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

Question: What public radio network in New York has allowed Eric Plakun to dis his psychiatric work?

The following are given passages.
Context 1: Passage 1:
KCND
KCND (90 5 FM) is a public radio station licensed to Bismarck  It signed on the air in 1981 as Prairie Public Radio, which later became part of the statewide North Dakota Public Radio network, the entirety of which was later renamed Prairie Public Radio  It currently broadcasts with an effective radiated power of 50 kW on 90 5 MHz 

External links
Prairie Public radio website
KCND in the FCC FM station database
KCND on Radio-Locator
KCND in Nielsen Audio's FM station database
Passage 2:
Eric Plakun
Eric M  Plakun is an American psychiatrist, psychoanalyst, researcher and forensic psychiatrist  He is the current medical director/CEO at the Austen Riggs Center in Stockbridge, Massachusetts  Plakun's primary interests include the mental health advocacy, full implementation of the mental health parity law, access-to-care issues, and reducing health disparities; the value of and evidence base for psychosocial treatments and the diagnosis, treatment, longitudinal course and outcome of patients with borderline personality disorder and treatment resistant disorders  Plakun has been widely published and quoted in the media on psychotherapy and psychiatry, including in The New York Times and The Globe and Mail  He has appeared in the media to discuss his psychiatric work on WAMC, the Albany, New York, affiliate of NPR  and on CBS 60 Minutes  His psychiatric research has been widely cited 

Career
Plakun attended Hofstra University and received an M D  from the Columbia University College of Physicians and Surgeons in 1972  After an internship in medicine at Dartmouth-Hitchcock Medical Center, Plakun worked as a rural primary care practitioner in Vermont before completing a psychiatric residency also at Dartmouth-Hitchcock Medical Center and a Fellowship and Advanced Fellowship in Psychoanalytic Studies at the Austen Riggs Center 
He is a Distinguished Life Fellow of the American Psychiatric Association, and serves on the APA Board of Trustees representing New England and Eastern Canada  He is a former member of the APA Assembly, where he served as chair of the Assembly Committee of Representatives of Subspecialties and Sections and on the Assembly Executive Committee  In the APA he has also been past chair of the Committee on Psychotherapy by Psychiatrists, and the founding leader of the APA Psychotherapy Caucus  Plakun is a Fellow of the American College of Psychiatrists and a Fellow of the American College of Psychoanalysts  He is a Psychoanalytic Fellow and former Trustee of the American Academy of Psychoanalysis and Dynamic Psychiatry  He is an associate editor of the journal Psychodynamic Psychiatry  Plakun also served for more than a decade with the American Board of Psychiatry and Neurology as a member of the written test committee and as an oral examiner  In 2003, Plakun was selected by the 1700 member Massachusetts Psychiatric Society as the "Outstanding Psychiatrist in Clinical Psychiatry " In addition, Plakun is a member of the Group for the Advancement of Psychiatry (GAP) Committee on Psychotherapy  and the American College of Psychoanalysts Board of Regents 

APA Psychotherapy Caucus
Plakun led the effort that culminated in the founding of the American Psychiatric Association Psychotherapy Caucus, established in 2014  The purpose of the caucus is to connect APA members who share an interest in psychotherapy and psychosocial treatments as well as to "raise the profile of psychotherapy and psychosocial treatment in psychiatry, and to secure skills in these areas as part of the training and identity of future psychiatrists so the field and its practitioners are practicing within a genuinely biopsychosocial model " The caucus is engaged in a number of advocacy and educational activities and currently has close to 300 members 

Research and writing
Plakun is the editor of New Perspectives on Narcissism (American Psychiatric Press, 1990) and Treatment Resistance and Patient Authority: The Austen Riggs Reader (W W  Norton & Company, 2011) and author of nearly 100 articles and book chapters on the diagnosis, treatment, longitudinal course and outcome of patients with borderline personality disorder, treatment resistant disorders, and on shared elements of various schools of psychotherapy  An advocate for the value of psychotherapy and psychosocial treatment, Plakun has argued for the full implementation of the Mental Health Parity and Addictions Equity Act, served as Plaintiffs’ expert on adult mental disorders in Wit v  United Behavioral Health federal class-action, and has presented and written about the case  He has also researched and written on what he calls "Psychiatry’s False Assumptions":  [1] genes = disease; [2] patients present with single disorders that respond to specific evidence-based treatments; and [3] the best treatments are pills  Separately, he has written about psychodynamic residential treatment for patients who have encountered an impasse in their treatment and has called for an evidence-based, inclusive reconceptualization of how psychotherapy competencies are presented and taught to residents 

Selected publications
Plakun, Eric M ; Burkhardt, Paul E ; Muller, John P  (September 1985)  "14-year follow-up of borderline and schizotypal personality disorders"  Comprehensive Psychiatry  26 (5): 448–455  doi:10 1016/0010-440X(85)90081-1  PMID 4028695 
Plakun, Eric M  (September 1989)  "Narcissistic Personality Disorder: A Validity Study and Comparison to Borderline Personality Disorder"  Psychiatric Clinics of North America  12 (3): 603–620  doi:10 1016/S0193-953X(18)30417-9 
Plakun, E  M  (February 1996)  "Treatment of personality disorders in an era of limited resources"  Psychiatric Services  47 (2): 128–130  doi:10 1176/ps 47 2 128  PMID 8825245 
Plakun, Eric M (2001)  "Making the alliance and taking the transference in work with suicidal patients"  The Journal of Psychotherapy Practice and Research  10 (4): 269–276  PMC 3330670  PMID 11696654 
Plakun, EM (1994)  "Principles in the psychotherapy of self-destructive borderline patients"  The Journal of Psychotherapy Practice and Research  3 (2): 138–48  PMC 3330365  PMID 22700187 
Plakun, Eric M  (January 2006)  "Finding Psychodynamic Psychiatry's Lost Generation"  The Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry  34 (1): 135–150  doi:10 1521/jaap 2006 34 1 135  PMID 16548752  ProQuest 198147134  Cited in 29 publications 
Plakun, Eric M  (June 1991)  "Prediction of Outcome in Borderline Personality Disorder"  Journal of Personality Disorders  5 (2): 93–101  doi:10 1521/pedi 1991 5 2 93  ProQuest 848889730  Cited in 41 publications 
Plakun, Eric M ; Sudak, Donna M ; Goldberg, David (January 2009)  "The Y Model: An Integrated, Evidence-Based Approach to Teaching Psychotherapy Competencies"  Journal of Psychiatric Practice  15 (1): 5–11  doi:10 1097/01 pra 0000344914 54082 eb  PMID 19182560  S2CID 2520530 
Sledge, William; Plakun, Eric M; Bauer, Stephen; Brodsky, Beth; Caligor, Eve; Clemens, Norman A; Deen, Serina; Kay, Jerald; Lazar, Susan; Mellman, Lisa A; Myers, Michael; Oldham, John; Yeomans, Frank (2014)  "Psychotherapy for suicidal patients with borderline personality disorder: an expert consensus review of common factors across five therapies"  Borderline Personality Disorder and Emotion Dysregulation  1 (1): 16  doi:10 1186/2051-6673-1-16  PMC 4579509  PMID 26401300 
Eric M , Plakun (May 27, 2015)  "Correcting Psychiatry's False Assumptions and Implementing Parity"  Psychiatric Times  32 (5) 
Passage 3:
Steve Robinson (executive)
Steve Robinson (born September 7, 1946) is an American radio manager, producer and executive producer  He has held senior management positions with numerous American radio stations, including WFMT and the WFMT Radio Network/Chicago, WBUR/Boston, WGBH/Boston, WCRB/Boston, KPFA/Berkeley, WBGO/Newark, Vermont Public Radio and Nebraska Public Radio Network ork  Robinson served as general manager of the statewide Nebraska Public Radio Network (1990-2000) and WFMT and the WFMT Radio Network from 2000 until October 2016 A 50-year radio veteran, he has produced programs ranging from classical music documentaries to public affairs programs and has directed over 100 on-air pledge drives 

Personal life and career
He was born in Boston in 1946  He completed graduation from Boston University in 1969 with a degree in music education  Robinson started his professional career in 1967 at WBUR/Boston while will an undergraduate at Boston University  At WBUR, he produced and hosted six two-hour classical music programs per week  He also created and co-hosted a Saturday morning live call-in program about high fidelity called Shop Talk which ran from 1968 to 1978 After WBUR, Robinson held positions at WGBH and WCRB/Boston and KPFA/Berkeley  In 1976 he was appointed the first development director of Vermont Public Radio (VPR)  At VPR, he won a national award from the Corporation for Public Broadcasting (CPB) for “The Sky Report with Professor Delo Mook”, a five-minute daily program about astrophysics that was syndicated throughout the U S  CPB cited the program for “innovative idea and superb execution ” In 1980, he became the first development director for the newly created Jazz station, WBGO/Jazz88 in Newark  At WBGO, Robinson helped establish the station as one of the most important Jazz stations in the U S In 1971, Robinson met multi-reed instrumentalist, Rahsaan Roland Kirk, and worked with him on several projects, including Radio Free Rahsaan, an eight-part series of one-hour radio programs  After Mr  Kirk’s untimely passing in 1977, he produced Memories of Rahsaan, a series of 30-minute programs that became part of Radio Free Rahsaan In 1984, he co-founded AIR, the Association of Independents in Radio, a service organization to assist independent radio producers in the United States  Robinson wrote AIR’s first two successful grants from the New York State Council on the Arts and the National Endowment for the Arts In 1990, Robinson became the general manager of the newly formed Nebraska Public Radio Network (NPRN), a nine-station system of transmitters throughout the state that reached over one million listeners Throughout his career, Robinson has produced dozens of radio programs that have been heard throughout the world, including live broadcasts from Salzburg, Austria (on the occasion of Mozart’s 250th birthday); Durbin, South Africa (for the world premiere for the opera, “Princess Magogo); Quebec City, Canada (for a live broadcast of Mahler’s Symphony of a Thousand with 1000 performers); Jerusalem, Israel (for a broadcast from the Jerusalem International Chamber Music Festival); and has produced numerous live broadcasts from Chicago and throughout the U S He has worked with William Schuman, Elliott Carter, Charles Dodge, Roger Reynolds, Alan Hovhaness and other composers on programs about their music  In 2003, he created the daily classical music appreciation radio program, Exploring Music with Bill McGlaughlin  The series is carried by state networks throughout the world including Australia and China  At the WFMT Radio Network he created the first classical music radio exchange between the United States and China 

WFMT and the WFMT Radio Network
In 2000, Robinson became the general manager of WFMT and the WFMT Radio Network  Founded in 1951, WFMT is considered as one of the most admired classical music stations in the U S  and under his leadership many new programs were added to the local schedule, including Introductions, Impromptu and others  Robinson worked on diversifying the programs of WFMT by expanding the amount of live broadcasting from the station One of his most important initiatives at the WFMT Radio Network was the creation of Exploring Music with Bill McGlaughlin, in 2003  This daily, one-hour music appreciation program is heard on over 60 U S  stations and has a weekly audience of over 400,000 unique listeners  The program is also heard in Australia, Guam, the Philippines and in Beijing  Initial funding for Exploring Music was provided by the National Endowment for the Arts with additional funding from individuals and foundations The station under his leadership focused on live music by broadcasting a wide array of local Chicago groups and ensembles  In 2007, the Chicago Tribune named him “Chicagoan of the Year” in the arts In 2015, he executed a cross-cultural broadcast relationship between America and China by exporting to China for the first time broadcasting concerts by the NY Philharmonic, LA Philharmonic, San Francisco Symphony, Dallas Symphony, Chamber Music Society of Lincoln Center and Carnegie Hall  He also arranged for concerts from the Shanghai Spring International Music Festival and the Shanghai Symphony Orchestra to be exported to the West with broadcasts in the U S , Canada and Europe In 2022, Robinson launched a YouTube channel for his series, The Architects of Music with Lawrence Rapchak 

Other work
In 2004 and again in 2010, Robinson created and produced two, live, 17-hour fundraising campaigns involving all Chicago radio and TV stations to aid victims of the tsunami in southeast and the earthquake in Haiti  Each campaign raised over $3 million  Robinson received two Wesbury Award from the American Red Cross of Greater Chicago for the fundraising campaigns In 2008, Robinson and Bill McGlaughlin received the Dushkin Award for Exploring Music with Bill McGlaughlin from the Music Institute of Chicago  He has received local and national awards for his work in Chicago, including the Champion Award from the Merit School of Music, the ASCAP/Deems Taylor Award for creative programming and others 
Passage 4:
New Jersey Network
The New Jersey Network (NJN) was a network of public television and radio stations serving the U S  state of New Jersey   NJN was a member of the Public Broadcasting Service (PBS) for television and the National Public Radio (NPR) for radio, broadcasting their programming as well as producing and broadcasting their own programming, mostly relating to issues in New Jersey   With studios in both Trenton and Newark, NJN's television network covered all of New Jersey, plus parts of Pennsylvania, New York, Connecticut and Delaware   The radio network primarily served several areas of New Jersey that were not covered by Philadelphia and New York City public radio stations 
New Jersey Network ended operations on June 30, 2011   The television network was succeeded by NJTV (now branded as "NJ PBS"), and the radio stations were split through two separate sales to NPR-member stations in Philadelphia and New York 

Early history
The system was founded in 1968 by an act of the New Jersey Legislature establishing the New Jersey Public Broadcasting Authority (NJPBA)   New Jersey already had a public television station licensed within the state, WNET (channel 13), licensed to Newark  However, while WNET had offices and studios in Newark, for all practical purposes it was a New York City station, effectively leaving New Jersey without a public station of its own 
With state funding and four UHF licenses assigned years earlier by the Federal Communications Commission, the NJPBA went to work building the state's public television stations  The first station, WNJT (channel 52) in Trenton, went on the air on April 5, 1971, with the other three stations signing on over the next two years  The system was known on-air as New Jersey Public Television (NJPTV) until 1981, when it adopted the New Jersey Network identity 
Due to New Jersey being split between the New York City and Philadelphia television markets, NJN's television network reached one of the largest potential audiences in the country  At the time of its closure, it potentially reached over 25 million people in parts of five states  However, it also forced NJN to compete directly against three of the highest-rated PBS stations in the nation–WNET, secondary New York City member station WLIW, and Wilmington, Delaware-licensed WHYY-TV, in the Philadelphia market  Two other PBS member stations based in Pennsylvania, WLVT-TV in Allentown and WVIA-TV in Scranton, were also viewable in portions of NJN's coverage area 
NJN spent most of its existence trying to carve out a niche of its own  One of its solutions had been to air some of the more popular PBS shows on a delayed basis, after the nearby stations had carried the national PBS feed  Programs that might be seen on WNET and WHYY-TV would air on NJN a week or two later   Another solution was to focus on its news operation  The latter worked very well, as NJN and its reporters won many awards for their journalistic efforts  In the 1980s, NJN was the first media outlet to break the "Taggart affair" political patronage scandal  NJN's news and public affairs programming was initially co-produced by WNET until 1981, and continued simulcasting on WNET for several years afterward  This was part of a longstanding agreement between the FCC, New Jersey officials, and WNET that allowed WNET to fulfill its local programming obligations (since it was still licensed to Newark) 
NJN's radio network began operation on May 20, 1991, when WNJT-FM in Trenton started operations  Eight other stations were established over the following seventeen years  They served mainly to bring NPR programming to the few areas of New Jersey without a clear signal from New York's WNYC AM-FM and Philadelphia's WHYY-FM 
In the immediate aftermath of the September 11 attacks of 2001, the station temporarily broadcast WABC-TV 

