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

Question: Was Atom Egoyans biggest commercial success on stage or on film?

The following are given passages.
Context 1: Passage 1:
Rasel
Rasel may refer to:

Rasel (singer), (born Rafael Abad Anselmo), Spanish singer
Rasel (actor), Bangladeshi film actor
Syed Rasel, Bangladeshi cricketer
Passage 2:
For Those Who Think Young (album)
For Those Who Think Young, appearing on the album cover as (for those who think young) and originally to be entitled for those who think jung, is the third album by Canadian new wave band Rough Trade; it was released in 1981 (True North TN-48 in Canada; Boardwalk NB-33261-1, US; Big Time, UK; CBS 85385, The Netherlands)  It climbed to #9 in Canada on the RPM Top 50 Albums Chart on November 7, 1981 (putting it at #1 on the CANCON Chart listing), and held the position for three weeks, dropping out of the Top 50 after sixteen weeks on February 6 of the following year  It was certified gold in Canada by the CRIA on November 1, 1981  The single "All Touch" gave the band its biggest commercial success, reaching #12 in Canada on the RPM Top 50 Singles Chart (#2 on the CANCON Chart) and #58 on the U S  Billboard Hot 100 Singles released from the album included "All Touch" (b/w "Baptism of Fire") [True North TN4-165], "Blood Lust" (b/w "Bodies In Collision") [True North TN4-170], "For Those Who Think Young" (b/w "Attitude") [True North TN4-171], all 1981 Canadian releases in picture sleeves, and the 1982 U S  release of "All Touch" (b/w "The Sacred And The Profane") [Boardwalk NB-11-167-7] 

Track listing
Personnel
Carole Pope – Songwriter, lead vocals
Kevan Staples – Vocals, guitar, piano, synthesiser, producer
David McMorrow – Vocals, piano, Rhodes, synthesisers
Terry Wilkins – Vocals, Fender fretless bass
Bucky Berger – Vocals, drums
Gene Martynec – Producer
Gary Gray – Engineer
Rick Starks – Assistant engineer
Jack Skinner – Mastering
Peter J  Moore – Remastering, restoration
Dusty Springfield – Backing vocals
Shawne Jackson – Backing vocals
Colina Phillips – Backing vocals
Derek Taylor – Make-up

Charts
Singles
Passage 3:
Zooey Deschanel filmography
American actress, model, musician, and singer-songwriter Zooey Deschanel made her film debut in the 1999 comedy feature Mumford  She went on to gain public attention by co-starring in the comedy-drama Almost Famous (2000), the independent drama Manic (2001) opposite Joseph Gordon-Levitt, and the comedy drama The Good Girl (2002)  She landed her first major role as an 18-year-old virgin in the romantic drama All the Real Girls (2003), for which she was nominated for an Independent Spirit Award for Best Female Lead  One of Deschanel's biggest commercial successes came with the Christmas-fantasy film Elf (2003), which grossed over $220 million worldwide In 2005, Deschanel played Tricia McMillan in Garth Jennings' The Hitchhiker's Guide to the Galaxy, an adaption of the media franchise of the same name  She followed this with a series of comedy films, including Winter Passing (2005), Failure to Launch (2006), The Go-Getter (2007), and Peyton Reed's Yes Man (2008)  Deschanel played a radiant dream girl in the independent romantic drama (500) Days of Summer (2009), also opposite Gordon-Levitt, for which she garnered a nomination for Best Actress in a Motion Picture at the 14th Satellite Awards  She voiced Bridget in the animated family comedy Trolls (2016), which earned her an Annie Award nomination for Voice Acting in a Feature Production Deschanel made her television debut in the sitcom Veronica's Closet in 1998  She later starred as DG in the miniseries Tin Man (2007), a science fiction re-imagining of The Wonderful Wizard of Oz  The miniseries averaged more than 6 3 million viewers during its first night, making it the top rated cable miniseries of 2007  She voiced Mary Spuckler in three episodes of The Simpsons, since debuting in the 2008 episode "Apocalypse Cow", and guest-starred with her sister Emily in a 2009 episode of the Fox crime procedural drama Bones  In 2011, she landed a starring role in the Fox sitcom New Girl  For her portrayal as goofy school teacher Jessica Day, she received nominations for three Golden Globe Awards and a Primetime Emmy Award, and won the Critics' Choice Television Award for Best Actress in a Comedy Series 

Film
Television
Music videos
Video games
Discography
Soundtrack performances
Guest album appearances
Notes
Passage 4:
Self Control (album)
Self Control is the third studio album by American singer Laura Branigan, released in April 1984, by Atlantic Records  The album peaked at number 23 on the US Billboard 200 and has been certified platinum by the Recording Industry Association of America (RIAA)  Internationally, it charted within the top five in several continental European countries 
Four singles were released from the album, including Branigan's cover version of Raf's "Self Control", which was a commercial success, peaking at number four on the US Billboard Hot 100 and topping the charts in Canada and several European countries  Additionally, "The Lucky One" peaked at number 20 on the Billboard Hot 100, while her cover of Umberto Tozzi's "Ti amo" reached number two in Australia and number five in Canada 
A remastered and expanded edition of Self Control was released on April 25, 2013, by Gold Legion, including remixes of "The Lucky One" and "Satisfaction", as well as the extended version of "Self Control" 

Track listing
Notes
^[a]  signifies English lyrics
^[b]  signifies original music
^[c]  signifies original words

Personnel
Credits adapted from the liner notes of Self Control 

Musicians
Technical
Jürgen Koppers – engineering, mixing
Harold Faltermeyer – additional engineering
Peter Luedemann – additional engineering
Jeremy Smith – additional engineering
Gary Skardina – additional engineering
Keith Buckley – engineering assistance
Jon Ingoldsby – engineering assistance
Matt Forger – engineering assistance
Brian Gardner – mastering
Jack White – production, executive production
Robbie Buchanan – production

Artwork
Tim Lohman – front cover photo
Paul Lohman – creative direction
Bob Defrin – art direction
Lynn Dreese Breslin – design
Daniela Scaramuzza – back cover photo

Charts
Certifications
Notes
Passage 5:
Chloe (film)
Chloe is a feminine given name 
Chloe may also refer to:

Places
Chloe, West Virginia, an unincorporated community
402 Chloë, an asteroid named after the goddess

Arts, entertainment, and media
Films
Chloé (1996 film), a French television film starring Marion Cotillard
Chloe (2009 film), an erotic thriller film
Chloe, Love Is Calling You, a 1934 American film directed by Marshall Neilan

Music
Chloe, an album by Willie Nelson
"Chloe", a song by Grouplove
"Chloe", a single from Elton John's album The Fox
"Chloe", a song by Spike Jones
"Chlo-e (Song of the Swamp)"
"Chloe (You're the One I Want)", the debut single of American pop rock trio Emblem3 from Nothing to Lose

Other arts, entertainment, and media
Chloé (artwork), an 1875 painting by Jules Lefebvre
Chloe (TV series)
Fictional characters with the name (see Chloe)
Chloe (Hollyoaks), a character from the British series Hollyoaks

People
Chloë (Australian singer)
Chloe Bailey (born 1998), American singer known mononymously as Chlöe
Chloe Lowery (born 1987), American singer known mononymously as Chloe

Weather formations
Hurricane Chloe, in the 1967 Atlantic hurricane season
Tropical Storm Chloe, in the 1971 Atlantic hurricane season

Other uses
Chloé, a French luxury fashion house established in 1952
Project CHLOE, a civilian anti-missile defence system
Ethinylestradiol/cyproterone acetate, a birth control pill
Chloe, the brand name of the oral contraceptive co-cyprindiol (cyproterone acetate/ethinylestradiol)
Chloe, an epithet for the Greek goddess Demeter, meaning the green shoot
Chloe, DOS software for handling chess problems

See also
All pages with titles beginning with Chloe
All pages with titles containing Chloe
Chole (disambiguation), a disambiguation page
Cloe, Pennsylvania, an unincorporated community
"@Chl03k", a song by Modern Baseball (band)
Passage 6:
Atom Egoyan
Atom Egoyan  (; Armenian: Աթոմ Եղոյեան, romanized: Atom Yeghoyan; born July 19, 1960) is a Canadian filmmaker  He was part of a loosely-affiliated group of filmmakers to emerge in the 1980s from Toronto known as the Toronto New Wave  Egoyan made his career breakthrough with Exotica (1994), a film set primarily in and around the fictional Exotica strip club  Egoyan's most critically acclaimed film is the drama The Sweet Hereafter (1997), for which he received two Academy Award nominations, and his biggest commercial success is the erotic thriller Chloe (2009)  He is considered by local film critic Geoff Pevere to be one of the greatest filmmakers of his generation Egoyan's work often explores themes of alienation and isolation, featuring characters whose interactions are mediated through technology, bureaucracy, or other power structures  Egoyan's films often follow non-linear plot structures, in which events are placed out of sequence in order to elicit specific emotional reactions from the audience by withholding key information In 2008, Egoyan received the Dan David Prize for "Creative Rendering of the Past " Egoyan later received the Governor General's Performing Arts Award, Canada's highest royal honour in the performing arts, in 2015 

Early life and education
Egoyan was born Atom Yeghoyan on July 19, 1960, in Cairo, then part of the United Arab Republic (now Egypt), to Armenian-Egyptian painters Shushan (née Devletian) and Joseph Yeghoyan  He was named Atom to mark the completion of Egypt's first nuclear reactor  He has a younger sister, Eve  In 1963, the family immigrated to Victoria, British Columbia due to the rise of Arab nationalism, and changed their last name to Egoyan 
As a teenager, Egoyan became interested in reading and writing plays  Influences included Samuel Beckett and Harold Pinter  He also attributes his future in the film industry to Persona (1966), which he viewed at age 14, according to an interview he had with journalist Robert K  Elder for The Film That Changed My Life:

