Engine
The engine was the same 1 5 litre, Porsche built, TAG funded and badged twin-turbo V6 engine that had so successfully powered the MP4/2, but with slight changes in compression and engine balancing, to cope with not only the new reduced fuel limit, but also with the FIA's mandated pop-off valve which restricted turbo boost to 4 0 bar after turbo charging was unrestricted prior to 1987 

Success
There were three wins in 1987 with the MP4/3 by Alain Prost at Grand Prix of Brazil, Belgium, and Portugal  Stefan Johansson managed a few podium places, but he would be replaced in 1988 by Ayrton Senna  McLaren still managed to finish 2nd overall, with 76 points, in the Constructor's Championship  The MP4/3 represented the pinnacle of the development of the McLaren TAG-Porsche partnership  The Porsche-TAG engine featured an updated Motronic 1 7 engine management system, and now produced 790 bhp (590 kW) in race trim and up to 850 bhp (630 kW) in qualifying 
Although a number of teams, notably Benetton with their Ford V6 turbo and Arrows with their 4 cyl Megatron turbo (formerly the BMW turbo), encountered problems with the pop-off valve during 1987 when it would often come in lower than the 4 0 bar limit thus giving less horsepower, McLaren got around this by generally setting their TAG's turbo limit at 3 6 bar in 1987  This also allowed McLaren the advantage of better fuel economy 
Even today the MP4/3 is still considered to be one of the most powerful F1 cars ever made, since turbo boost pressure would be further reduced to 2 5 bar in 1988, reducing the power output of the turbo engines to around 650 bhp (480 kW) in a bid to make the naturally aspirated cars more competitive  Turbocharged engines were then banned completely in 1989, so the turbo era in Formula One may remain possibly the high-water mark for horsepower levels in Formula 1 
The MP4/3 was also the car with which Prost won the 1987 Portuguese Grand Prix to become the driver with the most wins in Formula One history beating Jackie Stewart's record of 27 wins which had stood since Stewart retired at the end of 1973 
The MP4/3 was the last McLaren Grand Prix car to use the TAG-Porsche engine  Its successor, the highly successful MP4/4, would be powered by the Honda V6 turbo 

Chassis log history
Five new MP4/3 cars were moulded from carbon fibre with assistance from Hercules Aerospace, as since the creation of the all-new MP4/1 in 1981  The chassis numbers, 1 through 5, were used throughout the year, with three new cars ready for the first race in Brazil Two MP4/3s were destroyed during 1987, but three complete MP4/3s still exist: Chassis #4 is on display at the Donington Museum, chassis #5 is still owned by McLaren, and chassis #1, the only one in private hands, belongs to a Porsche collector in the United States and was auctioned on 9 March 2012 at Amelia Island, FL by Gooding & Company 
#1: Used as a spare car for every race except Österreichring  Stefan Johansson raced this chassis only once, at the aborted start (1st) at Österreichring 
#2: Raced by Johansson at Rio, Imola, Spa, Monaco, Detroit, Paul Ricard, Silverstone, Hockenheim, and Hungaroring  The car was written off in practice at Österreichring by Johansson, after a deer struck the car, and crashed 
#3: Raced by Alain Prost at Rio, Imola, Spa, Monaco, Detroit, and Paul Ricard  Car modified for Johansson for race use at Österreichring  It was originally a spare car at Mexico City, but then raced by Johansson, but written off in 1st-lap accident 
#4: New car for Prost to race at Silverstone, Hockenheim, Hungaroring, Österreichring, Monza, Estoril, Jerez, Mexico City, Suzuka, and Adelaide 
#5: New car for Johansson at Monza, Estoril, Jerez, Suzuka, and Adelaide 
The sixth car, known as the MP4/3B, was a test mule for the Honda turbo engine that would power McLaren's hopes for 1988  The MP4/3B never raced, but was tested by Prost, and later his 1988 teammate Ayrton Senna, until the all-new MP4/4 made its track debut at Imola a week before the start of the 1988 season (Prost lapped Imola over 2 seconds faster in the MP4/4 than he had in the MP4/3B  The MP4/4 would go on to be the most dominant single season car in F1 history, winning 15 of 1988's 16 races, as well as claiming pole in 15)  After finishing the role, the sixth car went to Argentina and is on display at the Juan Manuel Fangio Museum in Balcarce 

Complete Formula One results
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ground_truth: Dracula