Transition
In 2008, in the face of a proposed 35 percent cut in funding, NJN officials asked the state legislature for permission to become an independent nonprofit entity  Under this proposal, the state network would have likely been transferred to its nonprofit fundraising arm, the NJN Foundation  Two consultants looking into fundraising options speculated that breaking off from the state would have triggered an avalanche of private funding After assuming the office of New Jersey Governor in 2010, Chris Christie voiced his support for transforming NJN into a not-for-profit organization in his March 2010 budget speech  Christie believed the state taxpayers should not have to support a TV and radio network which many never watched or listened to, a stand in keeping with the growing Republican interest at the time in populism 
On October 15, 2010, a bipartisan legislative task force called for a "dramatic reconfiguration" of the state network, but not full privatization  Christie nonetheless moved forward with plans to remove state funding  On November 17, NJN handed termination notices to 130 employees, leading to speculation that the state network would shut down on January 1, 2011, when funding from the state would end  On December 17, 2010, Governor Christie signed legislation to transfer the state network to independent funding  The legislation also suspended the layoffs 

Endgame
On June 6, 2011, the split of NJN's radio and television operations was announced by Gov  Christie   They were as follows:
Television: WNET assumed control of NJN's television stations for what was, initially, a five-year term under a new nonprofit entity called Public Media NJ  The television network was renamed NJTV, and promised to feature increased coverage of news and issues pertinent to New Jersey, as well as programming from the WNET and PBS libraries  Caucus Educational Corporation, which produces Caucus: New Jersey, serves as a producing partner with NJTV for New Jersey-focused public affairs programming  The agreement did not include transfer of the station licenses, which were retained by the New Jersey Public Broadcasting Authority; the contracts are instead tantamount to local management agreements in commercial broadcasting which nominally do not require approval from the FCC  Ironically, NJN was created in part due to concerns that WNET and WHYY-TV were not adequately serving the New Jersey portions of their service area 
Radio: NJN's radio network was divided in a pair of multi-station sales, with New York Public Radio (owners of WNYC-AM-FM in New York City and Newark-licensed WQXR-FM) acquiring four stations and WHYY-FM in Philadelphia obtaining the other five  New York Public Radio used its stations to start a new New Jersey-oriented network, New Jersey Public Radio, while WHYY turned its new acquisitions into repeaters of WHYY-FM  These sales were approved by the FCC on August 29, 2011 On June 23, 2011, the New Jersey State Assembly voted, 45 to 30, in favor of rejecting the WNET/Caucus proposal for transfer of control of the NJN television stations  The state Senate, however, passed the resolution on June 27 by a 20 to 19 margin, allowing the deal to go into effect as scheduled on July 1  All 130 NJN employees, who had been New Jersey state civil servants, either retired, were reassigned to other state agencies, or were terminated as a result of the system's closure The last scheduled program aired on NJN television was Theatre Talk, which was followed by a previously-aired news report and a pre-taped farewell message by Janice Selinger, NJN's acting executive director  NJN's website, www njn net, was archived and remained active for about a year after the shutdown; it redirected to the NJTV webpage, www njtvonline org for some time afterward  However, as of September 2014, it no longer redirected to that website, as the domain name was sold  Some of NJN's in-house public affairs programs, such as Due Process, On the Record and Reporters Roundtable, were picked up by, and continue to air on, its successor, NJTV 

Television
The NJN television stations were:

Camden: WNJS (channel 23/RF 22)
Montclair: WNJN (channel 50/RF 51)1
New Brunswick: WNJB (channel 58/RF 8)
Trenton: WNJT (channel 52/RF 43)
Notes
1 WNJN used the callsign WNJM (the M standing for Montclair) from 1973 sign-on to 1994 Signal ReachWNJS: all of southern New Jersey (including, Camden, Haddon Township, Atlantic City), as well as Philadelphia and Wilmington, Delaware
WNJN: all of northern New Jersey (including Newark, Jersey City and Paterson), as well as southern New York state (New York City and western Long Island) and a small portion of southwestern Connecticut
WNJT: most of central New Jersey (including the city of Trenton, Monmouth, Mercer and Ocean counties)
WNJB: most of north-central New Jersey (including, New Brunswick, Hunterdon, Somerset and Middlesex counties)

Digital television
The state network's digital signals were multiplexed:

After NJN ceased operations and WNET took over the operations of NJN, NJN Kids was removed and sub-channel  3 remained with no programming  In October 2017, the third sub-channel was removed and the  2 sub-channel began broadcasting NHK World 

Analog-to-digital conversion
The four NJN stations shut down their analog signals on June 12, 2009, as part of the DTV transition in the United States  Each of the four NJN stations remained on their pre-transition digital assignments using PSIP to display virtual channels for each NJN station corresponding to their former analog channel numbers 

Television Programming
Original materials from New Jersey Public Broadcasting Authority have been contributed to the American Archive of Public Broadcasting 

NJN-produced
Another View
Caucus: New Jersey
Classroom Close-up, NJ
Congress Watch
Due Process
Homeless Tails
Images/Imagenes
Inside Trenton
New Jersey Works
NJN Classics
NJN News
On the Record
Reporters Roundtable
Shepherd's Pie (monologue program hosted by Jean Shepherd)
State of the Arts
Tomorrow's Medicine Today (produced by Medical Missions for Children)
The Uncle Floyd Show (aired in the 1980s)

Lottery Drawings
NJN aired live drawings from the New Jersey Lottery until the network's closure in 2011, at which point the Lottery began live-streaming its drawings (via Ustream, and later Livestream) 
NJN's successor, NJTV, aired Lottery drawings from September 2011 through the end of 2012; on January 1, 2013, the drawings moved to two CBS-owned stations, WLNY-TV in the New York area and WPSG in Philadelphia  As of 2016, these drawings are now aired on WPIX in New York and WPHL-TV in Philadelphia 

Radio
Unlike its television counterpart, NJN Radio covered mainly southern New Jersey, with only two transmitters in the northern part of the state  Due to the crowded state of the noncommercial end of the FM dial in the northeastern United States, the nine stations all operated at relatively low power  Much of the programming came from NPR and other public radio suppliers, with a simulcast of the audio of the television network's NJN News weekday evenings following All Things Considered 

Stations acquired by WHYY, Inc , simulcasting WHYY-FM:Stations acquired by New York Public Radio:
Passage 5:
WPPR
WPPR (88 3) is a public radio station in Demorest, Georgia   Originally, WPPR had the call letters WDEM (Radio Demorest), but changed to WPPR on August 19, 1996  It is part of the Georgia Public Broadcasting radio network, which in turn is a member of National Public Radio, Public Radio International, and American Public Media  Unlike many stations of the GPB network, WPPR does not only broadcast simulcasts from GPB  WPPR also produces its own programming about the local area including Habersham County  One of the community features, Community Life in Northeast Georgia, is an educational and informative program about an area that is not well known  WPPR's studios are located on the Piedmont College campus in Demorest  This allows for Piedmont Mass Communications students to work directly with WPPR as interns 

See also
List of radio stations in Georgia (U S  state)
Piedmont College
Passage 6:
Minnesota Public Radio
Minnesota Public Radio (MPR), is a public radio network for the state of Minnesota  With its three services, News & Information, YourClassical MPR and The Current, MPR operates a 46-station regional radio network in the upper Midwest 
MPR has won more than 875 journalism awards, including the Peabody Award, both the RTNDA Edward R  Murrow Award and the Corporation for Public Broadcasting award of the same name, and the Alfred I  duPont-Columbia University Gold Baton Award  As of September 2011, MPR was equal with WNYC for most listener support for a public radio network, and had the highest level of recurring monthly donors of any public radio network in the United States MPR also produces and distributes national public radio programming via its subsidiary American Public Media, which is the second-largest producer of public radio programming in the United States, and largest producer and distributor of classical music programming 

History
Minnesota Public Radio began on January 22, 1967, when KSJR-FM first signed on from the campus of Saint John's University in Collegeville, just outside St  Cloud  Colman Barry, then president of Saint John's, saw promise in the then-relatively-new technology of FM radio, and believed radio was an appropriate extension of Saint John's cultural and artistic functions to the broader community  He hired a 23-year-old graduate of St  John's, William H  Kling, as director of broadcasting It soon became apparent that St  Cloud and surrounding Stearns County did not have enough listeners for the station to be viable, so Kling more than tripled KSJR's power in hopes of reaching the Twin Cities  However, it only provided grade B coverage to Minneapolis and the western portion of the metro, and completely missed St  Paul and the east  Realizing that the station needed to cover the Twin Cities to have a realistic chance of survival, St  John's started KSJN, a low-powered repeater station for the Twin Cities, in 1968  The operation was awash in debt, and by 1969, St  John's realized it did not have the adequate financial or personnel resources to operate a full-fledged noncommercial radio station  With Barry's support, Saint John's transferred KSJR/KSJN's assets to a community corporation, St  John's University Broadcasting  This corporation later changed its name to Minnesota Educational Radio, and finally Minnesota Public Radio  Kling led MPR as president and CEO for 44 years, before retiring in 2011 MPR was a charter member of National Public Radio in 1971, and had helped lay the groundwork for forming that organization during 1969 and 1970  In 1971, the network moved its operations from Collegeville to St  Paul, funded in part with a news programming "demonstration" grant from the Corporation for Public Broadcasting  New studios were built and KSJN became the flagship station  During the 1970s, additional stations were added and the network expanded across Minnesota  It was during this period KSJN's news department won numerous regional and national awards and became one of the region's most highly-regarded news operations 
In 1974, MPR began live broadcasting of Garrison Keillor's A Prairie Home Companion, one of the best-known programs on public radio, from the Park Square Theatre in Saint Paul  In the early days of the program, members of the production staff were said to have to work hard to fill the theatre seats, sometimes bringing in radio station staff and urging passersby to come into the theatre from the street outside  In 1980, MPR originated the Peabody Award-winning show, Saint Paul Sunday, which went national via syndication in 1981 
MPR assisted in 1983 with the formation of American Public Radio - now known as Public Radio International, which merged with Public Radio Exchange in 2019 
Originally, MPR played a mix of classical music and NPR news/talk programming  However, as NPR expanded its offerings, Kling made plans to split MPR into separate classical and news/talk networks  MPR sought to buy a second FM frequency in the Twin Cities from the late 1970s onward  As a fallback, in 1980 it bought WLOL (AM 1330), one of the oldest stations in Minnesota, and changed its calls to KSJN (AM), a simulcast of KSJN-FM  In 1989, AM 1330 changed its calls to KNOW and began airing an expanded lineup of NPR programming  In 1991, MPR bought WLOL-FM, AM 1330's former FM sister, allowing it to finally split its services into two networks  The KNOW call letters and intellectual unit, including the NPR news and talk format, moved to KSJN's old frequency of 91 1  The KSJN calls moved to WLOL-FM's former frequency of 99 5, which began playing classical music full-time 
MPR acquired Marketplace Productions, which produces Marketplace, "Marketplace Morning Report" and "Marketplace Money" from studios in Los Angeles, in association with the University of Southern California, in 2000  That same year, MPR founded Southern California Public Radio, which entered into a public service operating agreement with Pasadena City College to run KPCC in Pasadena, California  In 2004, MPR began distributing its own shows through American Public Media, leaving PRI; APM was the third radio network in the U S  to have received founding support from MPR, probably an unmatched record for an American radio station or network In 2004, MPR announced it would buy WCAL (89 3 FM), the classical music station operated by St  Olaf College in Northfield, Minnesota  WCAL (and a repeater station, KMSE in Rochester), were sold in a deal valued at $10 5 million, which was approved by the Federal Communications Commission in 2004  The next year, following the acquisition by MPR, WCAL changed its call letters to KCMP and was transformed into MPR's third service, "The Current" 
In 2008, a WCAL advocacy group took St  Olaf College to court for breach of trust in selling the radio station  (A June 2008 judge's opinion described the station as a charitable trust and therefore, not the college's property to freely dispose of  [1] MPR's General Counsel and three attorneys took part in the proceedings [2] However, a 2009 court found in favor of MPR due to its ruling that the statute of limitations on the matter had expired, nullifying the advocacy group's standing )
Today, MPR serves a regional audience of one million listeners through 43 stations presenting three broadcast network services 
Original materials from Minnesota Public Radio have been contributed to the American Archive of Public Broadcasting 

Services
With the addition of later stations, MPR originally offered a mix of classical music and NPR news/talk programming on a single service  Beginning in 1991, MPR's programming split in two, forming separate news and classical music services (although one station in the Upper Peninsula of Michigan still carries a combination of those two services)  The 2005 acquisition of WCAL in Northfield, Minnesota, which covers the Minneapolis-St  Paul and Rochester areas, provided the opportunity to launch another music service, "The Current " This third service has gradually expanded to most of southern eastern Minnesota 

MPR News
MPR's news and information service includes a mix of locally produced programs and national/international shows  The flagship station is KNOW-FM (91 1 FM) in the Twin Cities 
The MPR newsroom has garnered international acclaim, most recently earning the inaugural Knight News Innovation EPpy Award in 2008  MPR's newsroom is known for its Public Insight Network, a database of citizen sources who contribute their expertise on a wide array of topics  The Public Insight Network grew to 140,000 sources in 2011 and partners with other news media, journalism schools, foundations and community groups 
As of 2022, 24 full power stations carry MPR's News and Information service and various translator signals around the state offer additional coverage 
MPRNews org is a non-profit news website maintained by MPR  This online news source covers issues that affect the state including politics, business, education, health, environment and the economy  MPR News offers headline news, video, blogs, audio and multiple ways for readers to become involved in the news-making process 

YourClassical MPR
MPR's classical music network is carried on 18 full power stations and various translators offer additional coverage  The flagship station is KSJN (99 5 FM) in the Twin Cities  In April 2021, the station rebranded as YourClassical MPR, aligning it with the umbrella branding used for American Public Media's digital classical music platforms and nationally-distributed programming  Most of the network's schedule is a simulcast of APM's Classical 24 network, although a statewide morning show airs Monday-Friday, an afternoon drive request show airs Friday and the network airs various specials and live broadcasts  The HD 2 signal of KSJN-FM offers a 24 hour feed of the Classical 24 network 
On September 10, 2020, Garrett McQueen, the host of Classical 24's Music Through the Night, and MPR's only African-American classical music host, was terminated by American Public Media for "not following programming guidelines " According to McQueen, he was "given two warnings — one of which was about his need to improve communication and the other warning was for switching out scheduled music to play pieces he felt were more appropriate to the moment and more diverse "

The Current
MPR's third service, The Current, debuted on January 24, 2005, and airs an Adult album alternative format 
Several people on The Current's initial staff are well known in the area for previous work at stations that highlight music from Minnesota and the Upper Midwest  Many of the staffers and on-air personalities came from other similar stations, such as the University of Minnesota's KUOM, community-oriented KFAI, and commercial alternative rock outlets REV 105 and Cincinnati, Ohio's WOXY com 
Programming on The Current is mostly locally produced  The flagship station is KCMP (89 3 FM), licensed to Northfield on the southeastern periphery of the Twin Cities, though the signal covers most of the metro area  A lower-power station, KMSE (88 7 FM), serves Rochester and southeastern Minnesota, KZIO (104 3 FM) serves the Duluth area, and translators offer additional coverage in other parts of the state  The service is also carried as an HD service on several of MPR's full power stations  KPCC, the NPR affiliate in Los Angeles operated by MPR's parent company, APM, carries The Current on its HD 2 signal  The Current also streams online in a variety of formats 