It gave me an incredible respect for the medium and its possibilities  To me, Persona marries a pure form and a very profound vision with absolute conviction  It's very inspiring  I felt that it was able to open a door that wasn't there before 
Egoyan graduated from Trinity College at the University of Toronto  It was at Trinity College that he came into contact with Harold Nahabedian, the Armenian-Canadian Anglican Chaplain of Trinity College  In interviews, Egoyan credited Nahabedian for introducing him to the language and history of his ethnic heritage  Egoyan also wrote for the University of Toronto's independent weekly, The Newspaper, during his time at the school 

Career
Egoyan began making films in the early 1980s; his debut film Next of Kin (1984) world-premiered at the International Filmfestival Mannheim-Heidelberg and won a major prize  He directed the 1985 Twilight Zone episode "The Wall"  His commercial breakthrough came with the film Exotica (1994)  He received the Grand Prix (Belgian Film Critics Association) in Brussels, the FIPRESCI Jury Prize at the Cannes Film Festival, and Best Motion Picture at the Canadian Screen Awards (then called the Genie Awards)  However, it was Egoyan's first attempt at adapted material that resulted in his best-known work, The Sweet Hereafter (1997), which earned him three prizes at the 50th Cannes Film Festival: the Grand Prix, the FIPRESCI Jury Prize, and the Prize of the Ecumenical Jury  The film also earned Egoyan Academy Award nominations for Best Director and Best Adapted Screenplay 
The film Ararat (2002) generated much publicity for Egoyan  After Henri Verneuil's French-language film Mayrig (1991), it was the first major motion picture to deal directly with the Armenian genocide  Ararat later won the award for Best Motion Picture at the Canadian Screen Awards, marking his third win  The film was released in over 30 countries around the world  In 2004, Egoyan opened Camera Bar, a 50-seat cinema-lounge on Queen Street West in Toronto  The bar has since closed Beginning in September 2006, Egoyan taught at the University of Toronto for three years  He joined the Faculty of Arts and Science as the Dean's Distinguished Visitor in theatre, film, music, and visual studies  He subsequently taught at Ryerson University  In 2006, he received the Master of Cinema Award of the International Filmfestival Mannheim-Heidelberg 
In 2009, he directed the erotic thriller Chloe, which was theatrically released by Sony Pictures Classics on March 26, 2010  This film grossed $3 million in box office sales in the United States and became one of the higher-grossing specialty films of the year in the United States  Several months after the DVD/Blu-ray release of Chloe, Egoyan said that Chloe had made more money than any of his previous films  The success of Chloe led Egoyan to receive many scripts of erotic thrillers In 2012, he directed a production of Martin Crimp's Cruel and Tender, starring Khanjian, at Canadian Stage in Toronto After the release of the West Memphis Three from 18 years in prison, Egoyan directed a movie about the case called Devil's Knot (2013) starring Reese Witherspoon and Colin Firth, based on a book, Devil's Knot: The True Story of the West Memphis Three by Mara Leveritt  His next feature, The Captive (2014), starred Ryan Reynolds and screened in competition for the Palme d'Or at the 2014 Cannes Film Festival, where it received largely negative reviews from critics  Justin Chang from Variety described the film as "a ludicrous abduction thriller that finds a once-great filmmaker slipping into previously un-entered realms of self-parody "In 2015, Egoyan directed the thriller Remember, which starred Christopher Plummer and premiered at the Toronto International Film Festival in September, before being given a limited release in theatres  His latest film is the drama Guest of Honour, was nominated for a Golden Lion in competition in Venice in 2019, had a Special Presentation at the Toronto International Film Festival, and opening night galas in Vancouver and Montreal 
Beginning around 1996, Egoyan has directed several operas, including Salome, Così fan tutte, and The Ring Cycle, at the Canadian Opera, Vancouver Opera, Pacific Opera Victoria, and elsewhere 

Personal life
Egoyan is based in Toronto, where he lives with his wife, actress Arsinée Khanjian, who appears in many of his films, and their son, Arshile (named after the Armenian-American painter Arshile Gorky) 
In 1999, Egoyan was made an Officer of the Order of Canada; he was promoted in 2015 to Companion of the Order of Canada, the highest grade of the honour  In 2009, he won the 'Master of Cinema' award from the Mannheim Film Festival, 25 years after receiving his international festival premiere at the same event  In 2017, Egoyan was presented with the Lifetime Achievement Award at the International Film Festival of India 

Filmography
Feature films
TV films
In This Corner (1986)
Gross Misconduct (1993)
Sarabande (1997)
Krapp's Last Tape (2000)

Short films
Howard in Particular (1979)
After Grad with Dad (1980)
Peep Show (1981)
Open House (1982)
Men: A Passion Playground (1985)
Looking for Nothing (1988)
Montreal Stories (Montréal vu par   ) (1991)
segment: En passant (In Passing)
A Portrait of Arshile (1995)
The Line (2000)
Diaspora (2001)
Chacun son cinéma / To Each His Own Cinema (2007)
segment: Artaud Double Bill
Venezia 70 Future Reload (2013)
segment: Butterfly
Festival du Nouveau Cinéma (2014)
segment: L'Apparition (d'après René Magritte)

Documentary films
Citadel (2003)

Bibliography
Dear Sandra, Volumina (2007)
Passage 7:
Saif Ali Khan
Saif Ali Khan Pataudi (pronounced [ˈsæːf əˈli xaːn]; born Sajid Ali Khan Pataudi; 16 August 1970) is an Indian actor and film producer who works in Hindi films  Part of the Pataudi family, he is the son of actress Sharmila Tagore and cricketer Mansoor Ali Khan Pataudi 
Khan made his acting debut in Parampara (1993)  He failed to earn hits with solo lead films in the 90s and had rare successes only in the multi-starrers Yeh Dillagi (1994), Main Khiladi Tu Anari (1994), Kachche Dhaage (1999) and Hum Saath-Saath Hain (1999)  It was the 2000s when Khan proved his potential as an established actor starting with the sleeper hit Kya Kehna (2000) and won several accolades for the ensemble romantic comedy-dramas Dil Chahta Hai (2001) and Kal Ho Naa Ho (2003)  Further critical and commercial success came with Hum Tum (2004), Parineeta (2005), Salaam Namaste (2005) and Ta Ra Rum Pum (2007) 
Khan also earned critical acclaim for playing a manipulative businessman in Ek Hasina Thi (2004), an apprentice in the English film Being Cyrus (2006) and an antagonist in Omkara (2006)  His biggest hits as lead include Race (2008), Love Aaj Kal (2009), Cocktail (2012) and Race 2 (2013)  After another string of under-performing ventures, Khan was appreciated for headlining Netflix's first original Indian series Sacred Games (2018) and the main antagonist in the historical drama Tanhaji (2020), which ranks as his highest grossing release 
Khan has won several accolades, including a National Film Award and seven Filmfare Awards, and received the Padma Shri, the fourth highest Indian civilian award in 2010  He has been noted for his performances in a range of film genres—from crime dramas to action thrillers and comic romances  In addition to film acting, Khan is a frequent television presenter, stage show performer, and the owner of the production companies Illuminati Films and Black Knight Films 

Early life and family
Khan was born on 16 August 1970 in New Delhi, India to Mansoor Ali Khan Pataudi, a former captain of the Indian national cricket team, and his wife Sharmila Tagore, a film actress  Khan's father, who was the son of the last ruling Nawab of the princely state of Pataudi during the British Raj, received a privy purse from the Government of India under terms worked out in the Political integration of India and was allowed to use the title Nawab of Pataudi until 1971 when the title was abolished  Following Mansur Ali Khan's death in 2011, a symbolic pagri ceremony was held in the village of Pataudi, Haryana to "crown" Khan as the "tenth Nawab of Pataudi", which Khan attended to please the sentiments of the villagers, who wanted him to continue a family tradition  Khan has two younger sisters, jewelry designer Saba Ali Khan and actress Soha Ali Khan, and is the paternal grandson of Iftikhar Ali Khan Pataudi who played for the Indian cricket team in England in 1946, and Sajida Sultan, the Nawab Begum of Bhopal  Hamidullah Khan, the last ruling Nawab of Bhopal was his great-grandfather, and the cricketer Saad Bin Jung is his first cousin Speaking about his childhood, Khan said that he was exposed to a "life beyond movies", and his mother described him as someone who was "not an easy child [   ] He was impulsive [and] spontaneous " Saif grew up a Muslim, but now identifies as agnostic  As a child, he recalls fond memories of watching his father playing cricket in the garden, and has emphasised his father's education and background as having a lasting impression on how family life was conducted  Khan studied at The Lawrence School, Sanawar in Himachal Pradesh and was later sent to Lockers Park School in Hertfordshire at the age of nine  He next enrolled at Winchester College and explained that "I did not take advantage of my tenure [there]  My classmates went on to Oxford and Cambridge, but I was not academically inclined  When I applied myself, which was not often, I stood first  I should have studied harder "After graduating from the boarding school, Khan returned to India and worked for an advertising firm in Delhi for two months  He later appeared in the television commercial for Gwalior Suiting on the insistence of a family friend, and was subsequently cast by director Anand Mahindroo  The project eventually got cancelled but Khan relocated to Mumbai to pursue a career in film; he recalls, "Finally I had some direction and focus  I remember [   ] feeling so excited that I could go to Mumbai, stay in my own place and enjoy the adventure of starting my own career "