Additional services
Minnesota Public Radio also programs several other music services, all available online, with a few offered on HD Radio in the Twin Cities area 
Carbon Sound is the newest MPR service, focused on R&B music and Black artists  In addition to streaming online, it is available on the HD 2 subchannel of KCMP in the Twin Cities 
Local Current is a service programmed by the staff of The Current, and features music from Minnesota artists  The service streams online 
Purple Current is an R&B and Hip-Hop service inspired by Prince 
Rock The Cradle is also programmed by personnel at The Current, and airs a variation of their AAA format, with music geared toward children and parents  It is available via a separate webstream 
Radio Heartland features an eclectic mix of acoustic, Americana and roots music  The service can be found on the HD2 subchannel of KNOW-FM and also via a separate webcast  KNOW-FM also features an HD3 subchannel consisting of programming from NPR and the BBC World Service  The signal carries additional hours of Morning Edition and All Things Considered not available on KNOW's main signal  Several other NPR and APM shows air on the service 
Subsidiary Communications Authority (SCA's) are used to transmit a Minnesota version of the Radio Talking Book Network to disabled listeners around the state, in cooperation with Minnesota State Services for the Blind  MPR also serves as the radio backbone for the radio portion of the state's Emergency Alert System, and as the backbone for the state's AMBER Alert System 
MPR owns WGGL, the NPR affiliate serving Houghton, Michigan  The station airs a combination of NPR News, BBC World Service and Classical 24 programming  While MPR supplies weather updates, local MPR programming and news updates are not aired on the station  KWRV in Sun Valley, Idaho, is also owned by MPR and airs a 24 hour classical music format, supplied by APM's Classical 24  5 minute NPR news updates are inserted during the morning and afternoon drives  Like the station in Michigan, MPR airs local weather to KWRV, but the station strictly airs national programming 

Programs
Funding
Minnesota Public Radio is a nonprofit, 501(c)(3) organization and relies on contributions from listeners, foundations, educational partners and corporations for its general operations  It also receives support through underwriting on the air and on the Web 
Listener contributions, corporations, foundations and educational partners account for approximately 60 percent of MPR's total budget  Additional funding is provided by the Corporation for Public Broadcasting  The State of Minnesota provides modest capital grants to upgrade infrastructure and equipment in greater Minnesota, but does not provide operating funding to the organization  MPR also receives operating funding through the sale of on-air and online underwriting 
The for-profit Rivertown Trading Company, once a subsidiary of MPR's parent company, was sold in 1998 for $124 million  Profits went toward creating MPR's endowment, a percentage of which contributes to MPR's overall annual budget 

Broadcast coverage
Minnesota Public Radio broadcasts on several dozen stations that serve Minnesota and its neighboring communities and various translators providing additional local coverage  Stations are located in Minnesota, South Dakota (Brookings and Sioux Falls), Michigan (Houghton), Iowa (Decorah), and Idaho (Sun Valley)  MPR also operates KPCC in Pasadena, California 
Most areas are served by both a classical music station and a news and information station  Duluth and Rochester are served by a classical music station, a news and information station, and The Current 
MPR's newest service, The Current, is available in Austin, Hinckley, Mankato, the Twin Cities, New Ulm, Rochester, St  Cloud (Collegeville) and St  Peter 
Minnesota Public Radio also broadcasts all three of its services – News, Classical and The Current – on HD Radio in several communities throughout the state of Minnesota  In the Twin Cities, MPR multicasts Classical 24, an additional news service and Purple Current 

See also
American Public Media
Saint Paul Sunday
Public Insight Journalism (a newsgathering and networking initiative founded by MPR)
Independent Public Radio (another public radio network in Minnesota, also known as AMPERS)
Passage 7:
WAMC
WAMC-FM (90 3 FM) is a non-commercial educational radio station licensed to Albany, New York, United States, featuring a public radio format  Owned by "WAMC Northeast Public Radio" with a legal name of "WAMC", WAMC-FM's primary signal encompasses the Capital District, along with parts of eastern New York, southern Vermont, Western Massachusetts and the Litchfield Hills region as the regional affiliate for National Public Radio (NPR), American Public Media, Public Radio Exchange and the BBC World Service  The station's reach is extended into west-central Connecticut, northeastern Pennsylvania and the Monadnock Region, Champlain Valley, Skylands Region and North Country areas, along with portions of Quebec, via a network of twelve full-power repeaters and sixteen low-power translators  One of these satellite stations operates on the AM band, WAMC (1400 AM) in Albany Unlike many NPR stations around the U S  which use mostly outside programming, much of WAMC's schedule is produced in-house  WAMC is a charitable, educational, non-commercial broadcaster meeting the requirements of Section 501(c)(3) of the Internal Revenue Code (26 U S C  §501(c)(3)) It had total annual revenues for the fiscal year 2010 of $6 36 million  The station operates The Linda, WAMC's Performing Arts Studio, near its Central Avenue studios in Albany  WAMC-FM's corporate officers include Dottie Reyonolds, chair of the board of trustees, and Alan S  Chartock, past president and chief executive officer 

History
Albany Medical Center
WAMC signed on the air in October 1958  Albert P  Fredette served as the first general manager  WAMC was put on the air by the local hospital and medical school, Albany Medical Center and Albany Medical College  Albany Medical Center is a large tertiary-care hospital serving the upper Hudson Valley, and the medical school is one of the country's ACGME-accredited medical schools  The affiliation with Albany Medical College was the source of the call sign WAMC  In 1981, the station became an independent institution, no longer associated with the medical school 
In its early days, WAMC had a mostly classical music radio format  The earliest years also included broadcasts of health information and lectures from visiting medical professors  Early on, part of WAMC's regular programming was the broadcast of live concerts by the Boston Symphony Orchestra from Tanglewood and Boston  When the NPR network was founded in 1970, WAMC signed on as one of NPR's original 90 "charter" members 

Separating from the medical school
Around 1980, financial pressures caused the hospital and medical school to begin divesting the station  In 1981, the Federal Communications Commission (FCC) license on 90 3 FM was transferred to a 501c3 tax-exempt entity, WAMC, Inc , which had been set up by a group of five corporators, including the current CEO and president, Alan S  Chartock  WAMC was initially affiliated with the State University of New York and New York State government 
In the years since the transfer, the station has eliminated classical music, except for live BSO concerts  It has become a producer of information-based, non-music programming, providing a variety of interview-format programs to radio stations across the country via the station's in-house subsidiary, National Productions  (WMHT-FM in nearby Schenectady and its network of repeater stations continues to program classical music in the region )

Expanding the network
Listener contributions (often obtained during periodic pledge drives) and corporate contributions have helped the original single station grow over the years into a network of 22 facilities with large primary service contours covering the Capital District, the Adirondacks section of New York State, Western Massachusetts, Southern Vermont, and parts of New Hampshire, Connecticut, Pennsylvania and New Jersey 
It has been a custom on WAMC to play two songs to mark the end of every fund drive: Kate Smith's "God Bless America" and Ray Charles' rendition of "America the Beautiful"  The station's February 2017 fund drive raised over $1,000,000 in less than one day The main 90 3 mHz signal has an effective radiated power (ERP) of 10,000 watts, which on paper is somewhat modest for a full NPR member on the FM band  However, its height above average terrain (HAAT) of 600 meters (2,000 ft) gives it one of the largest coverage areas of any NPR station in the Northeast  It provides at least grade B coverage to most of east-central New York (including the Capital District), southwestern Vermont, western Massachusetts, southwestern New Hampshire, and northwestern Connecticut 

Mount Greylock
While WAMC-FM is based in Albany, its transmitter is actually in Massachusetts  WAMC-FM's antenna tower is atop Mount Greylock in Adams, in the Mount Greylock State Reservation  It is the tallest mountain in Massachusetts  The transmitter had formerly been a tenant on the tower, which was built and maintained by the Albany ABC-TV affiliate WTEN (channel 10) for its satellite station for the Berkshire region and Pittsfield, WCDC  WCDC had broadcast on channel 19 but that signal was shut down in 2017  The tower also features a radio facility for the Massachusetts State Police and a translator station for the Albany NBC affiliate, WNYT (channel 13) 
On December 22, 2017, WAMC entered into an agreement to purchase the Mount Greylock WCDC transmitter and tower from the owner of WTEN/WCDC, Nexstar Media Group, for just above $1 million  WCDC-TV had gone permanently silent on November 19, 2017, two weeks ahead of a planned December 1 shutdown amid declining over-the-air viewership, following damage to the station's transmission line in a storm  The TV station license was surrendered for cancellation on February 12, 2018, as a result of the FCC's 2016 spectrum auction for $34 5 million in compensation  Due to the tower sitting on Massachusetts Department of Conservation and Recreation land, as well as WTEN's lease on the land having expired two years prior, WAMC-FM could have been taken off the air if it had not purchased the facility  WAMC now owns the tower itself, but not the land beneath, which is under lease with the MDCR until 2025 

Accusations of bias
NPR's official news policy says its affiliate stations should be "fair, unbiased, accurate, honest, and respectful of the people that are covered"  A Washington-based NPR news producer, who requested anonymity, stated that Chartock, the station's president and a frequently heard voice on the station, presents politically-biased commentary Chartock responded that WAMC's editorial neutrality is maintained by "including as many conservative commentators on the air as liberal ones" 

First Amendment Fund
In 2005, WAMC's board of trustees established a "First Amendment Fund" to promote and preserve the First Amendment and the right of free speech by providing a source of funding "to support WAMC if special situations or needs should arise"  The contributions in this "unrestricted, board designated" fund reported on WAMC's 2006 IRS tax forms was $482,577 

Other stations
WAMC-FM extends its signal throughout much of New York and portions of Pennsylvania, Connecticut, New Jersey, Vermont and Massachusetts, along with portions of Quebec, via the following network of full-power satellite stations and low-power analog translators:

Repeaters
Translators
Programs
WAMC syndicates many of its shows to other public radio stations  These programs include    

Legislative Gazette
Women's news show 51% with Jesse King
Environmental news show Earth Wise
Person Place Thing with Randy Cohen
The Academic Minute with Lynn Pasquerella
Ideas show The Best Of Our Knowledge with Bob Barrett
Author interview program The Book Show with Joe Donahue
The Capitol Connection with Alan S  Chartock
Media criticism show The Media Project 

See also
David Guistina
Passage 8:
AMPERS
AMPERS (Association of Minnesota Public Educational Radio Stations) is an association of 18 independent community radio stations in Minnesota  Each station is locally managed and programmed by and for the local community it serves  AMPERS is the largest statewide association of community radio stations in the United States  The stations primarily serve underserved populations including greater Minnesota, diverse communities, and students for a combined audience of about 300,000 listeners  AMPERS has no affiliation with Minnesota Public Radio (MPR) and receives no financial support from MPR 

AMPERS Member Stations
External links
AMPERS
Passage 9:
KMXT (FM)
KMXT (100 1 FM) is an NPR–member non-commercial  radio station in Kodiak, Alaska, United States  In addition to its NPR membership, KMXT is also affiliated with the Alaska Public Radio Network and the BBC World Service  It also airs many hours of locally originated news, talk and music programming, and relies heavily on non-paid citizen volunteers to host numerous shows 

HD programming
Currently KMXT broadcasts one analog and three digital signals:

KMXT-HD1 rebroadcasts the programming from the analog signal 
KMXT-HD2 classical and jazz 
KMXT-HD3 KMX3 is a mono news and talk channel An HD Radio receiver is required to pick up the digital channels  KMXT also streams its analog signal over the web 

Translators
In addition to five low-powered, separate-frequency translators, one low-powered booster also extends coverage  Boosters are licensed on the same frequency as the parent station but at a different location  They are given the same callsign as the parent station with a number added to differentiate the transmitter site 
Passage 10:
WGPB
WGPB FM 97 7  is a public radio station in Rome, Georgia   It is part of the Georgia Public Broadcasting radio network, a state network which in turn is a member of National Public Radio, Public Radio Exchange, and American Public Media   Unlike most stations on the GPB network, WGPB does not completely simulcast with the network   WGPB also produces its own programs   The studios are located at Georgia Highlands College's Heritage Hall campus in downtown Rome, from which locally produced programming originates  The station began broadcasting as WGPB at 5 AM on June 30, 2006 

History
The station began broadcasting May 22, 1965 as WROM-FM, sister station to WROM AM 710  It had that callsign until November 1979 when it became WKCX, known as "K98", most recently with a hot adult contemporary format   A satellite-delivered format was used during most of the broadcast day, except for mornings and afternoons   The station was previously owned by Mills Fitzner, who owned WKCX for 20 years under the name Briar Creek Broadcasting Corp 

Format and callsign change
In 2006, WKCX was sold to Georgia Public Broadcasting, with the format changed from hot adult contemporary, to public broadcasting  The deal was announced in March 2006, and was finalized after a 45-day waiting period on June 29, one day before GPB began broadcasting on the frequency   Most of WKCX's staff left the station on May 31 in preparation for the changeover  The station began broadcasting as WGPB at 5 AM on June 30, 2006 

Coverage
WGPB is the first GPB or NPR radio station in northwest Georgia, and covers all of Floyd and about half of each neighboring county reliably   The only other NPR/PRI stations available are WABE FM 90 1 from Atlanta, and WUTC FM 88 1 and WSMC-FM 90 5 from Chattanooga, both of which have marginal to poor reception in the Rome area   GPB Radio is also usually available on the second audio program of GPB TV station WNGH-TV 18, from near Chatsworth, except for when WNGH is using the SAP channel for other uses 
The station broadcasts with a power of 4,200 watts at 241 meters (791 ft) HAAT, and is class C3   Despite what seems like a low effective radiated power, its height makes it approximately equivalent to the class C3 maximum of 25,000 watts at 100 meters, which gives a reference distance of nearly 40 km or 25 miles from the radio antenna site   This is the first GPB station, and one of the few non-commercial educational stations in the country, that use a channel outside of the 88-92 MHz reserved band   WQMT FM 98 9 in Chatsworth was purchased under similar circumstances for $3 2 million and switched to GPB programming on January 2, 2008 as WNGH-FM   Both stations have a single station ID done together each hour and heard on both stations, indicating they use the same feed 
In early February 2013, GPB applied to the FCC to move the station eastward, which would reduce coverage in northeast Alabama and increase it in northwestern metro Atlanta, bringing Cartersville and Acworth within its protected signal contour   This would increase power from 4 2 to 17 5 kW, but decrease HAAT from 241 to 120 meters (394 ft), leaving the station with approximately the same or slightly greater coverage area, and with greater population within its broadcast range   This radio tower, just west-northwest of Kingston (34°15′3″N 84°59′5″W), has been used by WTSH-FM 107 1, which is moving south-southwest to a higher tower located west-northwest of Euharlee according to that station's construction permit   WGPB's application references two other stations in Alabama which would also be moving as the result of its signal being pulled away from that state 

Broadcast translator
The station was also assigned broadcast translator W221CG FM 92 1 MHz, licensed to, but not reaching any part of, Kennesaw with 55 watts at 19 meters HAAT   It was located along Cobb Parkway (U S  Route 41) on the north-northeast corner of Awtrey Church Road (34°3′57″N 84°43′24″W), west of Acworth and just north of SR 92, and reached as far north as the southern parts of Emerson according to FCC maps 
It was owned by Radio Assist Ministry, not GPB/GPTC, and may not have actually been airing WGPB   It has since been reassigned to relay commercial station WWWQ FM 99 7 MHz, and was sold by RAM to Cumulus Licensing, owner of WWWQ   The station was moved west-southwest in 2009 to the far exurbs between Dallas and Hiram, and had a construction permit to move between Powder Springs and Austell to serve Lithia Springs on 92 5 MHz, where it became W223BP in early 2012 

See also
Context 2: Passage 1:
Encounter with Werther
Encounter with Werther (German: Begegnung mit Werther) is a 1949 West German historical drama film directed by Karl-Heinz Stroux and starring Horst Caspar, Heidemarie Hatheyer and Paul Klinger  It is based on the writing of the 1774 novel The Sorrows of Young Werther by Johann Wolfgang von Goethe  It was released to commemorate the writer's second hundredth birthday in August 1949 
It was shot at the Bavaria Studios in Munich and on location in Limburg, Wetzlar and Marburg an der Lahn 
The film's sets were designed by the art director Paul Markwitz 

Cast
Horst Caspar as Werther
Heidemarie Hatheyer as Lotte
Paul Klinger as Albert
Rudolf Reiff as Amtmann as Lotte's Father
Paul Dahlke as Napoleon
Walter Kottenkamp as Goethe
Fritz Odemar as Graf
Harald Mannl as Gesandter
Christiane Felsmann as Frl  von Bassenheim
Arthur Mentz as Bauernbursche
Friedrich Siemers as Schreiber Heinrich
Karl Lieffen as Bediensteter Bursche
Passage 2:
Piano Quartet No  3 (Brahms)
The Piano Quartet No  3 in C minor, Op  60, completed by Johannes Brahms in 1875, is scored for piano, violin, viola and cello  It is sometimes called the Werther Quartet after Goethe's The Sorrows of Young Werther  The premiere took place in Vienna on November 18th 1875 to an anxious public  Richard Wagner and his wife Cosima were in attendance 

Structure
The quartet is in four movements:

Analysis
First movement
The first movement is a sonata-form movement in C minor in triple meter  It begins with the piano playing bare octaves on C  The violin, viola, and violoncello then play the first theme, consisting of two sighing gestures of a descending minor second, followed by a descending theme  Some have speculated that the sighing motive is a musical utterance of the name "Clara", in reference to Clara Schumann, the composer, pianist, and lifelong friend and love interest of Brahms  More clear is Brahms's transposed version of Robert Schumann's "Clara theme", found in various pieces such as his Bunte Blätter, Op  99 (1841), on which both Clara and Brahms wrote sets of piano variations  The Clara theme (C–B–A–G♯–A, often transposed: here E♭–D–C–B–C) was first detected by Eric Sams in his essays and books on Schumann and Brahms  In his 1971 essay “Brahms and his Clara Themes”, Sams writes on the “Clara content” in op  60: “The first sentence of that autobiographical work is doubly expressive of Clara  Furthermore, there is direct evidence that this melodic form actually embodied her, for Brahms as for Schumann ”After the first statement of the theme, the piano plays octaves on B♭  The opening motives, again played by the strings, becomes more chromatic and unsettling, until finally coming to rest on the dominant of C, G major  The viola and violin play pizzicato octaves on E♮ before the strings cascade down the C harmonic minor scale that ushers in the first theme, stated forte  After a brief development of this theme, an ascending gesture based on sixteenth-notes alternating between the notes of a minor second serves as the transition to the second theme in the relative major of C minor, E♭ major  This second theme is an uplifting eight-measure theme stated initially in the piano alone  Brahms then uses the technique of theme and variations to construct four variations on this theme, each eight measures long  A short idea based on the opening theme closes the exposition, which is not repeated 
The development section begins by restating the theme from measures 32–35 in E♭ minor  This moves to B major for a new fortissimo idea (perhaps a variation) based on the same theme  The quartet's opening sighing motives become developed in an E minor passage that incorporates a triplet figure on the second beat of the measure, and eventually the previous B major idea is restated identically in G major  The second theme from the exposition is then treated in imitative (almost canonic) counterpoint in C minor  After the beginning of the third contrapuntal treatment of this theme, a dominant pedal is sustained in octaves on G  This resolves unexpectedly to an A♭ major chord that is quickly brought down to C minor by the opening sighing motive in the piano 
The sighing motive indicates the beginning of the recapitulation  Rather than affirming the tonic of C minor, however, Brahms takes the recapitulation in a different direction: the opening section again ends on a dominant pedal on G with the violin and viola playing pizzicato octaves on E♮, but the E♮ is used to turn the music to E minor  Chromatic descent is employed to bring the music to a half-cadence on D, leading to the second theme in G major  This is perhaps the only sonata form movement in the minor mode in which the recapitulation features the second subject in the key of the major dominant  The second theme is first stated by the viola, which is then followed by three new variations (the first being played by the violin, the second and third by the piano), and one of the same variations as the exposition  A fifth variation leads to a short digression in C major but becomes chromatic and ends with a development the first theme, coming to a cadence on C  This is followed by a brief coda that expands on the first motives heard in the piece  Nevertheless, the key of C minor is arguably not clearly established by the recapitulation (the key signature of C minor is present at the end of the movement for less than two complete pages)  The movement ends with a clear tonic–dominant–tonic perfect cadence, stated piano  The expansive and exploratory nature of the movement, along with the quiet closing dynamic, helps make the conventional final cadential progression appear mysterious 

Second movement
The second movement is a tempestuous scherzo (ternary form) in compound duple meter in C minor, the same key as the first movement  Donald Francis Tovey argues that Brahms puts the scherzo in the same key as the first movement because the first movement does not sufficiently stabilize its own tonic and requires the second movement to "[furnish] the tonal balance unprovided for by the end of the first movement " Although it is the shortest scherzo of Brahms's piano quartets, it is formally and tonally very complex 
The movement begins with an opening motif of a descending octave on G and a rising minor second to A♭ stated by the piano, followed by a falling diatonic line accompanied by the strings  The first theme, which clearly derives from the opening motif, is immediately by the solo piano played after this and Brahms uses the technique of developing variation to expand this theme  Most melodic ideas can be traced to the opening motif or the ascending minor second of the opening motif, which, notably, is the inversion of the descending sighs of the introduction of the first movement  This scherzo is very chromatic and unstable tonally, although it does actually move to a secondary phrase on the dominant and returns to the tonic with frequency  The scherzo ends with a pedal on the tonic C minor 
The middle section is not demarcated by the title of trio as are the middle sections of the scherzi from Brahms's previous two piano quartets  Moreover, this middle section serves more as a section of contrasting material than as a structural contrast—it maintains the same key signature, time signature, and tempo as the scherzo, is not musically marked off in any clear way, and even develops the same themes as the scherzo  One may argue whether it is in fact a trio at all, as nineteenth century composers knew it  Nonetheless, the middle section begins with a new theme, an ascending line in quarter notes in the strings, accompanied by a descending triplet figure played by the piano  This instrumentation is soon reversed and earlier themes from the scherzo become further developed  The transition back to the scherzo develops and rhythmically diminishes the opening motif of the scherzo and is the most chromatic, rhythmically complex, loud, and dramatic section of the movement  The scherzo is repeated almost entirely, however, the section immediately preceding the tonic pedal is omitted and replaced with a climactic dominant chord in a very high register in the strings, ending with a tierce de picardie on C major with three loud declamations of the tonic major chord 

Third movement
The Andante is in a modified ternary form: ABCA′ with a coda  This is the only movement of the quartet that is not in C minor, and it is in the key of E major, a remote key in the context of C minor  This can be explained by its origin as the slow movement to a piano quartet in C-sharp minor, which Brahms revised and published as Op  60 in C minor  The key of E major is easily explained in the tonal context of C♯ minor, but the key choice of this movement was not revised as was the first movement; it should also be noted that the slow movement to Brahms's Symphony No  1 in C minor is also in E major 
The Andante begins with a luscious melody played by the violoncello in its upper register (Theme A) with only the piano as accompaniment, clearly inspired by Schumann's Piano Quartet, where a similarly sumptuous melody opens the slow movement  The opening thematic material of this melody is a sequence of descending thirds, a gesture frequently used by Brahms (such as in his Op  119, No  1, and the opening to Symphony No  4, to name two examples)  The violin eventually joins in with a new melody over the cello  The viola enters later with a tutti descending stepwise idea  The A section, which is itself in a sort of AAB form, ends in the conventional dominant key of B major 
The B section (in ABAB form) begins with a syncopated ascending stepwise melodic line in the violin to be played molto dolce (Theme B)  The piano begins to gain prominence with a distorted version of the opening cello line, played symmetrically across the piano (Theme C)  Another theme developed in the B section is a falling line with dotted rhythms (Theme D) 
The third section begins in B major but is highly chromatic  The piano plays a version of Theme B in broken octaves under consistent eighth-notes played by the violin and viola  This figure ends with a version of Theme C in broken octaves in the piano  This alternates with the string section, which develops Theme C  The piano rejoins and develops Themes C and D with the strings in E minor, but soon the violin plays Theme D over the other strings  At this point, the strings alternate with the piano, which plays Theme D in an unstable harmonic palette in broken octaves, while the strings play a combination of Themes C and D  This passage of alternating instruments moves from E minor to C minor to G♯ minor back to E major in the reprise of the A section 
The only significant differences between the first and second A sections are that in the second, the piano moves in triplets, there is a full string texture almost entirely throughout (often using pizzicato), and the piano begins the theme (although it is soon replaced by the cello)  The coda is introduced by a new chord progression in the first tutti idea and by a solo cello line  Theme B is presented first by the viola and then by the violin, and the movement ends with the first measure of Theme A, stated first by the cello and then by the piano, concluding with a pianissimo affirmation of the tonic 

Fourth movement
The finale is a sonata-allegro in C minor in cut time with a secondary subject in E♭ major  The tempo is Allegro comodo and the exposition is repeated  The piano accompaniment for the first theme, stated immediately in measure 1, is derived from the opening piano line of Felix Mendelssohn's Piano Trio in C minor, Op  66, movement 1  Mendelssohn's Piano Trio also features a quotation of a chorale melody taken from the sixteenth-century Genevan psalter 'Vor deinen Thron tret ich hiermit' (“Before Your Throne I Now Appear”)  Vincent C  K  Cheung has also observed that the opening G–E♭ motion in the violin, coupled with the G–G–G–C in the piano greatly points toward the “Fate theme” in Beethoven's Fifth Symphony  Brahms's piece thus operates on multiple levels of reference (both literary and musical) and quotation 
The movement begins with the violin playing a theme above piano accompaniment  Both lines are separate themes that are developed individually throughout the movement, but they are similar in one major respect: both are constructed of three ascending notes preceded by a pickup, which go to a neighbor tone of the highest note and move back to that note  The essential notes of the violin theme are B–C–D–E♭–F–E♭, and the essential notes of the piano theme are: G–C–E♭–G–F♯–G (the rest of the piano theme is a descending sequence of ascending seconds: G–A♭–F–G–E♭–F–D–E♭)  Therefore, the violin line uses an upper neighbor tone while the piano line uses a lower neighbor tone  This is crucial for understanding Brahms's development of the thematic ideas of this movement 
The violin melody is halting and primarily diatonic, played over an energetic piano accompaniment  It moves from C minor to G minor, although it ends with a change of mode to G major  After this, the violin plays a descending stepwise melody, which under close inspection is revealed to be an inversion of its own original theme (from B–C–D–E♭–F–E♭ to G–F–E♭–D–C–B) in successive quarter notes  The viola and cello soon accompany this figure  This builds up until measure 39, where a thunderous theme erupts in all instruments  This moves quickly to an idea constructed in triplets  Tonally, this passage is in C minor, and the final progression ends with an alternation between B-diminished and A♭ major  The piano plays a broken A♭ major chord, followed by a broken A♭ minor chord that is used to make a transition to E♭ major 
The section in the relative major begins with a theme clearly composed from the theme of the piano's accompaniment, in this case stated by the violin and viola moving in unison over a piano accompaniment based on the previous broken chordal figure  This briefly exchanges with a cello countermelody  When the violin and viola soar to an unexpectedly high register, the piano interrupts by playing an explosive broken dominant seventh chord  The strings respond by a piano, homophonic, homorythmic theme to be played mezza voce (medium voice)  This idea is taken directly from the opening string theme of the first movement  Rather than accompanying this theme, the piano plays a descending broken chord after each utterance  The exposition ends in E-flat major, and Brahms indicates that it should be repeated 
The development begins with an exploration of the descending third that begins the violin's opening theme; when sequenced, this produces a series of descending thirds that recalls the opening theme of the third movement (G♯–E–C–A)  The piano accompanies this with its initial theme  Brahms quickly eliminates accidentals from the key signature as the piece progresses to D major and A minor  Interspersed are descending chromatic phrases played by the piano  In measures 117–118, the cello introduces a new four-note idea (E–F–D–E) played pizzicato underneath the piano  This idea is taken from the second half of the first piano theme (G–A♭–F–G)  The viola plays the opening of the piano's first theme, which resembles an inversion of the sequenced thirds developed moments earlier  Brahms repeats this pattern almost exactly, moving from A minor to E minor to B minor  In B minor, the piano develops its initial theme to a greater extent  This part of the development section is concluded by syncopated phrases by the viola and piano, which echo the second half of the piano's first theme in B minor 
Austrian musicologist and educator Karl Geiringer has shown that the next section (measures 155–188) is an insertion "in order to mitigate the excessive conciseness of this movement " Later insertions were atypical of Brahms because of his "striving after compression," and it seems that he "for once overshot the mark " The later addition explains the motion away from B minor, only to return to the key some thirty measures later  This section continues with the homorhythmic theme in G major, then in E♭ major  What follows is a quick (Tempo I) development of the initial piano theme in C minor, with all strings playing the opening four notes (moving in the often used progression i – I – iv)  This exact sequence is used again in the coda to turn the movement from the minor mode to major  A dominant seventh chord in C minor is used as a pivot chord to return to B minor (a similar progression is used in Brahms's Ballade, Op  118, No  3, in which a dominant seventh chord built on G moves abruptly to B major)  The violin develops its initial theme in B minor and then D minor with all three string instruments  The final notes of the theme (F–E♭) are sequenced and inverted repeatedly, recalling the significance of descending seconds in the first movement of this quartet  This moves from D minor to G minor to C minor  The end of the development section sees a very high and prolonged A♭, which parallels the end of the development section of the first movement 
The recapitulation, which reinstates the key signature of C minor, begins with the initial violin theme stated forte by all strings, accompanied by the piano playing broken octaves in triplets, outlining the main notes of its theme  After the first statement, the piano resumes its original accompaniment and the strings are reduced to a piano dynamic  This proceeds similarly to the exposition, albeit with the themes developed more extensively  Notably, the music turns toward G minor more strongly and the key signature changes to C major, as the relative major section from the exposition is in the tonic major in the recapitulation  The rest of the recapitulation is nearly identical to the exposition, ending in C major 
The coda begins at measure 311, with the piano loudly declaring the homorhythmic theme, alternating with the strings  The violin theme is then played by the strings in C major, but it soon shifts back to C minor (the key signature too returns)  The four-note idea from the development section comes back, this time with its first note removed  The chromatic descending scale in the piano, an abbreviation of the violin theme in the viola, the four-note theme, and the chord progression (i – I – iv) indicate that the coda draws more from the development section than from the exposition or recapitulation  The music quietly subsides into a tranquillo section in which the inversion of the violin theme (first stated in measures 21–22 from the exposition) is sequenced across the strings while the piano continues to develop its initial theme  The violin and cello eventually sustain the tonic C for a great amount of time while the piano and viola begin to lean toward the tonic major in a continuing I – iv progression  All instruments continue to die down as the piano plays one last descending chromatic scale, the violin and viola combine the piano's initial theme with the quarter note rhythm of the violin theme, and the cello sustains a low C  As the piano and strings reach their final notes, a C major chord stated pianissimo is held briefly, shining out of the mist  Two sudden forte C major chords complete this quartet 
Passage 3:
William Render
William Render (fl  1800), grammarian and translator, was a native of Germany  He was a fellow student at Giessen University with a brother of Charlotte (Werther's inamorata), and was well acquainted with Werther himself  In an appendix to his English version of Goethe's romance, Render relates a conversation he had with Werther at Frankfort-on-the-Main a few days before the latter's suicide Render was ordained to the Lutheran ministry  Subsequently he acted as 'traveling guardian to the son of a distinguished personage'  He then traveled in western Germany with 'several English gentlemen', one of whom may have been Francis, afterwards the Marquis Hastings, to whom, as Earl of Moira, he dedicated his Tour through Germany  Render came to England about 1790, and settled in London  He taught German and other languages 'in several families of distinction ' Towards the end of the century he also became 'teacher of German' at Cambridge, Oxford, and Edinburgh  In 1798 he published an English version of Kotzebue's play Count Benyowsky, which reached a second edition within the year  
In 1800, Render further translated The Robbers, Don Carlos, Maria Stuart, and The Armenian of Schiller  In the following year appeared his version of The Sorrows of Werther, the first translation into English made direct from the original German  In the preface he speaks of 'his friend the baron Goethe', whom he may have met at Frankfurt  Render's Tour through Germany, particularly along the Banks of the Rhine, Mayne, also appeared in 1801  A vocabulary of familiar phrases in German and English is annexed for the benefit of travelers  The remainder of Render's publications were educational manuals  The chief of these, A concise Practical Grammar of the German Tongue (1799), was very successful  
A fifth edition, corrected and augmented with improvements made by the Berlin Academy, was issued in 1817  As a token of his appreciation of the work, Alexander I of Russia ordered Woronzow, his ambassador in England, to present Render with a ring and an autograph letter  Render also published German Exercises, a Pocket Dictionary in English and German, and other manuals of instruction in German 
Passage 4:
Werther, North Rhine-Westphalia
Werther is a town in the district of Gütersloh in the state of North Rhine-Westphalia, Germany  It is located near the Teutoburg Forest, approximately 10 km (6 miles) north-west of Bielefeld  It is best known for the Werther's Original caramel sweets, which are nowadays produced in the nearby city of Halle  Werther has one Gesamtschule and one Gymnasium, which has an exchange partnership with a Yarm School, an independent school in Yarm, England 