Personal life and career
First marriage, early roles and career struggles (1991–2000)
In 1991, Khan was cast as the male lead in Rahul Rawail's romantic drama Bekhudi (1992) alongside debutante Kajol, but after completing the first shooting schedule of the film, he was considered to be unprofessional by Rawail and was replaced by Kamal Sadanah  While filming Bekhudi, Khan met actress Amrita Singh whom he married in October 1991  Singh gave birth to their daughter, Sara Ali Khan (b  1995) and a son (b  2001)  The couple separated in 2004 In 1993, Khan made his acting debut with Yash Chopra's Parampara  The film, which tells the story of two estranged brothers (played by Aamir Khan and Khan), failed to find a wide audience  In 1993, he appeared opposite Mamta Kulkarni and Shilpa Shirodkar in the box office flops Aashiq Awara and Pehchaan  For his performance in the former, Khan earned the Filmfare Award for Best Male Debut at the 39th Filmfare Awards Following an appearance in the moderately successful Imtihaan (1994) with Raveena Tandon and Sunny Deol, Khan paired up with Akshay Kumar for next two releases— Yash Raj Films' hit romantic comedy-drama Yeh Dillagi and the action film Main Khiladi Tu Anari  The former was an unofficial remake of the 1954 Hollywood film Sabrina, and depicted a love triangle between a chauffeur's daughter (played by Kajol) and the two sons of her father's employers (played by Kumar and Khan)  Main Khiladi Tu Anari (the second film in the Khiladi series) featured Khan as an aspiring actor, and emerged as the fifth highest-grossing film of the year  Bollywood Hungama reported that the success of both films proved a breakthrough for Khan, and his performance in Main Khiladi Tu Anari fetched him his first nomination for the Best Supporting Actor at the Filmfare Awards  The Indian Express singled out his performances in both films, noting his comic timing in the latter as keeping the audience "in splits whenever he appears on screen"  Khan's next two releases of the year, the dramas Yaar Gaddar and Aao Pyaar Karen, were unsuccessful  His career observed a steady decline through the 1990s; all nine films he starred—Surakshaa (1995), Ek Tha Raja (1996), Bambai Ka Babu (1996), Tu Chor Main Sipahi (1996), Dil Tera Diwana (1996), Hameshaa (1997), Udaan (1997), Keemat: They Are Back (1998) and Humse Badhkar Kaun (1998)—were commercially unsuccessful  During this time, the critics perceived his career to be over 
After four consecutive years of poorly-received films, Khan's career prospects began to improve in 1999; he appeared in four films: Yeh Hai Mumbai Meri Jaan, Kachche Dhaage, Aarzoo and Hum Saath-Saath Hain  The romantic comedy Yeh Hai Mumbai Meri Jaan (alongside Twinkle Khanna) and the romance Aarzoo (alongside Madhuri Dixit and Akshay Kumar) earned little at the box office, but the action-thriller Kachche Dhaage (a story about two estranged brothers becoming the target of a terrorist conspiracy) was Khan's first commercial success since Main Khiladi Tu Anari  Directed by Milan Luthria, the film was generally well received but critics noted that Khan was overshadowed by co-actor Ajay Devgn  The film, however, earned Khan his second Best Supporting Actor nomination at Filmfare  Khan described his final release of the year, the Sooraj Barjatya-directed family drama Hum Saath-Saath Hain, as a "morale-booster"  The film featured an ensemble cast (Mohnish Behl, Tabu, Salman Khan, Sonali Bendre and Karisma Kapoor) and emerged as the highest-grossing film of the year, earning over ₹800 million (US$10 million) worldwide  During the filming of Hum Saath-Saath Hain, Khan was charged with poaching two blackbucks in Kankani along with co-stars Salman, Tabu, Bendre and Neelam Kothari  That year, he also appeared briefly in the David Dhawan-directed comedy Biwi No 1, a box office hit The drama Kya Kehna by director Kundan Shah was Khan's only release of 2000, in which he played the casanova Rahul Modi  Co-starring alongside Preity Zinta and Chandrachur Singh, Khan compared the portrayal of his character with his own evolving maturity as a father  The film addressed themes of single parenthood and teenage pregnancy and emerged a sleeper hit  The Indian Express believed that Khan "looks debauched enough to be the rogue he plays  He is the only dark aspect in a film that is sunny and bright even at its most tragic "

Rise to prominence (2001–2004)
In 2001, Khan appeared in Eeshwar Nivas' box office flop Love Ke Liye Kuch Bhi Karega, (a film loosely inspired by the 1996 black comedy Fargo) following which he featured alongside Aamir Khan and Akshaye Khanna in Farhan Akhtar's coming-of-age comedy drama Dil Chahta Hai  Depicting the contemporary routine life of Indian affluent youth, it is set in modern-day urban Mumbai and focuses on a major period of transition in the lives of three young friends  Khan played Sameer Mulchandani, a "hopeless romantic", and was particularly drawn to the qualities of his character  Dil Chahta Hai was highly popular with critics and won the National Film Award for Best Feature Film in Hindi; it performed well in the big cities, but failed in the rural areas, which was attributed by critics to the urban-oriented lifestyle it presented  The feature marked a significant turning point in Khan's career, earning him the Filmfare Award for Best Performance in a Comic Role and awards for Best Supporting Actor at the Screen, Zee Cine and International Indian Academy (IIFA) ceremonies  Rediff com wrote that Khan was able to rise above his "under-sketched character", and the critic Taran Adarsh described him as "excellent", arguing that it was his "career-best performance" 
Following an appearance in two poorly-received films: Rehnaa Hai Terre Dil Mein (2001) and Na Tum Jaano Na Hum (2002), Khan played a photographer in the second chapter ("No Smoking") of Prawaal Raman's anthology ensemble thriller Darna Mana Hai (2003)  The film failed to find a wide audience and earned little at the box office Bollywood Hungama described his next film, the Nikhil Advani-directed romantic comedy-drama Kal Ho Naa Ho (2003), as a "landmark" in his career  Set in New York City, it was written by Karan Johar and co-starred Jaya Bachchan, Shah Rukh Khan and Preity Zinta  With a worldwide revenue of over ₹860 million (US$11 million), the film was received favourably by critics, and became India's biggest hit of the year  It also did well internationally and became the highest-grossing film of the year overseas  Khan was cast in the role of Rohit Patel—a carefree young man who falls in love with Zinta's character—after Advani had seen his performance in Dil Chahta Hai  Writing for Outlook, Komal Nahta described Khan as a "natural" and "extremely endearing", and Ram Kamal Mukherjee from Stardust opined that he was successful in displaying "a gamut of emotions"  Khan garnered several awards for his performance, including his first Filmfare Award for Best Supporting Actor, and expressed gratitude to Shah Rukh for teaching "me so much—mainly the responsibility of the main lead"  He explained that the film's success led to Yash Raj Films casting him in the 2004 romantic comedy Hum Tum  At the end of the year, he appeared briefly as Cpt  Anuj Nayyar in J  P  Dutta's ensemble box office flop LOC Kargil In an attempt to avoid typecasting and broaden his range as an actor, Khan starred as Karan Singh Rathod in the thriller Ek Hasina Thi (2004), a character he described as "a Charles Sobhraj-meets-James Bond kind of a guy"  The film (which marked the debut of Sriram Raghavan) tells the story of a young woman (played by Urmila Matondkar) who meets with Khan's character, and is subsequently arrested for having links with the underworld  When Khan was initially offered the project, he was unable to do it due to his busy schedule  However, he agreed when Raghavan approached him for the second time, and in preparation for the role, exercised extensively for six months to achieve the physical requirements of his character  Upon release, the film was positively received by critics, with Khan's performing earning praise  Film critic Anupama Chopra wrote that Khan gave "an accomplished performance", whilst The Deccan Herald opined that he was successful in "break[ing] out of the cool dude stereotype" and "hold[ing] his own in a movie that is completely Matondkar's " For his performance, Khan received nominations at the Screen, Zee Cine and IIFA ceremonies 
For his next release, Khan featured in a starring role opposite Rani Mukerji in Kunal Kohli's Hum Tum, a romantic comedy about two headstrong individuals who meet at different stages of their lives  He was cast in the role of Karan Kapoor (a young cartoonist and womanizer) after Aamir Khan was unable to do the film; Kohli said, "I realised that the role needed a younger man [   ] someone who could present a more youthful picture  Saif has this unique quality, he can play a 21-year old as well as a 29-year old and was ideal for [the film] " With a worldwide revenue of ₹426 million (US$5 3 million), the film proved one of the biggest commercial successes of the year and Khan's first success in which he played the sole male lead  Rediff com wrote about his performance: "Saif reprises his urbane self from Dil Chahta Hai and Kal Ho Naa Ho, peppering it with occasional fits of introspection and angst, and marking himself as an actor whose time has come " He won the Filmfare Award for Best Performance in a Comic Role, in addition to his first nomination for the Filmfare Award for Best Actor, and was conferred the National Film Award for Best Actor at the 52nd National Film Awards amid much controversy  It marked the beginning of his work with Yash Raj Films, one of the largest production houses in Bollywood  In 2004, Khan began dating model Rosa Catalano whom he separated with three years later 