People
August Oberwelland, entrepreneur, August Storck company founder
Passage 5:
Odyssey
The Odyssey (; Ancient Greek: Ὀδύσσεια, romanized: Odýsseia) is one of two major ancient Greek epic poems attributed to Homer  It is one of the oldest extant works of literature still widely read by modern audiences  As with the Iliad, the poem is divided into 24 books  It follows the Greek hero Odysseus, king of Ithaca, and his journey home after the Trojan War  After the war, which lasted ten years, his journey lasted for ten additional years, during which time he encountered many perils and all of his crewmates were killed  In his absence, Odysseus was assumed dead, and his wife Penelope and son Telemachus had to contend with a group of unruly suitors who were competing for Penelope's hand in marriage 
The Odyssey was originally composed in Homeric Greek in around the 8th or 7th century BC and, by the mid-6th century BC, had become part of the Greek literary canon  In antiquity, Homer's authorship of the poem was not questioned, but contemporary scholarship predominantly assumes that the Iliad and the Odyssey were composed independently and that the stories formed as part of a long oral tradition  Given widespread illiteracy, the poem was performed by an aoidos or rhapsode and was more likely to be heard than read 
Crucial themes in the poem include the ideas of nostos (νόστος; "return"), wandering, xenia (ξενία; "guest-friendship"), testing, and omens  Scholars still reflect on the narrative significance of certain groups in the poem, such as women and slaves, who have a more prominent role in the epic than in many other works of ancient literature  This focus is especially remarkable when contrasted with the Iliad, which centres the exploits of soldiers and kings during the Trojan War 
The Odyssey is regarded as one of the most significant works of the Western canon  The first English translation of the Odyssey was in the 16th century  Adaptations and re-imaginings continue to be produced across a wide variety of media  In 2018, when BBC Culture polled experts around the world to find literature's most enduring narrative, the Odyssey topped the list 

Synopsis
Exposition (books 1–4)
The Odyssey begins after the end of the ten-year Trojan War (the subject of the Iliad), from which Odysseus (also known by the Latin variant Ulysses), king of Ithaca, has still not returned because he angered Poseidon, the god of the sea  Odysseus' son, Telemachus, is about 20 years old and is sharing his absent father's house on the island of Ithaca with his mother Penelope and the suitors of Penelope, a crowd of 108 boisterous young men who each aim to persuade Penelope for her hand in marriage, all the while reveling in the king's palace and eating up his wealth 
Odysseus' protectress, the goddess Athena, asks Zeus, king of the gods, to finally allow Odysseus to return home when Poseidon is absent from Mount Olympus  Disguised as a chieftain named Mentes, Athena visits Telemachus to urge him to search for news of his father  He offers her hospitality, and they observe the suitors dining rowdily while Phemius, the bard, performs a narrative poem for them 
That night, Athena, disguised as Telemachus, finds a ship and crew for the true prince  The next morning, Telemachus calls an assembly of citizens of Ithaca to discuss what should be done with the insolent suitors, who then scoff at Telemachus  Accompanied by Athena (now disguised as Mentor), the son of Odysseus departs for the Greek mainland to the household of Nestor, most venerable of the Greek warriors at Troy, who resided in Pylos after the war 
From there, Telemachus rides to Sparta, accompanied by Nestor's son  There he finds Menelaus and Helen, who are now reconciled  Both Helen and Menelaus also say that they returned to Sparta after a long voyage by way of Egypt  There, on the island of Pharos, Menelaus encounters the old sea-god Proteus, who tells him that Odysseus was a captive of the nymph Calypso  Telemachus learns the fate of Menelaus' brother, Agamemnon, king of Mycenae and leader of the Greeks at Troy: he was murdered on his return home by his wife Clytemnestra and her lover Aegisthus  The story briefly shifts to the suitors, who have only just realized that Telemachus is gone  Angry, they formulate a plan to ambush his ship and kill him as he sails back home  Penelope overhears their plot and worries for her son's safety 

Escape to the Phaeacians (books 5–8)
In the course of Odysseus' seven years as a captive of Calypso on the island Ogygia, she has fallen deeply in love with him, even though he spurns her offers of immortality as her husband and still mourns for home  She is ordered to release him by the messenger god Hermes, who has been sent by Zeus in response to Athena's plea  Odysseus builds a raft and is given clothing, food, and drink by Calypso  When Poseidon learns that Odysseus has escaped, he wrecks the raft, but helped by a veil given by the sea nymph Ino, Odysseus swims ashore on Scherie, the island of the Phaeacians  Naked and exhausted, he hides in a pile of leaves and falls asleep 
The next morning, awakened by girls' laughter, he sees the young Nausicaä, who has gone to the seashore with her maids after Athena told her in a dream to do so  He appeals for help  She encourages him to seek the hospitality of her parents, Arete and Alcinous  Alcinous promises to provide him a ship to return him home without knowing the identity of Odysseus  He remains for several days  Odysseus asks the blind singer Demodocus to tell the story of the Trojan Horse, a stratagem in which Odysseus had played a leading role  Unable to hide his emotion as he relives this episode, Odysseus at last reveals his identity  He then tells the story of his return from Troy 

Odysseus' account of his adventures (books 9–12)
Odysseus recounts his story to the Phaeacians  After a failed raid against the Cicones, Odysseus and his twelve ships were driven off course by storms  Odysseus visited the lotus-eaters who gave his men their fruit which caused them to forget their homecoming  Odysseus had to drag them back to the ship by force 
Afterward, Odysseus and his men landed on a lush, uninhabited island near the land of the Cyclopes  The men entered the cave of Polyphemus, where they found all the cheeses and meat they desired  Upon returning to his cave, Polyphemus sealed the entrance with a massive boulder and proceeded to eat Odysseus' men  Odysseus devised an escape plan in which he, identifying himself as "Nobody," plied Polyphemus with wine and blinded him with a wooden stake  When Polyphemus cried out, his neighbors left after Polyphemus claimed that "Nobody" had attacked him  Odysseus and his men finally escaped the cave by hiding on the underbellies of the sheep as they were let out of the cave 
As they escaped, however, Odysseus taunted Polyphemus and revealed himself  The Cyclops prayed to his father Poseidon, asking him to curse Odysseus to wander for ten years  After the escape, Aeolus gave Odysseus a leather bag containing all the winds except the west wind, a gift that should have ensured a safe return home  Just as Ithaca came into sight, the sailors opened the bag while Odysseus slept, thinking it contained gold  The winds flew out, and the storm drove the ships back the way they had come  Aeolus, recognizing that Odysseus had drawn the ire of the gods, refused to further assist him 

After the cannibalistic Laestrygonians destroyed all of his ships except his own, Odysseus sailed on and reached the island of Aeaea, home of witch-goddess Circe  She turned half of his men into swine with drugged cheese and wine  Hermes warned Odysseus about Circe and gave Odysseus an herb called moly, making him resistant to Circe's magic  Odysseus forced Circe to change his men back to their human forms and was seduced by her  They remained with her for one year  Finally, guided by Circe's instructions, Odysseus and his crew crossed the ocean and reached a harbor at the western edge of the world, where Odysseus sacrificed to the dead  Odysseus summoned the spirit of the prophet Tiresias and was told that he may return home if he is able to stay himself and his crew from eating the sacred livestock of Helios on the island of Thrinacia and that failure to do so would result in the loss of his ship and his entire crew  He then meets his dead mother Anticleia and first learns of the suitors and what happened in Ithaca in his absence  Odysseus also converses with his dead comrades from Troy 
Returning to Aeaea, they buried Elpenor and were advised by Circe on the remaining stages of the journey  They skirted the land of the Sirens  All of the sailors had their ears plugged up with beeswax, except for Odysseus, who was tied to the mast as he wanted to hear the song  He told his sailors not to untie him as it would only make him drown himself  They then passed between the six-headed monster Scylla and the whirlpool Charybdis  Scylla claimed six of his men 
Next, they landed on the island of Thrinacia, with the crew overriding Odysseus's wishes to remain away from the island  Zeus caused a storm that prevented them from leaving, causing them to deplete the food given to them by Circe  While Odysseus was away praying, his men ignored the warnings of Tiresias and Circe and hunted the sacred cattle  Helios insisted that Zeus punish the men for this sacrilege  They suffered a shipwreck, and all but Odysseus drowned as he clung to a fig tree  Washed ashore on Ogygia, he remained there as Calypso's lover 

Return to Ithaca (books 13–20)
Having listened to his story, the Phaeacians agree to provide Odysseus with more treasure than he would have received from the spoils of Troy  They deliver him at night, while he is fast asleep, to a hidden harbour on Ithaca  Odysseus awakens and believes that he has been dropped on a distant land before Athena appears to him and reveals that he is indeed on Ithaca  She hides his treasure in a nearby cave and disguises him as an elderly beggar so he can see how things stand in his household  He finds his way to the hut of one of his own slaves, swineherd Eumaeus, who treats him hospitably and speaks favorably of Odysseus  After dinner, the disguised Odysseus tells the farm laborers a fictitious tale of himself 
Telemachus sails home from Sparta, evading an ambush set by the suitors  He disembarks on the coast of Ithaca and meets Odysseus  Odysseus identifies himself to Telemachus (but not to Eumaeus), and they decide that the suitors must be killed  Telemachus goes home first  Accompanied by Eumaeus, Odysseus returns to his own house, still pretending to be a beggar  He is ridiculed by the suitors in his own home, especially Antinous  Odysseus meets Penelope and tests her intentions by saying he once met Odysseus in Crete  Closely questioned, he adds that he had recently been in Thesprotia and had learned something there of Odysseus's recent wanderings 
Odysseus's identity is discovered by the housekeeper Eurycleia when she recognizes an old scar as she is washing his feet  Eurycleia tries to tell Penelope about the beggar's true identity, but Athena makes sure that Penelope cannot hear her  Odysseus swears Eurycleia to secrecy 

Slaying of the Suitors (books 21–24)
The next day, at Athena's prompting, Penelope maneuvers the suitors into competing for her hand with an archery competition using Odysseus' bow  The man who can string the bow and shoot an arrow through a dozen axe heads would win  Odysseus takes part in the competition, and he alone is strong enough to string the bow and shoot the arrow through the dozen axe heads, making him the winner  He then throws off his rags and kills Antinous with his next arrow  Odysseus kills the other suitors, first using the rest of the arrows and then by swords and spears  Once the battle is won, Telemachus also hangs twelve of their household maids whom Eurycleia identifies as guilty of betraying Penelope or having sex with the suitors  Odysseus identifies himself to Penelope  She is hesitant but recognizes him when he mentions that he made their bed from an olive tree still rooted to the ground
Context 3: Passage 1:
Austrobaileyales
Austrobaileyales is an order of flowering plants consisting of about 100 species of woody plants growing as trees, shrubs and lianas  The best-known species is Illicium verum, commonly known as star anise  The order belongs to the group of basal angiosperms, the ANA grade (Amborellales, Nymphaeales, and Austrobaileyales), which diverged earlier from the remaining flowering plants  Austrobaileyales is sister to all remaining extant angiosperms outside the ANA grade The order includes just three families of flowering plants, the Austrobaileyaceae, a monotypic family containing the sole genus, Austrobaileya scandens, a woody liana, the Schisandraceae, a family of trees, shrubs, or lianas containing essential oils, and the Trimeniaceae, essential oil-bearing trees and lianas 

In different classifications
Until the early 21st century, the order was only rarely recognised by systems of classification (an exception is the Reveal system) 
The APG system, of 1998, did not recognize such an order  The APG II system, of 2003, does accept this order and places it among the basal angiosperms, that is: it does not belong to any further clade  APG II uses this circumscription:

order Austrobaileyales
family Austrobaileyaceae, one species of woody vines from Australia
family Schisandraceae [+ family Illiciaceae], several dozen species of woody plants, found in tropical to temperate regions of East and Southeast Asia and the Caribbean  The best known of those is Star anise 
family Trimeniaceae, half-a-dozen species of woody plants found in subtropical to tropical Southeast Asia, eastern Australia and the Pacific IslandsNote: "+    "=optional segregate family, that may be split off from the preceding family  The Cronquist system, of 1981, also placed the  plants in families Illiciaceae and Schisandraceae together, but as separate families, united at the rank of order, in the order Illiciales 
Passage 2:
Tibouchina
Tibouchina  is a neotropical flowering plant genus in the family Melastomataceae  Species of this genus are subshrubs, shrubs or small trees and typically have purple flowers  They are native to Mexico, the Caribbean, and South America where they are found as far south as northern Argentina  Members of this genus are known as glory bushes, glory trees or princess flowers  The name Tibouchina is adapted from a Guianan indigenous name for a member of this genus  A systematic study in 2013 showed that as then circumscribed the genus was paraphyletic, and in 2019 the genus was split into a more narrowly circumscribed Tibouchina, two re-established genera Pleroma and Chaetogastra, and a new genus, Andesanthus 

Description
Tibouchina species are subshrubs, shrubs or small trees  Their leaves are opposite, usually with petioles, and often covered with scales  The inflorescence is a panicle or some modification of a panicle with reduced branching  The individual flowers have five free petals, purple or lilac in color; the color does not change as the flowers age  There are ten stamens, either all the same or dimorphic, with five larger and five smaller ones  The connective tissue below the anthers of the stamens is prolonged and modified at the base of the stamens into ventrally bilobed appendages  When mature, the seeds are contained in a dry, semiwoody capsule and are cochleate (spiralled) 

Taxonomy
The genus Tibouchina was established by Aublet in 1775 in his Flora of French Guiana with the description of a single species, T  aspera, which is thus the type species  In 1885, in his treatment for Flora brasiliensis, Alfred Cogniaux used a broad concept of the genus, transferring into it many of the species at that time placed in Chaetogastra, Diplostegium, Lasiandra, Pleroma and Purpurella, among others  This broad concept was generally adopted subsequently, and around 470 taxa were at one time or another assigned to Tibouchina 

Phylogeny
A phylogenetic analysis in 2013 based on molecular data (2 plastid and 1 nuclear regions) determined that the traditional circumscription of Tibouchina was paraphyletic  Four major clades were resolved within the genus which were supported by morphological, molecular and geographic evidence  Based on the traditional code of nomenclature, the clade that the type species falls in retains the name of the genus; therefore, the clade containing Tibouchina aspera remains Tibouchina A further molecular phylogenetic study in 2019 used the same molecular markers but included more species  It reached the same conclusion: the original broadly circumscribed Tibouchina consisted of four monophyletic clades  The authors proposed a split into four genera: a more narrowly circumscribed Tibouchina, two re-established genera Pleroma and Chaetogastra, and a new genus, Andesanthus  The relationship between Chaetogastra and the genus Brachyotum differed between a maximum likelihood analysis and a Bayesian inference analysis: the former found Brachyotum embedded within Chaetogastra, the latter found the two to be sisters  The part of their maximum likelihood cladogram which includes former Tibouchina species is as follows, using their genus names and with shading added to show the original broadly circumscribed Tibouchina s l :

As re-circumscribed, Tibouchina is monophyletic and contains species belonging to the traditional sections T  section Tibouchina and T  section Barbigerae  Diagnostic characteristics include the presence of scale-like trichomes on the hypanthium and leaves and a long pedoconnective on lilac anthers, and the absence of glandular trichomes  Species are found in savanna habitats 

Species
As of May 2022, Plants of the World Online accepts the following species within Tibouchina:

Selected former species
Species placed in Tibouchina in its former broad sense include:

Distribution and invasive potential
All the species of Tibouchina are native to the Americas as far north as Mexico south to northern Argentina, with many found in Brazil, and others in Belize, Bolivia, Brazil, Colombia, Costa Rica, French Guiana, Guyana, Honduras, Nicaragua, Panama, Peru, Suriname, and Venezuela  Members of Tibouchina tend to be found in lowland savannas and on the lower slopes of the Andes  All Tibouchina species as well as those formerly placed in the genus are considered noxious weeds in Hawaii, because of their high potential for being invasive species  Many species, such as T  araguaiensis, T  papyrus, T  mathaei and T  nigricans, have narrow distributions, being known from only a handful of locations, while a few other species, including T  aspera, T  barbigera and T  bipenicillata, have broader distributions 
Passage 3:
Cyrtandra (plant)
Cyrtandra (Neo-Latin, from Greek κυρτός, kyrtós, "curved", and ἀνήρ, anḗr, "male", in reference to their prominently curved stamens) is a genus of flowering plants containing about 600 species, with more being discovered often, and is thus the largest genus in the family Gesneriaceae  These plants are native to Southeast Asia, Australia, and the Pacific Islands, with the centre of diversity in Southeast Asia and the Malesian region  The genus is common, but many species within it are very rare, localized, and endangered endemic plants  The species can be difficult to identify because they are highly polymorphic and because they readily hybridize with each other  The plants may be small herbs, vines, shrubs, epiphytes, or trees  The genus is characterized in part by having two stamens, and most species have white flowers, with a few red-, orange-, yellow-, and pink-flowered species known  Almost all species live in rainforest habitats It is an example of a supertramp genus Hawaiian Cyrtandra are known as ha‘iwale 

Species
Selected species include:

Cyrtandra aurantiicarpa
Cyrtandra biserrata – Molokai cyrtandra
Cyrtandra calyptribracteata
Cyrtandra cleopatrae
Cyrtandra confertiflora – lava cyrtandra
Cyrtandra cordifolia – the Latin name means cyrtandra with heart-shaped leaves
Cyrtandra crenata – Kahana Valley cyrtandra
Cyrtandra cyaneoides – mapele
Cyrtandra dentata – mountain cyrtandra
Cyrtandra elatostemoides
Cyrtandra elegans
Cyrtandra ferripilosa – red-hair cyrtandra
Cyrtandra filipes – gulch cyrtandra
Cyrtandra garnotiana – hahala
Cyrtandra giffardii – forest cyrtandra
Cyrtandra gracilis – Palolo Valley cyrtandra
Cyrtandra grandiflora – largeflower cyrtandra
Cyrtandra grayana – Pacific cyrtandra
Cyrtandra grayi – Gray's cyrtandra
Cyrtandra halawensis – toothleaf cyrtandra
Cyrtandra hashimotoi – Maui cyrtandra
Cyrtandra hawaiensis – Hawaii cyrtandra
Cyrtandra heinrichii – lava cyrtandra
Cyrtandra hematos – singleflower cyrtandra
Cyrtandra hirtigera
Cyrtandra hypochrysoides
Cyrtandra kalihii – Koolau Range cyrtandra
Cyrtandra kamooloaensis – Kamo'oloa cyrtandra
Cyrtandra kauaiensis – ulunahele
Cyrtandra kealiae
Cyrtandra kealiae ssp  kealiae (syn  C  limahuliensis)
Cyrtandra kealiae ssp  urceolata
Cyrtandra kohalae – Kohala Mountain cyrtandra
Cyrtandra laxiflora – Oahu cyrtandra
Cyrtandra lessoniana – Lesson's cyrtandra
Cyrtandra macraei – upland cyrtandra
Cyrtandra menziesii – ha'i wale
Cyrtandra munroi – Lanaihale cyrtandra
Cyrtandra nitens
Cyrtandra oenobarba – shaggystem cyrtandra
Cyrtandra olona – Kauai cyrtandra
Cyrtandra oxybapha – Pohakea Gulch cyrtandra
Cyrtandra paliku – cliffside cyrtandra
Cyrtandra paludosa – kanaweo ke'oke'o
Cyrtandra platyphylla – 'ilihia
Cyrtandra polyantha – Niu Valley cyrtandra
Cyrtandra pruinosa – frosted cyrtandra
Cyrtandra pulgarensis
Cyrtandra samoensis
Cyrtandra sessilis – windyridge cyrtandra
Cyrtandra subumbellata – parasol cyrtandra
Cyrtandra tahuatensis
Cyrtandra tintinnabula – Laupahoehoe cyrtandra
Cyrtandra umbellifera
Cyrtandra viridiflora – greenleaf cyrtandra
Cyrtandra waiolani – fuzzyflower cyrtandra
Cyrtandra wawrae – rockface cyrtandra
Passage 4:
Pothos (genus)
Pothos is a genus of flowering plants in the family Araceae (tribe Potheae)  It is native to China, the Indian Subcontinent, Australia, New Guinea, Southeast Asia, and various islands of the Pacific and Indian Oceans The common houseplant Epipremnum aureum, also known as "pothos", was once classified under the genus Pothos 
Neo P1 is a genetically engineered pothos designed to remove volatile organic compounds from ambient air 

Species
Pothos armatus C E C Fisch  - Kerala
Pothos atropurpurascens M Hotta - Borneo
Pothos barberianus Schott- Borneo, Malaysia, Sumatra
Pothos beccarianus Engl  - Borneo
Pothos brassii B L Burtt - Queensland
Pothos brevistylus Engl  - Borneo
Pothos brevivaginatus Alderw  - Sumatra
Pothos chinensis (Raf ) Merr  - China, Tibet, Taiwan, Japan, Ryukyu Islands, Indochina, Himalayas, India, Nepal, Bhutan
Pothos clavatus Engl  - New Guinea
Pothos crassipedunculatus Sivad  & N Mohanan - southern India
Pothos curtisii Hook f  - Thailand, Malaysia, Sumatra
Pothos cuspidatus Alderw  - western New Guinea
Pothos cylindricus C Presl - Sabah, Sulawesi, Philippines
Pothos dolichophyllus Merr  - Philippines
Pothos dzui P C Boyce - Vietnam
Pothos englerianus (Engl ) Alderw  - Sumatra
Pothos falcifolius Engl  & K Krause - Maluku, New Guinea
Pothos gigantipes Buchet ex P C Boyce - Vietnam, Cambodia
Pothos gracillimus Engl  & K Krause - Papua New Guinea
Pothos grandis Buchet ex P C Boyce & V D Nguyen - Vietnam
Pothos hellwigii Engl  - New Guinea, Solomon Islands, Bismarck Archipelago
Pothos hookeri Schott - Sri Lanka
Pothos inaequilaterus (C Presl) Engl  - Philippines
Pothos insignis Engl  - Borneo, Palawan
Pothos junghuhnii de Vriese - Borneo, Java, Sumatra
Pothos keralensis A G  Pandurangan & V J  Nair - Kerala
Pothos kerrii Buchet ex P C



ground_truth: WAMC

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

Question: Are Werther and The Odyssey both operas?

The following are given passages.
Context 2:  She embraces him and they sleep 
The next day, Odysseus goes to his father Laertes's farm and reveals himself  Following them to the farm is a group of Ithacans, led by Eupeithes, father of Antinous, who are out for revenge for the murder of the suitors  A battle breaks out, but it is stopped by Athena and Zeus 

Structure
The Odyssey is 12,109 lines composed in dactylic hexameter, also called Homeric hexameter  It opens in medias res, in the middle of the overall story, with prior events described through flashbacks and storytelling  The 24 books correspond to the letters of the Greek alphabet; the division was likely made after the poem's composition, by someone other than Homer, but is generally accepted In the Classical period, some of the books (individually and in groups) were commonly given their own titles:

Book 1–4: Telemachy—the story focuses on the perspective of Telemachus 
Books 9–12: Apologoi—Odysseus recalls his adventures for his Phaeacian hosts 
Book 22: Mnesterophonia ('slaughter of the suitors'; Mnesteres, 'suitors' + phónos, 'slaughter') Book 22 concludes the Greek Epic Cycle, though fragments remain of the "alternative ending" of sorts known as the Telegony  The Telegony aside, the last 548 lines of the Odyssey, corresponding to Book 24, are believed by many scholars to have been added by a slightly later poet 

Geography
The events in the main sequence of the Odyssey (excluding Odysseus' embedded narrative of his wanderings) have been said to take place in the Peloponnese and in what are now called the Ionian Islands  There are difficulties in the apparently simple identification of Ithaca, the homeland of Odysseus, which may or may not be the same island that is now called Ithakē (modern Greek: Ιθάκη)  The wanderings of Odysseus as told to the Phaeacians, and the location of the Phaeacians' own island of Scheria, pose more fundamental problems, if geography is to be applied: scholars, both ancient and modern, are divided as to whether any of the places visited by Odysseus (after Ismaros and before his return to Ithaca) are real  Both antiquated and contemporary scholars have attempted to map Odysseus' journey but now largely agree that the landscapes, especially of the Apologia (Books 9 to 11), include too many mythological aspects as features to be unequivocally mappable  Classicist Peter T  Struck created an interactive map which plots Odysseus' travels, including his near homecoming which was thwarted by the bag of wind 

Influences
Scholars have seen strong influences from Near Eastern mythology and literature in the Odyssey  Martin West notes substantial parallels between the Epic of Gilgamesh and the Odyssey  Both Odysseus and Gilgamesh are known for traveling to the ends of the earth and on their journeys go to the land of the dead  On his voyage to the underworld, Odysseus follows instructions given to him by Circe, who is located at the edges of the world and is associated through imagery with the sun  Like Odysseus, Gilgamesh gets directions on how to reach the land of the dead from a divine helper: the goddess Siduri, who, like Circe, dwells by the sea at the ends of the earth, whose home is also associated with the sun  Gilgamesh reaches Siduri's house by passing through a tunnel underneath Mt  Mashu, the high mountain from which the sun comes into the sky  West argues that the similarity of Odysseus' and Gilgamesh's journeys to the edges of the earth are the result of the influence of the Gilgamesh epic upon the Odyssey In 1914, paleontologist Othenio Abel surmised the origins of the Cyclops to be the result of ancient Greeks finding an elephant skull  The enormous nasal passage in the middle of the forehead could have looked like the eye socket of a giant, to those who had never seen a living elephant  Classical scholars, on the other hand, have long known that the story of the Cyclops was originally a folk tale, which existed independently of the Odyssey and which became part of it at a later date  Similar stories are found in cultures across Europe and the Middle East  According to this explanation, the Cyclops was originally simply a giant or ogre, much like Humbaba in the Epic of Gilgamesh  Graham Anderson suggests that the addition about it having only one eye was invented to explain how the creature was so easily blinded 

Themes and patterns
Homecoming
Homecoming (Ancient Greek: νόστος, nostos) is a central theme of the Odyssey  Anna Bonafazi of the University of Cologne writes that, in Homer, nostos is "return home from Troy, by sea"  Agatha Thornton examines nostos in the context of characters other than Odysseus, in order to provide an alternative for what might happen after the end of the Odyssey  For instance, one example is that of Agamemnon's homecoming versus Odysseus'  Upon Agamemnon's return, his wife Clytemnestra and her lover, Aegisthus, kill Agamemnon  Agamemnon's son, Orestes, out of vengeance for his father's death, kills Aegisthus  This parallel compares the death of the suitors to the death of Aegisthus and sets Orestes up as an example for Telemachus  Also, because Odysseus knows about Clytemnestra's betrayal, Odysseus returns home in disguise in order to test the loyalty of his own wife, Penelope  Later, Agamemnon praises Penelope for not killing Odysseus  It is because of Penelope that Odysseus has fame and a successful homecoming  This successful homecoming is unlike Achilles, who has fame but is dead, and Agamemnon, who had an unsuccessful homecoming resulting in his death 

Wandering
Only two of Odysseus's adventures are described by the narrator  The rest of Odysseus' adventures are recounted by Odysseus himself  The two scenes described by the narrator are Odysseus on Calypso's island and Odysseus' encounter with the Phaeacians  These scenes are told by the poet to represent an important transition in Odysseus' journey: being concealed to returning home Calypso's name comes from the Greek word kalúptō (καλύπτω), meaning 'to cover' or 'conceal', which is apt, as this is exactly what she does with Odysseus  Calypso keeps Odysseus concealed from the world and unable to return home  After leaving Calypso's island, the poet describes Odysseus' encounters with the Phaeacians—those who "convoy without hurt to all men"—which represents his transition from not returning home to returning home Also, during Odysseus' journey, he encounters many beings that are close to the gods  These encounters are useful in understanding that Odysseus is in a world beyond man and that influences the fact he cannot return home  These beings that are close to the gods include the Phaeacians who lived near the Cyclopes, whose king, Alcinous, is the great-grandson of the king of the giants, Eurymedon, and the grandson of Poseidon  Some of the other characters that Odysseus encounters are the cyclops Polyphemus, the son of Poseidon; Circe, a sorceress who turns men into animals; and the cannibalistic giants, the Laestrygonians 

Guest-friendship
Throughout the course of the epic, Odysseus encounters several examples of xenia ("guest-friendship"), which provide models of how hosts should and should not act  The Phaeacians demonstrate exemplary guest-friendship by feeding Odysseus, giving him a place to sleep, and granting him many gifts and a safe voyage home, which are all things a good host should do  Polyphemus demonstrates poor guest-friendship  His only "gift" to Odysseus is that he will eat him last  Calypso also exemplifies poor guest-friendship because she does not allow Odysseus to leave her island  Another important factor to guest-friendship is that kingship implies generosity  It is assumed that a king has the means to be a generous host and is more generous with his own property  This is best seen when Odysseus, disguised as a beggar, begs Antinous, one of the suitors, for food and Antinous denies his request  Odysseus essentially says that while Antinous may look like a king, he is far from a king since he is not generous According to J  B  Hainsworth, guest-friendship follows a very specific pattern:
The arrival and the reception of the guest 
Bathing or providing fresh clothes to the guest 
Providing food and drink to the guest 
Questions may be asked of the guest and entertainment should be provided by the host 
The guest should be given a place to sleep, and both the guest and host retire for the night 
The guest and host exchange gifts, the guest is granted a safe journey home, and the guest departs Another important factor of guest-friendship is not keeping the guest longer than they wish and also promising their safety while they are a guest within the host's home 

Testing
Another theme throughout the Odyssey is testing  This occurs in two distinct ways  Odysseus tests the loyalty of others and others test Odysseus' identity  An example of Odysseus testing the loyalties of others is when he returns home  Instead of immediately revealing his identity, he arrives disguised as a beggar and then proceeds to determine who in his house has remained loyal to him and who has helped the suitors  After Odysseus reveals his true identity, the characters test Odysseus' identity to see if he really is who he says he is  For instance, Penelope tests Odysseus' identity by saying that she will move the bed into the other room for him  This is a difficult task since it is made out of a living tree that would require being cut down, a fact that only the real Odysseus would know, thus proving his identity Testing also has a very specific type scene that accompanies it  Throughout the epic, the testing of others follows a typical pattern  This pattern is:
Odysseus is hesitant to question the loyalties of others 
Odysseus tests the loyalties of others by questioning them 
The characters reply to Odysseus' questions 
Odysseus proceeds to reveal his identity 
The characters test Odysseus' identity 
There is a rise of emotions associated with Odysseus' recognition, usually lament or joy 
Finally, the reconciled characters work together 