Established actor and film production (2005–2010)
In 2005, Rediff com published that Khan had established himself as a leading actor of Hindi cinema with starring roles in the romantic drama Parineeta and the comedy-drama Salaam Namaste  An adaptation of Sarat Chandra Chattopadhyay's 1914 Bengali novella by the same name, Parineeta was directed by Pradeep Sarkar, and narrated the love story of an idealist (Lalita, played by Vidya Balan) and a musician (Shekhar, played by Khan), the son of a capitalist businessman  Although the film's producer, Vidhu Vinod Chopra, considered Khan to be too inexperienced for the part, he was persuaded by Sarkar who felt that Khan was perfect for the role  The film garnered critical acclaim upon release and Khan's portrayal earned him his second nomination for the Filmfare Award for Best Actor  Derek Elley from Variety wrote, "Khan, who has gradually been developing away from light comedy, again shows smarts as a substantial actor " Siddharth Anand's Salaam Namaste became the first Indian feature to be filmed entirely in Australia and went on to become the year's highest-grossing Bollywood production outside of India with worldwide ticket sales of ₹572 million (US$7 2 million)  The film tells the story of a contemporary cohabiting Indian couple (Khan and Preity Zinta) and their subsequent struggle with an unexpected pregnancy  Khan played the role of Nikhil Arora, a single modern young man who leaves India to make his own life in Melbourne  The critic Taran Adarsh praised Khan for delivering his third successive performance and Khalid Mohamed noted that he "rescues several untidily written scenes with his neat wit and that flustered [   ] facial expression "
He next played the protagonist in the English language art film, Being Cyrus (2006), co-starring alongside Naseeruddin Shah and Dimple Kapadia  Directed by debutant Homi Adajania, the psychological drama revolves around a dysfunctional Parsi family with who Khan's character moves into  The film received predominantly positive reviews, and Khan was particularly praised  Later in the year, he portrayed the character of Iago in Omkara, the Indian adaptation of William Shakespeare's Othello  Directed by Vishal Bhardwaj, the film is a tragedy of sexual jealousy set against the backdrop of the political system in Uttar Pradesh  The film premiered at the 2006 Cannes Film Festival and was also selected for screening at the Cairo International Film Festival  Omkara was received positively by critics, and Khan went on to receive widespread critical acclaim and accolades, earning the awards for Best Performance in a Negative Role at the Filmfare, Screen, Zee Cine and IIFA ceremonies; his performance was later included in the 2010 issue of the "Top 80 Iconic Performances" by Filmfare  Variety described it as a "powerhouse performance" and wrote that "[i]t is Khan's film through and through, in a performance of rugged, contained malevolence which trades on his previous screen persona as a likable best friend as well as his stint as the manipulative outsider in Being Cyrus  It is smart casting, superbly realized "By 2007, Khan was keen on branching out into film production to "explore various genres of commercial and intellectually stimulating cinema"  The critical success of Being Cyrus led him to create Illuminati Films and partner up with producer Dinesh Vijan, someone whom he shared a "like-minded perspective and ideology [   ] with regard to cinema"  Khan next reunited with producer Vidhu Vinod Chopra in the epic drama Eklavya: The Royal Guard (2007), alongside Amitabh Bachchan, Boman Irani, Sharmila Tagore and Vidya Balan  Set in the state of Rajasthan during the early years of Indian independence, the movie revolves around a jealous and ungrateful ruler and his ailing wife  Although the film did not succeed at the box office, it was chosen as India's official entry to the Oscars  BBC Online described the film as a "cinematic experience" and praised Khan's growth as an actor, particular noting his scene with Bachchan's character  Following an appearance in the poorly-received action-comedy Nehlle Pe Dehlla (a production that had been delayed since 2001), Khan featured opposite Rani Mukerji in the family drama Ta Ra Rum Pum (2007)  Directed by Siddharth Anand, it received mixed reviews from critics, but earned over ₹690 million (US$8 6 million) in India and abroad  Writing for Hindustan Times, Khalid Mohamed praised Khan for displaying a new maturity, but Rajeev Masand thought that neither he nor Mukerji "are able to make much of an impression because their characters are so unidimensional and boring "Khan received further success in 2008, starring in the Abbas–Mustan thriller Race with an ensemble cast including Anil Kapoor, Akshaye Khanna, Bipasha Basu, Katrina Kaif and Sameera Reddy  The feature was loosely adapted from the 1998 American film Goodbye Lover, and became one of the biggest box office hits, earning ₹1 03 billion (US$13 million) worldwide  CNN-IBN's Rajeev Masand found Khan to be a standout among the ensemble, adding that he has "the least dialogue, but the one who makes the best impression"  This was followed by three projects produced by Yash Raj Films: the action-thriller Tashan, the fantasy comedy-drama Thoda Pyaar Thoda Magic, and the animated film Roadside Romeo, all of which were unsuccessful 
In 2009, Khan appeared in the romantic drama Sanam Teri Kasam, a production that had been delayed since 2000  The film garnered negative reviews and poor box office returns  Khan's role was small, and not well received  He next starred in his company's first project: Love Aaj Kal (2009), a romantic comedy-drama from the writer-director Imtiaz Ali  Featured opposite Deepika Padukone, the film documented the changing value of relationships among the youth, and Khan played dual roles—the younger part of Rishi Kapoor's character (Veer Singh) and Jai Vardhan Singh, an ambitious architect  Love Aaj Kal received highly positive reviews by critics and became one of the highest-grossing films of the year, earning over ₹1 billion (US$13 million) worldwide  Gaurav Malani of The Economic Times described his performance as "refreshing natural" and "outstanding"  At the 55th Filmfare Awards, Love Aaj Kal was nominated for Best Film and Khan received his fourth nomination for Best Actor He then starred in the terrorism thriller Kurbaan, alongside Kareena Kapoor, Vivek Oberoi and Dia Mirza  Produced by Dharma Productions, the film marked the directorial debut of Rensil D'Silva and featured Khan in the role of a terrorist  Upon release, Kurbaan was received favourably by critics and Khan's performance was critically acclaimed  A review in The Telegraph praised his "easy transition from a charming lover to a heartless man on a deadly mission "

Career fluctuations and second marriage (2011–2015)
In 2011, he appeared in Prakash Jha's multi-starrer drama Aarakshan  Set in the city of Bhopal, Madhya Pradesh, the film deals with the policy of caste-based reservations in government jobs and educational institutions  Khan portrayed the character of Deepak Kumar, a rebellious student who joins the mafia  To prepare for the role, Khan was required to take acting workshops along with the rest of the cast  Prior to its release, the film was banned from releasing in select cities across India due to its controversial subject  While the film received a mixed critical reaction, his performance was generally well received  The following year, Khan produced both of his films  For his first release, he collaborated once again with director Sriram Raghavan, as the protagonist in the action thriller Agent Vinod  Khan described it as his "most ambitious project", but the film opened to mixed reviews and eventually under-performed at the box office grossing ₹400 million (US$5 0 million) in India on a budget of ₹620 million (US$7 8 million) In his following release, Homi Adajania's romantic comedy-drama Cocktail, he featured as the software engineer Gautam Kapoor  Set in London, the film follows the story of Khan's character and his relationship with two temperamentally different women—an impulsive party girl (Veronica, played by Padukone) and a submissive girl next door (Meera, played by Diana Penty)  Khan described the project as "a love story with a modern sensibility and treatment", and agreed to produce and feature in the film after his role was declined by Imran Khan  Critics were divided in their opinion of the film, but it emerged a financial success grossing over ₹1 2 billion (US$15 million) worldwide  Gaurav Malani of The Times of India described Khan's performance as "effortless" and noted that he was in his "comfort zone"  On 16 October 2012, Khan married actress Kareena Kapoor (after a five-year courtship) in a private ceremony in Bandra, Mumbai, and a reception was later held at The Taj Mahal Palace Hotel and the Lutyens Bungalow Zone in Mumbai and Delhi respectively  The couple have two sons born in 2016 and 2021 respectively 
The following year, Khan collaborated with Padukone for the fourth time (alongside Anil Kapoor, John Abraham, Jacqueline Fernandez and Ameesha Patel) in Abbas–Mustan's Race 2 (2013), an ensemble action thriller that served as a sequel to Race (2008)  The film received predominantly negative reviews from critics, but with a total collection of ₹1 62 billion (US$20 million), it proved to be a commercial success  He was next cast as Boris, a "Russian mafia don", in Raj Nidimoru and Krishna D K 's Go Goa Gone (described as "India's first zom-com") alongside Kunal Khemu and Vir Das  Khan, who bleached his hair for the film, was particularly drawn to the project for its novel concept and its "action, comedy and violence"  The critic Rajeev Masand described the film as "a winning cocktail of laugh-out-loud dialogue and well-timed performances by the three leads", and in particular noted Khan's scene with Khemu's character  His final release of the year was Bullett Raja, a crime drama directed by Tigmanshu Dhulia, and co-starring Jimmy Shergill and Sonakshi Sinha  Khan explained that he found himself challenged playing the role of Raja Mishra (a common man who turns into a gangster) but "totally relied" on Dhulia's guidance  Bullett Raja earned little at the box office and received predominantly negative reviews  Writing for Firstpost, Mihir Fadnavis found Khan to be "miscast" and described his performance as "farcial" In an interview with The Times of India, Khan explained that he regretted starring in the 2014 Sajid Khan-directed comedy Humshakals  Co-starring alongside an ensemble cast (Ritesh Deshmukh, Ram Kapoor, Bipasha Basu, Tamannaah and Esha Gupta), Khan portrayed three different characters in an attempt to "expand my market" and step out of his comfort zone  The Hindustan Times described it as a "dim-witted comedy" and criticised Khan for being "the worst thing about [the film] " He next produced and featured in Happy Ending (2014), a romantic comedy directed by Raj Nidimoru and Krishna D K  NDTV's Saibal Chatterjee found Khan's character of a struggling writer to be "a breezy rejig of his Hum Tum and Salaam Namaste persona of a decade ago", and noted that "the many collegiate hook-ups and break-ups he pulls off in Happy Ending do not look completely at odds with the film's purpose " Humshakals proved to be a commercial disaster and Happy Ending underperformed at the box office Following a brief appearance in the comedy Dolly Ki Doli (2015), he appeared alongside Kaif in Kabir Khan's counter-terrorism drama Phantom (2015)  Based on the book Mumbai Avengers by Hussain Zaidi, the film is a retelling on the aftermath of the 26/11 Mumbai attacks  Khan was cast as Cpt  Daniyal Khan, a former soldier hired by the RAW agency  Phantom generated controversy when the Central Board of Film Censors deemed that the film represented Pakistan in a negative light and banned the film from releasing there  A review in The Hollywood Reporter noted that Khan was "well cast" and "believable" in his role, and Rachit Gupta of Filmfare described his performance as "a heady mix of bravado and restrained intensity [which] works in parts only " Although Khan was pleased with the film's performance, Phantom was generally perceived to be a box-office failure grossing ₹844 million (US$11 million) worldwide on a budget of ₹720 million (US$9 0 million) 