Omens
Omens occur frequently throughout the Odyssey  Within the epic poem, they frequently involve birds  According to Thornton, most crucial is who receives each omen and in what way it manifests  For instance, bird omens are shown to Telemachus, Penelope, Odysseus, and the suitors  Telemachus and Penelope receive their omens as well in the form of words, sneezes, and dreams  However, Odysseus is the only character who receives thunder or lightning as an omen  She highlights this as crucial because lightning, as a symbol of Zeus, represents the kingship of Odysseus  Odysseus is associated with Zeus throughout both the Iliad and the Odyssey Omens are another example of a type scene in the Odyssey  Two important parts of an omen type scene are the recognition of the omen, followed by its interpretation  In the Odyssey, all of the bird omens—with the exception of the first—show large birds attacking smaller birds  Accompanying each omen is a wish which can be either explicitly stated or only implied  For example, Telemachus wishes for vengeance and for Odysseus to be home, Penelope wishes for Odysseus' return, and the suitors wish for the death of Telemachus 

Textual history
Composition
The date of the poem is a matter of some disagreement among classicists  In the middle of the 8th century BC, the inhabitants of Greece began to adopt a modified version of the Phoenician alphabet to write down their own language  The Homeric poems may have been one of the earliest products of that literacy, and if so, would have been composed some time in the late 8th century BC  Inscribed on a clay cup found in Ischia, Italy, are the words "Nestor's cup, good to drink from " Some scholars, such as Calvert Watkins, have tied this cup to a description of King Nestor's golden cup in the Iliad  If the cup is an allusion to the Iliad, that poem's composition can be dated to at least 700–750 BC Dating is similarly complicated by the fact that the Homeric poems, or sections of them, were performed regularly by rhapsodes for several hundred years  The Odyssey as it exists today is likely not significantly different  Aside from minor differences, the Homeric poems gained a canonical place in the institutions of ancient Athens by the 6th century  In 566 BC, Peisistratos instituted a civic and religious festival called the Panathenaia, which featured performances of Homeric poems  These are significant because a "correct" version of the poems had to be performed, indicating that a particular version of the text had become canonised 

Textual tradition
The Iliad and the Odyssey were widely copied and used as school texts in lands where the Greek language was spoken throughout antiquity  Scholars may have begun to write commentaries on the poems as early as the time of Aristotle in the 4th century BC  In the 3rd and 2nd centuries BC, scholars affiliated with the Library of Alexandria—particularly Zenodotus and Aristarchus of Samothrace—edited the Homeric poems, wrote commentaries on them, and helped establish the canonical texts The Iliad and the Odyssey remained widely studied and used as school texts in the Byzantine Empire during the Middle Ages  The Byzantine Greek scholar and archbishop Eustathios of Thessalonike (c  1115 – c  1195/6 AD) wrote exhaustive commentaries on both of the Homeric epics that became seen by later generations as authoritative; his commentary on the Odyssey alone spans nearly 2,000 oversized pages in a twentieth-century edition  The first printed edition of the Odyssey, known as the editio princeps, was produced in 1488 by the Greek scholar Demetrios Chalkokondyles, who had been born in Athens and had studied in Constantinople  His edition was printed in Milan by a Greek printer named Antonios Damilas Since the late 19th century, many papyri containing fragments of the Odyssey have been found in Egypt, some with content different from later medieval versions 
In 2018, the Greek Cultural Ministry revealed the discovery of a clay tablet near the Temple of Zeus at Olympia, containing 13 verses from the Odyssey's 14th book  While it was initially reported to date from the 3rd century AD, the date is unconfirmed 

English translations
George Chapman's English translations of the Odyssey and the Iliad, published together in 1616 but serialised earlier, were the first to enjoy widespread success  The texts had been published in translation before, with some translated not from the original Greek  Chapman worked on these for a large part of his life  In 1581, Arthur Hall translated the first 10 books of the Iliad from a French version  Chapman's translations persisted in popularity, and are often remembered today through John Keats' sonnet  "On First Looking into Chapman's Homer" (1816)  Years after completing his translation of the Iliad, Alexander Pope began to translate the Odyssey because of his financial situation  His second translation was not received as favourably as the first Emily Wilson, a professor of classical studies at the University of Pennsylvania, notes that as late as the first decade of the 21st century, almost all of the most prominent translators of Greek and Roman literature had been men  She calls her experience of translating Homer one of "intimate alienation " Wilson writes that this has affected the popular conception of characters and events of the Odyssey, inflecting the story with connotations not present in the original text: "For instance, in the scene where Telemachus oversees the hanging of the slaves who have been sleeping with the suitors, most translations introduce derogatory language ("sluts" or "whores") [   ] The original Greek does not label these slaves with derogatory language " In the original Greek, the word used is hai, the feminine article, equivalent to "those female people" 

Legacy
The influence of the Homeric texts can be difficult to summarise because of how greatly they have impacted the popular imagination and cultural values  The Odyssey and the Iliad formed the basis of education for members of ancient Mediterranean society  That curriculum was adopted by Western humanists, meaning the text was so much a part of the cultural fabric that it became irrelevant whether an individual had read it  As such, the influence of the Odyssey has reverberated through over a millennium of writing  The poem topped a poll of experts by BBC Culture to find literature's most enduring narrative  It is widely regarded by western literary critics as a timeless classic and remains one of the oldest works of extant literature commonly read by Western audiences 

Literature
In Canto XXVI of the Inferno, Dante Alighieri meets Odysseus in the eighth circle of hell, where Odysseus appends a new ending to the Odyssey in which he never returns to Ithaca and instead continues his restless adventuring  Edith Hall suggests that Dante's depiction of Odysseus became understood as a manifestation of Renaissance colonialism and othering, with the cyclops standing in for "accounts of monstrous races on the edge of the world", and his defeat as symbolising "the Roman domination of the western Mediterranean" Irish poet James Joyce's modernist novel Ulysses (1922) was significantly influenced by the Odyssey  Joyce had encountered the figure of Odysseus in Charles Lamb's Adventures of Ulysses, an adaptation of the epic poem for children, which seems to have established the Latin name in Joyce's mind  Ulysses, a re-telling of the Odyssey set in Dublin, is divided into 18 sections ("episodes") which can be mapped roughly onto the 24 books of the Odyssey  Joyce claimed familiarity with the original Homeric Greek, but this has been disputed by some scholars, who cite his poor grasp of the language as evidence to the contrary  The book, and especially its stream of consciousness prose, is widely considered foundational to the modernist genre Modern writers have revisited the Odyssey to highlight the poem's female characters  Canadian writer Margaret Atwood adapted parts of the Odyssey for her novella, The Penelopiad (2005)  The novella focuses on Penelope and the twelve female slaves hanged by Odysseus at the poem's ending, an image which haunted Atwood  Atwood's novella comments on the original text, wherein Odysseus' successful return to Ithaca symbolises the restoration of a patriarchal system  Similarly, Madeline Miller's Circe (2018) revisits the relationship between Odysseus and Circe on Aeaea  As a reader, Miller was frustrated by Circe's lack of motivation in the original poem and sought to explain her capriciousness  The novel recontextualises the sorceress' transformations of sailors into pigs from an act of malice into one of self-defence, given that she has no superhuman strength with which to repel attackers 

Film and television
L'Odissea (1911) is an Italian silent film by Giuseppe de Liguoro 
Ulysses (1954) is a film adaptation starring Kirk Douglas as Ulysses, Silvana Mangano as Penelope and Circe, and Anthony Quinn as Antinous 
L'Odissea (1968) is an Italian-French-German-Yugoslavian television miniseries praised for its faithful rendering of the original epic 
Nostos: The Return (1989) is an Italian film about Odysseus' homecoming  Directed by Franco Piavoli, it relies on visual storytelling and has a strong focus on nature 
Ulysses' Gaze (1995), directed by Theo Angelopoulos, has many of the elements of the Odyssey set against the backdrop of the most recent and previous Balkan Wars 
The Odyssey (1997) is a television miniseries directed by Andrei Konchalovsky and starring Armand Assante as Odysseus and Greta Scacchi as Penelope 
O Brother, Where Art Thou? (2000) is a crime comedy drama film written, produced, co-edited and directed by the Coen brothers and is very loosely based on Homer's poem 

Opera and music
Il ritorno d'Ulisse in patria, first performed in 1640, is an opera by Claudio Monteverdi based on the second half of Homer's Odyssey 
Rolf Riehm composed an opera based on the myth, Sirenen – Bilder des Begehrens und des Vernichtens (Sirens – Images of Desire and Destruction), which premiered at the Oper Frankfurt in 2014 
Robert W  Smith's second symphony for concert band, The Odyssey, tells four of the main highlights of the story in the piece's four movements: "The Iliad", "The Winds of Poseidon", "The Isle of Calypso", and "Ithaca" 

Sciences
Psychiatrist Jonathan Shay wrote two books, Achilles in Vietnam: Combat Trauma and the Undoing of Character  (1994) and Odysseus in America: Combat Trauma and the Trials of Homecoming (2002), which relate the Iliad and the Odyssey to posttraumatic stress disorder and moral injury as seen in the rehabilitation histories of combat veteran patients  
Passage 6:
Albert Odyssey (Super Famicom game)
Albert Odyssey (アルバートオデッセイ, Arubaato Odessei) is a tactical role-playing video game developed and published by Sunsoft and released for the Super Nintendo Entertainment System in Japan in March 1993  The game features strategy-based combat in addition to traditional role-playing game elements in two-dimensional environments  It is the first game in the Albert Odyssey series, and was followed by two sequels, Albert Odyssey 2: Jashin no Taidou in 1994, and Albert Odyssey: Legend of Eldean in 1996   On June 12, 1996, Albert Odyssey was made available as a full game download on the Satellaview add-on as BS Albert Odyssey (BSアルバートオデッセイ, BS Arubaato Odessei), and the original Albert Odyssey was re-released for Satellaview in March 1998 Players assume the role of Albert, the young heroic swordsman who lives in a fantasy world filled with monsters and mythical creatures  While much of the world remains in relative peace following a great war many years before, a military faction led by the dark magician Globus has emerged to conquer the newly pacified nations and expand their empire  With the help of Albert's friends as well as hired mercenaries, the player must travel the world and eventually confront Golbus and his forces to prevent another large-scale conflict 

Gameplay
Albert Odyssey is a role-playing video game with strategy elements where players must travel through a fantasy environment battling monsters and other enemies to advance the story  The game uses two-dimensional character sprites and environments accompanied by the Super Nintendo Entertainment System's Mode 7 graphics capabilities that give the impression of three dimensions  Players move their characters from a top-down perspective through towns and other peaceful areas, while the game's overworld and dungeons are rendered as large battlefields laden with enemies  Throughout the game, players take part in the story by interacting with non-player characters and performing story-driven quests that continually expand the game's narrative 
Using a turn-based system, both the player and computer opponent take turns moving and attacking across the field  A player may choose to move, attack, perform magic, use an item in their possession to aid themselves, or retreat to the nearest safe area to rest or restock supplies  Once two characters come in contact with one another, a battle sequence ensues where the attacking character deals damage to the opponent, lowering their health  When the player or enemy's health reaches zero, they are defeated and ejected from the field  Player's advance by confronting and defeating enemies, gaining experience points in the process that go towards making characters stronger and learn new abilities  A character can be further augmented with progressively more powerful weapons and equipment can be purchased in towns or found on defeated enemies  Progress is recorded by using save points found in set areas throughout the game that utilize the Famicom's battery backup-up system  If all of a player's characters are defeated at any time, they are forced to restart the game from the last recorded save file 

Audio
The music for Albert Odyssey was written and programmed by Sunsoft in-house composer Naoki Kodaka, with the game being his first Super Famicom and role-playing endeavor  On June 25, 1993, Sunsoft released an official soundtrack titled All Sounds of Albert Odyssey in Japan published by Datam Polystar featuring all background music and jingles from the game   Later that year, selected music from Albert Odyssey was performed by the Tokyo City Philharmonic Orchestra as part of the third Game Music Concert series in Tokyo, Japan, later made available as a commercial album the following December  The two tracks represented were "The Road Walked by Heroes" and "Hometown Tibelis", retitled as "Albert Odyssey Theme" and "God's People" respectively 

Sequel
Albert Odyssey 2: Jashin no Taidou (アルバートオデッセイ2 邪神の胎動, Aruberto Odesei Tsu Jashin no Taidou, lit  Albert Odyssey 2: Sign of the Devil) is a tactical role-playing video game developed and published by Sunsoft for the Super Famicom and released in December 1994  It is the sequel to the original Albert Odyssey and retains many of the same gameplay and story elements while featuring enhanced graphics and battle features 
The game is set ten years after the previous title and follows the story of Dean, a young warrior who is enthralled by the exploits of the hero Albert who saved the world a decade earlier from an evil magician   Setting off on his own journey to investigate the conflict, Dean becomes entangled in an adventure of his own while meeting characters from the previous game  He soon learns that the world is once again in danger from an ancient evil god known as Okutoba, and must become a hero himself to stop him from throwing the world into darkness 

Gameplay
Like its predecessor, Albert Odyssey 2 is a traditional strategy-based role-playing video game featuring two-dimensional character and background graphics  While towns and other safe areas are presented in a top-down fashion where players can move about freely, the game's overworld and dungeons take the appearance of a grid-like strategy board filled with monsters and other enemies   Using the Super Famicom's Mode 7 graphics function, environments can scroll and zoom smoothly based on the player's point of view, and give the appearance of three-dimensions  Players advance the game's story by taking part in large-scale battles and interacting with non-player characters 
The battle system in Albert Odyssey 2 has been modified slightly from the original   While players can still move in eight directions to engage opponents, the size of many battlefields, as well as the number of enemies represented, has been reduced, with the entire system becoming more streamlined  Characters move about the battle environment using a turn-based system where enemies and the player's party take turns attacking in phases, with one entire side acting before another  On a player's turn, characters may move, fight, use a magic attack, use an item from their inventory, or retreat to a nearby safe location  Battle are won when an entire enemy party has been defeated, yielding experience points that allow characters to gain levels and become stronger as well as give access to new abilities   Players record their progress using the game cartridge's built-in battery back-up system by accessing preset save points during gameplay 
Passage 7:
Sorrows of Werther
"Sorrows of Werther" is a satirical poem by William Makepeace Thackeray written in response to the enormous success of Johann Wolfgang von Goethe's novel The Sorrows of Young Werther 


== Text ==
Passage 8:
Werther (film)
Werther is an opera by Jules Massenet 
Werther may also refer to:

Places
Werther, North Rhine-Westphalia, a town in western Germany
Werther, Thuringia, a municipality in eastern Germany

People with the surname
Gustav Werther (1815–1869), German chemist
Heinrich Wilhelm von Werther (1772–1859), Prussian diplomat and politician

Arts
The Sorrows of Young Werther, a novel by Johann Wolfgang von Goethe that the opera Werther is loosely based on
Werther (1986 film), a Spanish film based on the novel
Werther (1927 film), a Czech film

Others
Werther's Original, a toffee-and-cream candy
The New Werther, by the statistician Karl Pearson
Passage 9:
Werther
Werther is an opera (drame lyrique) in four acts by Jules Massenet to a French libretto by Édouard Blau, Paul Milliet and Georges Hartmann (who used the pseudonym Henri Grémont)  It is loosely based on Goethe's epistolary novel The Sorrows of Young Werther, which was based both on fact and on Goethe's own early life  Earlier examples of operas using the story were made by Kreutzer (1792) and Pucitta (1802) 

Performance history
Massenet started composing Werther in 1885, completing it in 1887  He submitted it to Léon Carvalho, the director of the Paris Opéra-Comique, that year, but Carvalho declined to accept it on the grounds that the scenario was too serious  With the disruption of the fire at the Opéra-Comique and Massenet's work on other operatic projects (especially Esclarmonde), it was put to one side, until the Vienna Opera, pleased with the success of Manon, asked the composer for a new work  Werther received its premiere on 16 February 1892 (in a German version translated by Max Kalbeck) at the Imperial Theatre Hofoper in Vienna The French-language premiere followed in Geneva on 27 December 1892  The first performance in France was given by the Opéra-Comique at the Théâtre Lyrique on the Place du Châtelet in Paris on 16 January 1893, with Marie Delna as Charlotte and Guillaume Ibos in the title role, conducted by Jules Danbé, but was not immediately successful Werther entered the repertoire at the Opéra-Comique in 1903 in a production supervised by Albert Carré, and over the next half-century the opera was performed over 1,100 times there, Léon Beyle becoming a distinguished interpreter of Werther The United States premiere with the Metropolitan Opera took place in Chicago on 29 March 1894 and then in the company's main house in New York City three weeks later  The UK premiere was a one-off performance at Covent Garden, London, on 11 June 1894 with Emma Eames as Charlotte, Sigrid Arnoldson as Sophie, and Jean de Reszke in the title role 
Werther is still regularly performed around the world and has been recorded many times  Although the role of Werther was written for a tenor, Massenet adjusted it for a baritone, when Mattia Battistini sang it in Saint Petersburg in 1902  It is very occasionally performed in this version, in which the changes affect only the vocal line for the title character  There are no other changes to the words, to the lines for other characters, or to the orchestration 

Roles
Instrumentation
2 flutes (2nd doubling piccolo),
2 oboes (doubling English horns),
2 clarinets in B-flat and A,
alto saxophone,
2 bassoons,
4 horns in F,
2 cornets in B-flat and A,
3 trombones,
tuba,
timpani,
percussion (1) (bass drum, triangle),
harp,
strings 

Synopsis
Time: Within the period July to December, in an undefined year in the 1780s 
Place: Wetzlar in Germany 

Act 1
In July, the widowed Bailiff (a Magistrate, rather than one who comes to seize property), is teaching his six youngest children a Christmas carol ("Noël! Jésus vient de naître")  His drinking companions, Johann and Schmidt, arrive as Charlotte, the eldest daughter, dresses for a ball  Since her fiancé Albert is away, she is to be escorted by Werther, whom the Bailiff and his companions find gloomy  Werther arrives ("O Nature, pleine de grâce"), and watches as Charlotte prepares her young siblings' supper, just as her mother had before she died  He greets her and they leave for the ball  Albert returns unexpectedly after a six-month trip  He is unsure of Charlotte's intentions and disappointed not to find her at home, but is reassured and consoled by Charlotte's younger sister Sophie  He leaves after promising to return in the morning  After an orchestral interlude, Werther and Charlotte return very late; he is already enamoured of her  His declaration of love is interrupted by the announcement of Albert's return  Charlotte recalls how she promised her dying mother she would marry Albert  Werther is in despair 

Act 2
It is three months later, and Charlotte and Albert are now married  They walk happily to church to celebrate the minister's 50th wedding anniversary, followed by the disconsolate Werther ("Un autre est son époux!")  First Albert and then Sophie ("Du gai soleil, plein de flamme") try to cheer him up  When Charlotte exits the church, he speaks to her of their first meeting  Charlotte begs Werther to leave her, though she indicates that she would be willing to receive him again on Christmas Day  Werther contemplates suicide ("Lorsque l'enfant revient d'un voyage")  He encounters Sophie but the tearful girl does not understand his distressing behavior  Albert now realizes that Werther loves Charlotte 

Act 3
Charlotte is at home alone on Christmas Eve  She spends time rereading the letters that she has received from Werther ("Werther! Qui m'aurait dit     Ces lettres!"), wondering how the young poet is and how she had the strength to send him away  Sophie comes in and tries to cheer up her older sister ("Ah! le rire est béni"), though Charlotte is not to be consoled ("Va! laisse couler mes larmes")  Suddenly Werther appears, and while he reads to her some poetry of Ossian ("Pourquoi me réveiller?"), he realizes that she does indeed return his love  They embrace for a moment, but she quickly bids him farewell  He leaves with thoughts of suicide  Albert returns home to find his wife distraught  Werther sends a messenger to Albert, requesting to borrow his pistols, explaining he is going on an extended trip  After the servant has taken them, Charlotte has a terrible premonition and hurries to find Werther  An orchestral intermezzo ("La nuit de Noël") leads without a break into the final Act 

Act 4
"The death of Werther": At Werther's apartment, Charlotte has arrived too late to stop him from shooting himself; he is dying  She consoles him by declaring her love  He asks for forgiveness  After he dies, Charlotte faints  Outside children are heard singing the Christmas carol 

Noted arias
Recordings
A well-regarded recording of the complete opera was made in January 1931 by French Columbia with a French cast and the orchestra and chorus of the Opéra-Comique under the direction of Élie Cohen  Henry Fogel of Fanfare magazine, writing in 1992, counted 14 complete recordings and considered it the finest of the lot  His colleague, James Camner, reviewing the Opera d'Oro reissue in 2003, called it "one of the treasures of recorded opera      Unfortunately, the transfer is over filtered  The high frequencies are lost, giving the performance an unwarranted flatness  Happily, Naxos offers the same recording expertly transferred by Ward Marston, and acquiring it is a must " Alan Blyth, while giving a very positive review of the reissue of the recording with Albert Lance as Werther and Rita Gorr as Charlotte in 2004, nevertheless pointed out that "neither quite has the ideal subtlety of the best Massenet singers, such as Vallin and Thill on the classic, pre-war set, now on Naxos" In addition, many of the greatest French and Italian singers of the past century or more have recorded individual arias from Massenet's masterwork 
Passage 10:
The Novel of Werther
The Novel of Werther (French: Le Roman de Werther) is a 1938 French historical drama film directed by Max Ophüls and starring Pierre Richard-Willm, Annie Vernay and Jean Galland  It is based on the 1774 novel The Sorrows of Young Werther by Goethe The film was made by Nero Film, a company run by German exiles who had left following the Nazi rise to power 

Cast
Pierre Richard-Willm as Werther
Annie Vernay as Charlotte
Jean Galland as Albert
Paulette Pax as Aunt Emma
Jean Périer as President
Edmond Beauchamp as murderer
Georges Bever as chamberlain
Geno Ferny as portraitist
Fernand Blot as Werther's colleague
Denise Kerny as the right one
Henri Guisol as Schertz, the clerk
Roger Legris as Franz, valet
Jean Buquet as little Gustave
Maurice Schutz as le sonneur
Léonce Corne asle majordome
Philippe Richard as Grand Duke
Charles Nossent as le cocher
Léon Larive as comedian
Georges Vitray as bailiff
Génia Vaury as girl
Henri Beaulieu
Henri Darbrey
Pierre Darteuil
Maurice Devienne
Martial Rèbe
Robert Rollis



ground_truth: no

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

Question: Are Pothos and Tibouchina Aubl both flowering genus of plants?

The following are given passages.
Context 3: Boyce - Guangxi, Laos, Vietnam
Pothos kingii Hook f  - Thailand, Peninsular Malaysia
Pothos lancifolius Hook f  - Vietnam, Peninsular Malaysia
Pothos laurifolius P C Boyce & A Hay - Brunei
Pothos leptostachyus Schott - Thailand, Peninsular Malaysia, Borneo, Sumatra
Pothos longipes Schott - Queensland, New South Wales
Pothos longivaginatus Alderw  - Borneo
Pothos luzonensis (C Presl) Schott - Luzon, Samar
Pothos macrocephalus Scort  ex Hook f  - Nicobar Islands, Thailand, Peninsular Malaysia, Sumatra
Pothos mirabilis Merr  - Sabah, Kalimantan Timur
Pothos motleyanus Schott - Kalimantan
Pothos oliganthus P C Boyce & A Hay - Sarawak
Pothos ovatifolius Engl  - Peninsular Malaysia, Borneo, Sumatra, Philippines
Pothos oxyphyllus Miq  - Borneo, Sumatra, Java
Pothos papuanus Becc  ex Engl  - New Guinea, Solomon Islands
Pothos parvispadix Nicolson - Sri Lanka
Pothos philippinensis Engl  - Philippines
Pothos pilulifer Buchet ex P C Boyce - Yunnan, Guangxi, Vietnam
Pothos polystachyus Engl  & K Krause - Papua New Guinea
Pothos remotiflorus Hook  - Sri Lanka
Pothos repens (Lour ) Druce - Guangdong, Guangxi, Hainan, Yunnan, Laos, Vietnam
Pothos salicifolius Ridl  ex Burkill & Holttum
Pothos scandens L  - Indian subcontinent, Indo-China, Malesia
Pothos tener (Roxb ) Wall  - Maluku, Sulawesi, New Guinea, Solomon Islands, Bismarck Archipelago, Vanuatu 
Pothos thomsonianus Schott - southern India
Pothos touranensis Gagnep  - Vietnam
Pothos versteegii Engl  - New Guinea
Pothos volans P C Boyce & A Hay - Brunei, Sarawak
Pothos zippelii Schott - Maluku, New Guinea, Solomon Islands, Bismarck Archipelago
Passage 5:
Chiranthodendron
Chiranthodendron is a flowering plant genus in the family Malvaceae  It comprises a single species of tree, Chiranthodendron pentadactylon 

Names
The tree is called the devil's, monkey's or Mexican hand tree or the hand-flower in English, the árbol de las manitas (tree of little hands) in Spanish, and mācpalxōchitl (palm flower) in Nahuatl, all on account of its distinctive red flowers, which resemble open human hands  The scientific name means "five-fingered hand-flower tree" 

Description
This species is native to Guatemala and southern Mexico  On the wet slopes of these areas, trees may reach 10 5–27 5 m (34–90 ft) in height  The unusual appearance of the 'hands' has stimulated cultivation in gardens around the world, primarily in North America where it grows well near its native range  The leaves are large and shallowly lobed, with a brown indumentum on the underside  The distinctive flowers appear in late spring and early summer; the five stamens are long, curved upward, and bright red, giving the distinct impression of a clawed hand  Its fruit is a 7 5–10 cm (3 0–3 9 in) long oblong, five-lobed capsule which contains black seeds It was originally described from a single cultivated specimen grown in Toluca in the Toluca Valley, well outside the native range  The Aztecs revered the tree 

Intergeneric hybrid
It is closely related to Fremontodendron, sufficiently to produce an intergeneric hybrid ×Chiranthofremontia lenzii Henrickson, which has yellow flowers and a reduced form of the claw 

Uses
The Aztecs and others have used solutions containing the tree's flowers as a remedy for lower abdominal pain and for heart problems  Such solutions also reduce edema and serum cholesterol levels and, because they contain the glycosides quercetin and luteolin, act as diuretics 
Passage 6:
Zeltnera
Zeltnera is a genus of flowering plants in the gentian family  It was erected in 2004 when the genus Centaurium (the centauries) was split  Genetic analysis revealed that Centaurium was polyphyletic, made up of plants that could be grouped into four clades  Each became a genus  Centaurium remained, but it is now limited to the Eurasian species  The Mexican species now belong to genus Gyrandra, and the Mediterranean and Australian plants are in genus Schenkia  The new name Zeltnera was given to this genus, which contains most of the North American centauries  There are about 25 species Plants of this genus are annual, biennial, or short-lived perennial herbs  They are taprooted or have fibrous root systems  They produce one or more branching stems which are often ridged and sometimes winged  The leaves are gathered around the lower stem or arranged along the length of the stem  They vary in shape, from linear to lance-shaped to oval, and are green or yellowish  The inflorescence is variable in arrangement  The flower has a tubular throat that opens into a flat corolla with four or five lobes  It may be any shade of pink or white, and the throat is usually paler, to white or yellowish, or occasionally patterned with green  The fruit is a small capsule containing up to 700 minute seeds  Zeltnera and Centaurium species differ mostly in the morphology of the style and stigma, as well as the shape of the fruit capsule Zeltnera can be subdivided into three groups, a division which is supported by DNA evidence but is most obvious in terms of geography  They are casually named the "Californian group", the "Texan group", and the "Mexican group"  The first group is distributed from British Columbia south through the West Coast of the United States and into Baja California  The "Texan" plants occur from Arizona to Oklahoma in the US and throughout northern Mexico  The "Mexican group" occurs in Mexico, Central America, and parts of South America  The range may extend north into Arizona Genus Zeltnera was named for the Swiss botanists Louis and Nicole Zeltner, who have researched Centaurium and other gentians Species include:
Zeltnera abramsii
Zeltnera arizonica - Arizona centaury
Zeltnera beyrichii - quinineweed
Zeltnera breviflora
Zeltnera calycosa - Arizona centaury, shortflower centaury, rosita, Buckley centaury
Zeltnera davyi - Davy's centaury
Zeltnera exaltata - desert centaury
Zeltnera gentryi
Zeltnera glandulifera - sticky centaury
Zeltnera madrensis
Zeltnera martinii
Zeltnera maryanna - gypsum centaury
Zeltnera muehlenbergii - Muhlenberg's centaury
Zeltnera multicaulis - manystem centaury
Zeltnera namophila - springloving centaury
Zeltnera nesomii
Zeltnera nevadensis
Zeltnera nudicaulis - Santa Catalina Mountain centaury
Zeltnera pusilla
Zeltnera quitensis - Britton's centaury
Zeltnera setacea
Zeltnera stricta
Zeltnera texensis - Lady Bird's centaury
Zeltnera trichantha - alkali centaury
Zeltnera venusta - charming centaury, canchalagua
Zeltnera wigginsii
Passage 7:
Psychotria
Psychotria is a genus of flowering plants in the family Rubiaceae  It contains 1,582 species and is therefore one of the largest genera of flowering plants  The genus has a pantropical distribution and members of the genus are small understorey trees in tropical forests  Some species are endangered or facing extinction due to deforestation, especially species of central Africa and the Pacific 
Many species, including Psychotria viridis, produce the psychedelic chemical dimethyltryptamine (DMT) 

Selected species
Formerly placed here
Psychotria elata = Palicourea elata
Psychotria poeppigiana = Palicourea tomentosa

Image gallery
See also
List of the largest genera of flowering plants
Passage 8:
Tibouchina heteromalla
Pleroma heteromallum, synonyms including Tibouchina grandifolia and Tibouchina heteromalla, known by the common name silverleafed princess flower in English, is a species of evergreen flowering plant in the family Melastomataceae  It is native to French Guiana, Bolivia and Brazil 

Description
Pleroma heteromallum reaches an average height of 4–6 feet (1 2–1 8 m), with a maximum of about 8–10 feet (2 4–3 0 m) in its native habitat  The branching stem is woody and the large, silvery green leaves are simple, ovate, velvety in texture, and oppositely arranged  The inflorescence is a panicle of several purple flowers with five petals  The plant has 4–6 inches (10–15 cm) long leaves, with prominent veins that are puffed up in the middle and old leaves will often turn an orange color just prior to dropping off 

Cultivation
The plant is cultivated as an ornamental for its showy foliage and purple flowers  It is sensitive to cold but can tolerate a light frost 

Gallery
Passage 9:
Aureusvirus
Aureusvirus is a genus of viruses, in the family Tombusviridae  Plants serve as natural hosts  There are six species in this genus 

Taxonomy
The genus contains the following species:
Cucumber leaf spot virus
Elderberry aureusvirus 1
Johnsongrass chlorotic stripe mosaic virus
Maize white line mosaic virus
Pothos latent virus
Yam spherical virus

Structure
Viruses in Aureusvirus are non-enveloped, with icosahedral and  Spherical geometries, and T=3 symmetry  The diameter is around 30 nm  Genomes are linear, around 4 4kb in length 

Life cycle
Viral replication is cytoplasmic, and is lysogenic  Entry into the host cell is achieved by penetration into the host cell  Replication follows the positive stranded RNA virus replication model  Positive stranded RNA virus transcription, using the premature termination model of subgenomic RNA transcription is the method of transcription  Translation takes place by leaky scanning, and  suppression of termination  The virus exits the host cell by tubule-guided viral movement  Plants serve as the natural host  Transmission routes are mechanical, seed borne, and contact 
Passage 10:
Pothoideae
Pothoideae is a subfamily of flowering plants in the family Araceae  The species in the subfamily are true aroids 

Tribes and genera
The subfamily consists of two tribes:

AnthurieaeAnthurium Schott

Pothoeae
Pothos L 
Pedicellarum M Hotta (monotypic)
Pothoidium Schott (monotypic)



ground_truth: yes