Commercial setbacks and professional expansion (2016–present)
During his year-long absence from the screen, Khan actively looked to play different parts, saying: "These are smarter movies, the interaction with them is deeply rewarding    I think I am finally beginning to understand my sense of style as an actor  I am developing my craft, understanding what acting and communication is " He found the role in his second collaboration with director Vishal Bhardwaj, Rangoon (2017), an epic romance set during World War II  Cast alongside Shahid Kapoor and Kangana Ranaut, Khan drew inspirations from the mannerisms of his grandfather and the character Darth Vader to portray filmmaker Rustom "Rusi" Billimoria  Rajeev Masand termed the film "overlong, indulgent to the point of exhaustion", but praised Khan for "imbu[ing] Russi with the swagger and the arrogance of an aristocrat from the forties" He next starred as the protagonist (Roshan Kalra) in the comedy-drama Chef (2017), an official adaptation of the 2014 film of the same name, from the director Raja Krishna Menon  Khan was pleased to work with Menon and identified with the film due to its "modern, slightly unorthodox take on relationships"  He borrowed several real-life experiences for his character, and in preparation, trained at the JW Marriott Hotels in Mumbai  The film received generally positive reviews with several commentators believing that it was Khan's best performance to that point  Anupama Chopra wrote: "Khan get[s] his groove back    [He] doesn't play Roshan as a hero having a bad day  He gives us a flawed, fumbling man who is trying to repair the broken chords of his life " As with his last few releases, Rangoon and Chef earned little at the box office leading trade analysts to question his commercial appeal Following an appearance in the poorly-received black comedy Kaalakaandi (2018) directed by Akshat Verma, Khan appeared as Inspector Sartaj Singh in India's first Netflix original series, the crime thriller Sacred Games, based on Vikram Chandra's novel of the same name  Cast alongside Nawazuddin Siddiqui and Radhika Apte, Khan was drawn by the opportunity to be part of a "creative zone, devoid of certain pressures and constraints that one would associate with the kind of films we normally do " The show received high critical acclaim; Ankur Pathak of HuffPost called it "a sure-shot winner" and took note of Khan's "stellar performance, one that [he] chews on slowly as he disappears into the broken persona of a tormented cop " In his next release, he starred as the businessman Skakun Kothari in Gauravv Chawla's Baazaar, a drama set against the backdrop of Mumbai's stock exchange market  Khan worked with Chawla to provide off-screen inputs, and was attracted to the idea of playing the antagonist describing it as "a devious character" from the Indian epic poetry Mahabharata  The critic Udita Jhunjhunwala of Mint commended Khan for "blending the right amount of wickedness with willfulness", but Namrata Joshi found him to be "stiff [and] stern     to communicate a rather facetious sense of menace " Baazaar was a box-office failure grossing ₹399 million (US$5 0 million) worldwide on a budget of ₹340 million (US$4 3 million) 
Khan's desire to work in films for artistic merit irrespective of commercial appeal led him to feature as the protagonist in the action-drama Laal Kaptaan (2019)  Directed by Navdeep Singh, it is set in the 18th century and tells the story of a sadhu (Khan) who goes on a killing spree with the intention of exacting revenge upon a subedar  Filming in the barren landscape of rural Rajasthan proved physically daunting for Khan, and in preparation for the role, learnt sword-fighting, horse-riding and worked with a dialect coach to speak in a Rajasthani accent  He described it as "the hardest thing I have done so far", and considered the opportunity a critical learning experience that helped him personally and professionally; it eventually failed to do well  The HuffPost praised Khan's decision to choose "morally ambiguous roles", but noted that he was "too wooden, bereft of any allure or mystery "Khan began the new decade with a starring role in Tanhaji (2020), a historical drama directed by Om Raut  Set in the 17th century, it revolves around a Maratha warrior's (played by Devgn) attempt to recapture the Kondhana fortress from a Rajput fort keeper (Khan)  He was attracted to the idea of starring in a "larger-than-life" film and was challenged by Raut's insistence on overplaying his character; he explained that the process left him "very enriched" and was pleased with the collaboration  Tanhaji was acclaimed by critics and emerged as a major commercial success grossing over ₹3 67 billion (US$46 million) worldwide  Reviewing the film for Film Companion, Anupama Chopra found Khan's performance to be the film's prime asset and credited him for playing "the exaggerated evil with a cheeky panache " The Hindustan Times opined that Khan had delivered his best performance to date noting his "moments of mirth with his sinister laugh amid killing people " Tanhaji earned Khan his second Filmfare Award for Best Supporting Actor  His next release of the year was Jawaani Jaaneman, a comedy-drama about the life of a bachelor (Khan) who discovers that he has a daughter (played by Alaya Furniturewala)  The feature was produced under his new company, Black Knight Films, and received generally positive reviews  Kunal Guha of Mumbai Mirror found that the film allowed Khan to "slip into a familiar-yet-age appropriate avatar in a refreshing coming-of-age story "In 2021, Khan firstly appeared as a politician in Amazon Prime Video's web series Tandav created and directed by Ali Abbas Zafar  He has completed work on Varun V Sharma's crime comedy Bunty Aur Babli 2 opposite Mukerji and Pavan Kripalani's horror comedy Bhoot Police alongside Arjun Kapoor, Yami Gautam and Jacqueline Fernandez and reprise his role as Boris in the sequel of Go Goa Gone, entitled Go Goa Gone 2 with Khemu  In 2022, he collaborated with Hrithik Roshan for the film Vikram Vedha  He received praise for playing an honest cop where Saibal Chatterjee wrote "Saif Ali Khan makes a far better Vikram  He inhabits the character of the tough cop with conviction and exudes the external toughness that defines the man and his mission" 

Off-screen work
Alongside his acting career, Khan has participated in several concert tours and televised award ceremonies  He performed in his first concert tour, "Temptations 2004", with actors Shah Rukh Khan, Rani Mukerji, Preity Zinta, Arjun Rampal and Priyanka Chopra  Showcased in over 22 countries across the world, it became Bollywood's most prominent international concert to that point  In December 2005, Khan performed alongside the band Parikrama at the Mittal Gardens in New Delhi, and later reunited with them and Strings for "The Royal Stag Mega Music Concert" (a four-city concert tour) two years later  The following year, he was part of the "Heat 2006" world tour, along with Akshay Kumar, Preity Zinta, Sushmita Sen and Celina Jaitley  He later performed along with several other Bollywood personalities at the closing ceremony of the 2006 Commonwealth Games Since October 2011, Khan has taken the responsibility of managing his father's eye hospital and has also made public appearances to support various other charitable causes  In February 2005, Khan and several other Bollywood actors participated in the 2005 HELP! Telethon Concert to raise money for the victims of the 2004 Indian Ocean earthquake and tsunami  He took part in a charity cricket match organised by IIFA at Headingley Cricket Ground in West Yorkshire, England in 2007, and later hosted an event organised by the award ceremony to help raise funds for various charities in 2011  In November 2008, Khan performed in a concert to raise money for the victims of the 2008 Bihar flood and in September 2013, he attended a charity dinner organised by The Venu Eye institute, donating two of his personal belongings to help raise funds for cataract operations  Later that year, he spent time with underprivileged kids during the filming of Bullett Raja  In October 2014, Khan was appointed as an ambassador for Olympic Gold Quest and donated ₹2 million (US$25,000) to help raise funds for the training of athletes 

In the media
In an interview with Rajeev Masand, Khan described himself as "a very private person"  The journalist Roshmila Bhattacharya added, "Unlike most actors, his interests are not limited to box office collections and workout routines  [He] can converse on anything, from philosophy to politics, from sports to books and music " Filmfare wrote that earlier in his career, Khan gained a reputation for being arrogant, but later matured into "one of showbiz's biggest and most respected stars " During his career, he has played roles in both high-profile mainstream productions and lesser-publicised films of independent filmmakers, and has appeared in a range of film genres, although he has found a niche playing roles in romantic comedies  The Tribune wrote that his roles in Dil Chahta Hai (2001), Kal Ho Naa Ho (2003), Hum Tum (2004), Salaam Namaste (2005), Love Aaj Kal (2009) and Cocktail (2012) were "essentially endearing pretty boys", and the success of these films established him as the "poster boy for romantic comedies"  Beth Watkins explains the typical role Khan played in romantic comedies and its appeal:

"Perhaps related is his finesse for playing petulant, arrogant, almost insufferable young men in need of reform, which, this being Bollywood, they can easily achieve through the love of a good woman  Does his real-life golden status—with literature, cinema, cricket and royalty in his lineage—make him exceptionally effective at coming across as spoiled?"
One of the highest-paid actors in Bollywood, Khan is considered among the most popular and high-profile celebrities in India  He is known to commit heavily to each role and believes in "staying on a sharp learning curve"  This commitment, combined with busy schedule and heavy smoking resulted in a health scare in 2007  Analysing his career, the journalist Shomini Sen noted that "[t]he actor was part of some major films in the early 1990s [   ] yet critics wrote him of[f] due to lack of a screen presence and poor dialogue delivery " Critics noted that Dil Chahta Hai marked a major turning point for Khan, and credited him for pioneering a movement in actors being part of "a new genre of films which was more urban"; film historian Nasreen Munni Kabir stated that the film helped him find "his own style, combining great comic timing and a natural personality " Sen further explained that "his anglicized upbringing, which initially was a hindrance to his career, became his strongest point " Following his portrayal of a variety of character types in Ek Hasina Thi (2004), Parineeta (2005), Being Cyrus and Omkara (both 2006), Khan was noted for his versatility; India Today attributed his roles in these films to the establishment of a new image for leading actors in Bollywood, and The Tribune published that Khan had successfully "matured, both as an actor of substance and as a bankable star Starting in 2007, Khan's relationship with Kareena Kapoor became one of the country's most-reported celebrity stories, and they were listed amongst the top celebrity couple endorsers for brands and products worldwide  In a blog published by The Wall Street Journal, Rupa Subramanya described their marriage as India's "wedding and social event of the year"  Kapoor gave birth to their son Taimur in December 2016  From 2012 to 2019, Khan has featured on Forbes India's "Celebrity 100", a list based on the income and popularity of India's celebrities  He peaked at the fifteenth position in 2012 and 2014 with an estimated annual earning of ₹642 million (US$8 0 million) and ₹629 million (US$7 9 million) respectively  In 2003, Khan placed fourth on Rediff's list of "Top Bollywood Male Stars"  He was later ranked second in 2005, sixth in 2006 and seventh in 2007  In March 2011, Khan placed fifth on Rediff's list of "Top 10 Actors of 2000–2010"  He was ranked among the top 30 on The Times of India's listing of the "Most Desirable Men" from 2010 to 2015, and has additionally featured in the UK magazine Eastern Eye's "World's Sexiest Asian Men" list in 2008, 2011 and 2012  In 2010 and from 2012 to 2014, Khan was featured as one of the best-dressed male celebrities by the Indian edition of GQ magazine 

Accolades
Among Khan's film awards are a National Film Award for Best Actor and seven Filmfare Awards out of twelve nominations: Best Male Debut for Aashiq Awara (1993), Best Performance in a Comic Role for Dil Chahta Hai (2001) and Hum Tum (2004), Best Supporting Actor for Kal Ho Naa Ho (2003) and Tanhaji (2020), Best Performance in a Negative Role for Omkara (2006) and the "Moto Look of the Year" for Kal Ho Naa Ho (2003) 

See also
List of Indian film actors

Footnotes
Passage 8:
John Dunning (film producer)
John Dunning (April 27, 1927 – September 19, 2011) was a pioneering Canadian film producer from Montreal who co-founded the Canadian film production company Cinépix and produced early works by notable Canadian directors David Cronenberg and Ivan Reitman  Dunning launched Cinépix with partner André Link in Montreal in the early 1960s  Their biggest commercial success—and the first Canadian box office hit—came with Reitman's Meatballs (1979) 

Early life
Dunning was born in the Greater Montreal district of Verdun, Quebec—and into the film business  Dunning's father Mickey toured Quebec screening newsreel footage and later owned several cinemas  By the age of 13, John was working the candy counter at his family's Century Theatre in adjacent Ville-Émard  Upon his father's death several years later, Dunning managed the cinema, beginning a lifelong career in film 

Career
Dunning launched Cinépix with partner André Link in Montreal in the early 1960s  Initially a distribution company, Cinépix's first production was the 1969 erotic drama Valérie, which earned $1 million at the box office  Cinépix produced early work by David Cronenberg (Shivers) and Ivan Reitman (Meatballs)  The company also distributed art-house films including the grunge rock documentary Hype, Vincent Gallo's Buffalo '66, and SICK: The Life & Death of Bob Flanagan, Supermasochist From 1989 to 1994, Cinépix was partners with Famous Players in C/FP Distribution, which was renamed Cinépix Film Properties (C/FP)  In 1994, Cinépix bought Famous Players' stake in the organization By 1997, Cinépix had a New York-based U S  distribution arm and owned 56 percent of Ciné-Groupe, an animated film production company Lions Gate Entertainment Corporation (LGEC) was formed in 1997 by Frank Giustra, a banker  LGEC purchased Cinépix and kept its leadership; Dunning, in turn, left the company  Cinépix was renamed Lions Gate Films on January 13, 1998 

Legacy
Dunning and Link were honoured for their contributions to the Canadian film industry at the 14th Genie Awards and were inducted into the Canadian Film and Television Hall of Fame in 2007 In June 2011, shortly before his death in September of that year, the Toronto Film Critics Association announced that Dunning would receive its Clyde Gilmour Award for lifetime achievement, with Cronenberg stating that "John Dunning is the unacknowledged godfather of an entire generation of Canadian filmmakers  I still consider him my movie mentor " The award was posthumously presented to Dunning's son Greg, at a ceremony in January 2012 Dunning's memoirs, You're Not Dead until You're Forgotten, were published in 2014 by McGill-Queen's University Press In 2017, the Canadian Screen Awards introduced the new John Dunning Discovery Award, presented to honour the year's best Canadian microbudget film  In 2019, it was merged with the former Claude Jutra Award, presented for the year's best debut film by a first-time director, into the contemporary John Dunning Best First Feature Award 
Passage 9:
Neethu
Neethu, also known as Neethu Shetty, is an Indian actress who predominantly appears in Kannada-language films and a few Tulu and Malayalam films  She won acclaim and praise for movies like Joke Falls (2004), Beru (2005), Photographer (2006), Koti Chennaya (2007), Gaalipata (2008), Krishna Nee Late Aagi Baaro (2009) and many others 
She has done cameos in other successful movies like Abhinetri and Fair & Lovely  She has worked with notable actors Ramesh Aravind, V  Ravichandran, Mohanlal, H  G  Dattatreya, Kishore Kumar G, Ganesh, Jaggesh, Doddanna, Anant Nag, Diganth 

Career
Neethu Shetty acted in Punya, a serial directed by Nagathihalli Chandrashekhar and made her debut through the Jaggesh and Komal-starrer Govinda Gopala and then went on to act in a horror flick Yahoo, which was an average grosser  Her first commercially successful movie was Joke Falls, where she was paired alongside Ramesh Aravind, which was positively reviewed, and was directed by Ashok Patil  She then starred in the movie Beru, directed by P  Sheshadri, which received many accolades such as National Film Award for Best Feature Film in Kannada and Karnataka State Film Award for Best Film 
She made her Malayalam debut alongside Mohanlal in the Malayalam film Photographer  She is a recipient of the Karnataka State Film Award for Best Supporting Actress for her performance in the Tulu language film Koti Chennaya  Her performance in her next movie, Poojari, opposite Aadhi Lokesh, brought her closer to the Kannada audience  She received positive reviews for her performance in the 2008 movie Gaalipata, which was a multi-starrer and a blockbuster hit  She received a Filmfare Award for Best Supporting Actress – Kannada nomination  She later starred in films which some were successful, like Krishna Nee Late Aagi Baaro, Abhinetri and a few others  She also starred in movies such as Aithalakkadi and others that received negative reviews and failed at the box office 
She was a contestant in Bigg Boss Kannada 2, where she survived 80 days, hence becoming the first contestant in the history of Bigg Boss Kannada to be kept in a "secret room"  She was a part of the comedy show Bengaluru Benne Dose alongside Arun Sagar  She later appeared as a guest in Bigg Boss Kannada 4 along with Rishika Singh, Tsunami Kitty, N  C  Ayyappa and Bigg Boss Kannada 3 winner Shruti  She also was a part of box cricket league where she was a player for the team Davangere Lions, which emerged runners up 

Early life
Neethu was born in Mangalore, in the Karnataka State of India  Her father, Manjunath Shetty, was from the Bunt community and her mother, Mohini is from a Konkani speaking family  Neethu has a younger sister  They grew up and were educated in Mangalore  Her father died in 2011 

Filmography
Awards and nominations
Television
Context 2: Passage 1:
Richie Ginther
Paul Richard "Richie" Ginther (Hollywood, California, August 5, 1930 – September 20, 1989 in France) was a racecar driver from the United States  During a varied career, the 1965 Mexican Grand Prix saw Ginther take Honda's first Grand Prix victory, a victory which would also prove to be Ginther's only win in Formula One  Ginther competed in 54 World Championship Formula One Grand Prix races and numerous other non-Championship F1 events 

Early career
Richie Ginther was born in Hollywood but his family moved to Ohio for his father's work before moving back to California and to Santa Monica, the same Californian town as future Formula One World Champion Phil Hill, and it was through Hill, a friend of Ginther's older brother, George, that he first began to race  After finishing school in 1948, Ginther followed in his father's footsteps and went to work for Douglas Aircraft, initially in the tool and die shop  In his spare time he helped Hill to repair, maintain and race his collection of old cars and hot rods, as Hill's racing career began to gather pace  Ginther made his race debut at Pebble Beach in 1951, driving a Ford-engined MG T-type sports car However, Ginther's career was put on hold shortly after, when he was drafted for two years of national service during the Korean War  During this time he received training and experience working in aircraft and engine mechanics, skills which he would later put to good use during his driving career  On emergence from the military, Hill requested that Ginther join him, principally as a riding mechanic, in driving a privately entered 4 1-liter Ferrari in the 1953 Carrera Panamericana  The pair ran high in the rankings until Hill lost control, crashed, and wrote off the car  Both Ginther and Hill were unharmed and returned in 1954 to take second place, beaten only by the works Ferrari of Umberto Maglioli 
Nineteen fifty-four was also the year that Ginther returned to race driving himself, mostly in a self-prepared Austin-Healey  His results were impressive enough that the following year VW and Porsche dealer John von Neumann hired him to drive a Porsche in domestic competitions  When von Neumann started dealing in Ferrari cars in 1956, Ginther also got the chance to drive these  In between working in von Neumann's Ferrari dealership — including trips to the Ferrari factory in Italy to sort customer problems — Ginther began to build an impressive racing reputation on the West Coast  This, and his choice of Ferrari mounts, brought him to the attention of the East Coast Ferrari franchise-holder, three-time 24 Hours of Le Mans-winner, Luigi Chinetti  Aside from importing Ferrari road cars, Chinetti also operated a successful race team, soon to metamorphose into Ferrari's official motorsport presence in North America: NART  Ginther first raced for Chinetti in 1957 and with him made his first appearances in international-level events, first in the 12 Hours of Sebring and then driving a two-liter Ferrari 500 TR in the 1957 Le Mans race 
Also in 1957, Ginther was signed to drive the Aston Martin of Joe Lubin and over the next three years would continue to compete in many sports car racing events in both Aston and Ferrari machinery, with great success  That June, he won a 15-lap GT race at the new Lime Rock Park, and won the opening race of the national championship in his Ferrari  In early-1958, he piloted a two-liter Ferrari to victory at the County Fairgrounds in Pomona, California, averaging 83 8 mph (134 9 km/h), and won in a three-liter GT in a five-lap qualifying preliminary for the SCCA Pacific Coast Championship  By the end of the year Ginther had captured the Pacific Coast Sports Car Championship outright  He triumphed by a wide margin at Pomona at the opening sports car race of 1959, in a von Neumann 4 1-liter Ferrari, and in June 1959, won in a three-liter Ferrari TR in the first Hourglass road races in San Diego, California  Throughout this period he continued to mix his race driving with a steady job at von Neumann's dealership, and by late 1959 the strain was beginning to show 

Formula One
Ferrari
Ginther made his F1 debut at the 1960 Monaco Grand Prix driving for Ferrari, which he stayed with through 1961  In the September 1960 Italian Grand Prix in Monza, he placed second to Hill  Ginther led from the start until the 25th lap when Hill passed him and led until the finish Following the 1960 season the Ferrari team gave up 1000 cc in engine size  The 2500 cc engine,
permitted the previous year, was replaced by a 1 5-liter rear-engine model, with 110 less horsepower  However, the newer engine was superior in both "profiling" and handling  The conservative Enzo Ferrari was the last major Formula 1 race car manufacturer to make the transition to cars with engines in the rear 
In 1961, Ginther was the No  3 Ferrari driver, behind No  1 Wolfgang Von Trips and No  2 Hill  Giancarlo Baghetti occasionally piloted a fourth car  The team manager was Romulo Tavoni On May 14, 1961, Ginther finished second to Stirling Moss at the 1961 Monaco Grand Prix, 3 6 seconds behind, a few hundred feet  He was driving a new rear-engine Ferrari with a 120-degree V-6 which had a lower center of gravity  Ginther had qualified second, just ahead of Hill, with an average speed of 70 7 mph (113 8 km/h), and a qualifying time of 1:39 3  He eclipsed the previous course record of 1:39 6, before Moss took pole position the day after In August 1961, Ginther and Baghetti were teammates at the Pescara Grand Prix, a world auto manufacturers' championship event  Their Ferrari was leading on the 10th lap when it stopped on a straight stretch with a flat tire  Ginther averaged more than 133 mph (214 km/h) on the 6 2-mile (10 0 km) Autodromo Nazionale Monza in September 1961, to lead the first day of qualifying for the 1961 Italian Grand Prix  Von Trips qualified first with Ginther taking the third starting position after Ricardo Rodriguez  Ginther retired in the race  Von Trips died in a spectacular crash on the second lap, which also killed eleven spectators, when his Ferrari climbed a 5-foot-high (1 5 m) earth embankment  
It brushed a wire fence employed to restrain a portion of the crowd and struck the spectators  Some who were injured eventually succumbed and brought the total to 15 deaths  The Ferrari team ceased competition until January 1, 1962, as a mark of respect to Von Trips 

BRM and Honda
In 1962, Ginther switched to the British-based BRM team to race alongside Graham Hill  The highlight of his time at BRM was finishing equal-second (with Hill) in the 1963 World Championship  Ginther scored more points than his British teammate over the whole season, but only a driver's six best scores were counted towards the championship 
His reputation as a solid "team player" and excellent test and development driver earned him an invitation to join the works Honda F1 team for 1965, for whom he scored his one and only GP win, at the 1965 Mexican Grand Prix  The win was also Honda's first in Formula 1  Ginther averaged 151 7 kilometres per hour (94 3 mph) over the curving 5 kilometres (3 1 mi) track in the 65 lap Mexico City event  His speed eclipsed the previous course record of 150 185 km/h (93 321 mph) established by Dan Gurney in 1964  It was the first time Honda had entered the Mexican Grand Prix  Honda reentered international competition in the 1966 Italian Grand Prix  The team was three years old and had encountered difficulty in the preparation of a larger engine  Ginther led in Italy before his car crashed into a retaining wall and he broke his collarbone  He signed with the Eagle F1 team in 1967 and raced in the Race of Champions  His last race entered was the Monaco Grand Prix, but he failed to qualify 
Ginther won one race, achieved 14 podiums, and scored a total of 107 championship points 
He appeared in an uncredited role in the 1966 film Grand Prix as John Hogarth, a driver in the Japanese funded "Yamura" team  He also acted as one of the technical racing advisors for the movie 
While making an attempt to qualify for the 1967 Indianapolis 500, Ginther broke a fuel line in his American Eagle Indy Car   A mix of ethanol and gasoline, was sprayed down his back   This experience, along with the recent fiery death of close friend Lorenzo Bandini, along with other factors, led to his sudden retirement He participated in a rally with sixty-five other competitors, including actor James Garner, in June 1969  The California Sports Car Club event was three hours cross country from Los Angeles to Huntington Beach  It benefited students from the Braille Institute 
Ginther managed a Porsche 911S with two American drivers during the 39th 24 hours of Le Mans, in June 1971 

Death
Ginther died of a heart attack while on vacation with his family in France, in Touzac, near Bordeaux, on September 20, 1989 

Awards
He was inducted into the Motorsports Hall of Fame of America in 2008 

Biography
In 2020, to mark what would have been Ginther's 90th birthday, a biography was released about Richie's life and career by Richard Jenkins, published by Performance Publishing  "Richie Ginther: Motor Racing's Free Thinker" won the RAC Motoring Book of the Year Award for its depth of research and previously unpublished information

Racing record
Formula One World Championship results
(key) (Races in italics indicate fastest lap)

Non-Championship Formula One results
(key)

Complete British Saloon Car Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap )

† Events with 2 races staged for the different classes 

Footnotes
Passage 2:
Bobby Santos III
Robert Santos III (born October 3, 1985) is an American professional racing driver from Franklin, Massachusetts  He graduated in 2004 from Tri-County Regional Vocational Technical High School  Santos, nicknamed "Bobby New England", is the grandson of Bobby Santos, a former modified racer   His sister, Erica Santos, is also a racecar driver  He is the cousin of former University of New Hampshire quarterback Ricky Santos 

Early career
Before stock cars, Santos was a successful midget racer  He raced in the Northeastern Midget Association, USAC, PRA Big Car, and ISMA   He had the most wins of any driver in the USAC National Midget Tour in 2006, collecting five wins, including a win at O'Reilly Raceway Park on the Night Before the 500  He was signed to Bill Davis Racing 

ARCA career
In 2006, Santos made his stock car debut at Iowa Speedway for Bill Davis Racing in the #02 Dodge  He started 10th and finished 6th   Bobby returned to ARCA in 2007 for Bill Davis, now in a Toyota Camry  He won Toyota's first stock car pole at USA International Speedway in Lakeland, Florida   While leading the race, he was involved in an incident with a lapped car and did not finish  He returned at Nashville Superspeedway, but had a mid-pack run  At Kansas Speedway, Bobby started second, but a blown engine relegated him to another DNF   Santos broke his dry spell at Kentucky Speedway when he started fourth and finished third, behind Erik Darnell and Erin Crocker   Santos placed third in the next race at Kentucky, as well   The third-generation racer won a pole at Pocono Raceway in early August and qualified fifth at Talladega Superspeedway, but was unable to back up either with a strong finish 

NASCAR career
In 2007, Santos made his NASCAR Busch Series debut at Richmond International Raceway for the new Riley D'Hondt Motorsports team  He qualified seventh in his #91 Toyota but faded back to a thirtieth-place finish after running in the top 10 at the beginning of the race  He also qualified fourth for the Camping World 200 at New Hampshire Motor Speedway and was running in the top 10 before being hit by a lapped car  He ran two additional races for RDHM but did not finish better than 30th 
Santos has also participated in the Whelen Modified Tour, collecting his first two wins at Thompson International Speedway in October 2007, and the Ice Breaker, also at Thompson International Speedway, in April 2010  He parlayed his season-opening Icebreaker win into the 2010 Whelen Modified Tour championship, collecting a total of four wins and four poles on the season Santos ran the 2011 Nationwide Series opener for Jimmy Means in what was a back-up JR Motorsports car after wrecking the 52 in practice; the Earnhardt family has a long friendship with the independent owner and former driver  Santos finished 17th after vowing to run the race in its entirety 

Current career
After his stint in stock car racing, Santos returned to his roots, racing the full NASCAR Whelen Modified Tour for Bob Garbarino's Mystic Missile Racing team and a limited schedule in all three USAC divisions  Santos also made select appearances in the NEMA ranks in 2009   Santos' post-NASCAR career has been highlighted by wins in many of the nation's largest midget races, including the Turkey Night Grand Prix and Copper World Classic  He also won the 2020 Little 500 USAC Sprint car race at Anderson Speedway He will drive part-time in the NASCAR Nationwide Series in 2012 for Tommy Baldwin Racing and will continue to compete on the NASCAR Whelen Modified Tour behind the wheel of the Tinio Corporation No  44 
Santos registered back-to-back Musket 250 wins in 2019 and 2020 

Motorsports career results
NASCAR
(key) (Bold – Pole position awarded by qualifying time  Italics – Pole position earned by points standings or practice time  * – Most laps led )

Nationwide Series
Camping World Truck Series
1 Ineligible for series points

Whelen Modified Tour
ARCA Re/Max Series
(key) (Bold – Pole position awarded by qualifying time  Italics – Pole position earned by points standings or practice time  * – Most laps led )

Superstar Racing Experience
(key) * – Most laps led  1 – Heat 1 winner  2 – Heat 2 winner 

* Season still in progress
Passage 3:
1971 Canadian Grand Prix
The 1971 Canadian Grand Prix was a Formula One motor race held at Mosport Park on September 19, 1971  It was race 10 of 11 in both the 1971 World Championship of Drivers and the 1971 International Cup for Formula One Manufacturers  
During a Formula Ford preliminary race, one of the twenty drivers of the field spun at Turn 1 involving four other competitors and a group of marshals  Four of them suffered severe injuries and were taken to hospital  One lap later, Wayne Kelly, a 37‐year‐old driver from Ottawa, was killed instantly when he crashed into a stationary ambulance parked on the outside of Turn 1 whose crew was helping the injured marshals and competitors  
The events of the Formula Ford race meant that the Grand Prix was delayed, and when it did start, it was raining and thick fog had arrived  Jackie Stewart took the win after the race was stopped after 64 laps of the scheduled 80 due to the weather  American Mark Donohue finished third on his F1 debut 
This was the first ever Formula One race to be red flagged 

Qualifying
Qualifying classification
Race
Classification
Championship standings after the race

Note: Only the top five positions are included for both sets of standings 
Passage 4:
Peter Ryan (racing driver)
Peter Barry Ryan (June 10, 1940 in Philadelphia, Pennsylvania, United States – July 2, 1962 in Paris, France) was an American-born Canadian racecar driver from Mont-Tremblant, Quebec  He had a short Formula One career  He participated in one Grand Prix, the 1961 United States Grand Prix at Watkins Glen, finishing ninth  He scored no championship points  However, he became the first Canadian ever to take part in a Formula One Grand Prix 

Career
Ryan first came to prominence as a skier, winning the National Ski Association's junior downhill championship at Mount Rose, Nevada, in 1957  "Immediately after Ryan's victory, Americans protested that Canadians could not win an American championship " The protest was disallowed  His Olympic prospects were such that a dispute arose as to which country he should represent  The Americans asserted that he: "was born in the United States as were his father, the late Joseph P  Ryan, and his mother " Ryan expressed a preference for the Canadian team: "But while he would like to ski for Canada, he wouldn't care to give up his American citizenship " "An outstanding skier, Ryan shifted to auto racing in 1959 after a ski crackup in which both his legs were broken "On April 25, 1959, Denise McCluggage, writing in Competition Press, reported: "Peter Ryan of the Mont Tremblant Ryans bought Bernie Vihl's beautifully kept old 550 Porsche in which to take up racing-sports car racing that is  Peter at 19, is an old hand at ski racing being a downhill expert " Ryan's successes came in sports cars racing in Canada, the US and Nassau  On October 1, 1960, Ryan co-drove with Roger Penske in a Porsche RS60 to win the six-hour Sundown Grand Prix at Harewood, in Ontario, Canada  The next week Ryan was entered in the 230-mile Formula Libre road race at Watkins Glen, New York  In qualifying he was "the surprise of the day, taking the fifth position over England's Roy Salvadori " Ahead of him were Stirling Moss, Jack Brabham, Joakim Bonnier and Olivier Gendebien  He was driving Bill Sadler's Formula Libre special, known as "Formula Ferocious," a rear-engined single-seater device, when his motor blew on lap 56 
At Sebring on March 25, 1961, Ryan, teamed with Frances Bradley and Ludwig Heimrath, finished eighth overall in the Florida International 12-Hour Grand Prix of Endurance, driving a Porsche RS  In June 1961 Ryan withdrew from a race at Mosport  He "was expected to give Moss his stiffest competition, but did not compete  He withdrew at the last minute  Ryan, a member of the Sports Car Club of America, feared he would lose his amateur status in the United States if he entered the race 
The S C C A  ordered its members not to compete in the Canadian race because prize money was being given " In July 1961 Peter Ryan (Comstock Sadler-Chevrolet) was leading the Meadowdale Grand Prix when Roger Penske (Maserati birdcage Telar Special): "banged into him from the rear on the 18th lap " Ryan clung on to the lead, but after spinning recovered to finish second  On August 6, 1961, Ryan won the Vanderbilt Cup for Formula Junior cars at Bridgehampton, New York, driving a Lotus 20, averaging 87 95 miles an hour Ryan was the winner of the inaugural Canadian Grand Prix, in a Lotus Monte Carlo-Climax, held at Mosport on September 30, 1961, when it was a non-Championship sports car race  Second that day was Pedro Rodriguez (Ferrari V12) and third Stirling Moss (Lotus Monte Carlo)  The win at Mosport led to an invitation from Colin Chapman to drive a Lotus in the 1961 United States Grand Prix 
In the first 3-hr Daytona Continental GT and sports car race at Daytona on February 11, 1962, Ryan finished 15th overall, sharing a Ferrari 3 0-litre with Ricardo Rodriguez  The previous day he had finished fifth in the Lurani Trophy Race for Formula Junior cars, driving a Lotus 20  At Sebring on March 24, 1962, Ryan, teamed with John Fulp, finished thirteenth overall in the Florida International 12-Hour Grand Prix of Endurance, driving a Ferrari 248 SP for the North American Racing Team An offer of a factory-Lotus Formula Junior drive in Europe for 1962 did not materialise: "The young Canadian-American, bitterly disappointed, has gone to England to see what arrangements can be made for the coming season " "Placed under a three-year contract by Team Lotus he was lent to the Ian Walker Racing Team for the 1962 season,  " On May 27, 1962, Ryan was teamed with Paul Hawkins in an Ian Walker Racing Team Lotus 23 at the Nurburgring 1,000 km sports car race  The car suffered from overheating and was unplaced  At Monaco on June 2, 1962, Ryan won a heat race in an FJ Lotus, finishing eleventh in the final  Denis Jenkinson commented: "The driving of Ryan, the Canadian, and Spence, both in Ian Walker Lotus-Juniors, was very impressive,  " At Mallory Park, England, on June 11, 1962, Ryan drove an FJ Lotus: "The Formula Junior event saw Peter Ryan adding to his growing reputation in Europe by tailing Peter Arundell's works Lotus for the whole race, then nipping through on lap 28 to win by a second "Ryan made his Le Mans debut on June 23 and 24, 1962, partnered by John 'Buck' Fulp, driving the #18 NART Ferrari 250 TRI/61  The car completed 150 laps and 15 hours when it was crashed by Ryan  "Poor Peter Ryan put his Ferrari in the sandbank at Mulsanne and dug for ages before giving up,  "Ryan's last race was in the Coupe Internationale des Juniors Formula Junior race at Rheims, on July 2, 1962  "First of the heats, run at 10 a m  round an almost deserted circuit, began as a terrific scrap between Peter Ryan's Ian Walker Lotus, Bill Moss's Gemini, Gardner's Brabham with Love's Cooper and Arundell's Lotus lurking just behind  This struggle continued until the 5th lap, when Ryan's Lotus and Bill Moss's Gemini touched as they left the very fast right-hand bend past Gueux  Both cars left the road at high speed and were totally wrecked; Bill Moss escaped with minor injuries but Ryan was taken to hospital seriously hurt " He succumbed to his injuries in a Paris hospital where he was taken following the accident 
Peter Garnier, writing in Autocar, said of Peter Ryan: "During his all too-brief-spell on British and Continental circuits, he had proved himself to be extremely skilful and fast, with just that touch of fire which can often indicate the makings of a great driver "Peter Ryan was inducted into the Canadian Motorsport Hall of Fame as one of the initial inductees in 1993 

Complete Formula One results
(key)
Passage 5:
Bob Drake (racing driver)
Phil Robert "Bob" Drake (December 14, 1919 – April 18, 1990) was an American racecar driver  He participated in one Formula One Grand Prix, on November 20, 1960  He scored no championship points  Drake was the last driver to race the famous Maserati 250F in a Formula One World Championship Grand Prix, the 1960 United States Grand Prix  The 250F was a 2 5 litre front-engined Grand Prix car that was considered obsolete in 1961 due to new engine rules 
Aside from being a race car driver, he was a naval diver, restaurateur, and stunt performer 

Complete Formula One World Championship results
(key)
Passage 6:
2010 Canadian Grand Prix
The 2010 Canadian Grand Prix (formally the Formula 1 Grand Prix du Canada 2010) was the eighth round of the 2010 Formula One season  It was held in Montreal, Quebec, Canada at the Circuit Gilles Villeneuve on 13 June 2010  This was the first Grand Prix to be held on the North American continent since the 2008 Canadian Grand Prix  The race was won by McLaren driver Lewis Hamilton, his second Canadian Grand Prix victory, ahead of teammate Jenson Button and Ferrari driver Fernando Alonso 
This was McLaren's last 1-2 finish until the 2021 Italian Grand Prix and the last  one-two finish between British drivers until the 2022 São Paulo Grand Prix 

Report
Background
After dominating the previous three races, it was widely expected that the Montreal circuit would not play to the Red Bull's strengths, with intense media speculation that the controversial crash between Sebastian Vettel and Mark Webber whilst fighting for the lead of the Turkish Grand Prix would only worsen the team's chances  However, while neither driver was prepared to accept full responsibility for causing the accident, both expressed a desire to forget about it and move on None of the teams planned to introduce major updates for the race, though several brought customised packages specifically for the high-speed, low-downforce circuit  Those who had developed an "F-duct" system for the previous race were still running it in the trial phase 

Free Practice
The Friday sessions passed without incident save for minor off-track excursions by several drivers and a spin by Pedro de la Rosa at l'Epingle  Lucas di Grassi was the only driver who failed to set a time in the first session after stopping on the circuit  While reigning World Champion Jenson Button set the fastest time of the first session, Hispania Racing improved dramatically, beating both the Virgins, while Karun Chandhok also beat the Lotus of Jarno Trulli  The session also showed the progress of the new teams as a whole, with Heikki Kovalainen finishing the session just over a second adrift of Jaime Alguersuari; the difference between the new and established teams had been as great as three seconds in the first race of the season  Kovalainen would go on to repeat his feat in the second session, finishing just over half a second behind Alguersuari and a full second ahead of Chandhok, the next-fastest driver 
The biggest story of the day was the extreme tyre degradation the drivers experienced while running on the super-soft compound  Several sections of the circuit had been resurfaced since Formula One's previous visit in 2008, with the net result being that they offered comparatively little grip compared to other circuits  Hirohide Hamashima, Bridgestone's director of motosport tyre development, commented that the problem was a result of the tyres being unable to reach their optimum operating temperature  With several teams expecting rain at some point during the weekend, the lack of grip and unpredictable conditions made setting the car up exceptionally difficult  Sebastian Vettel was the fastest driver in the session, narrowly outclassing the Ferrari of Fernando Alonso and Mercedes' Nico Rosberg  Despite setting the fastest times of the first session, the McLarens both struggled, with Lewis Hamilton finishing seventh and Button only managing eleventh 
McLaren bounded back in time for the third session, with Hamilton comfortably setting the fastest time of both the session and the weekend, ahead of Webber, Alonso and Schumacher  Hamilton was sighted clipping the concrete walls lining the circuit as one point, as did Felipe Massa, but both were able to continue without damage  Pedro de la Rosa very nearly came unstuck at the same point, but Karun Chandhok was less fortunate, his Hispania F110 stopping on the circuit early on  Nico Rosberg was sidelined with a clutch problem for most of the session  The only other incident was Lucas di Grassi losing control under braking at l'Epingle and coming to rest in the gravel trap shortly after he recorded the fastest speed – 324 km/h (201 mph) – through the speed trap 

Qualifying
To compound the problems associated with heavy graining, overnight rain washed away whatever rubber had been laid down on the circuit during the Friday practice sessions, further reducing grip  With ambient temperatures being no higher than on Friday and the forecast predicting more of the same for the race, Bridgestone projected that a one-stop strategy in the race would be impossible with the harder prime compound losing up to seven seconds over half race distance, and the super-soft option tyres losing over sixteen seconds in the same window  With the rules dictating that drivers must start the race on the tyres they set their best qualifying time on, tyre selection for qualifying was therefore crucial 
On Saturday afternoon, qualifying started without rain on the track  The first qualifying session had no surprises when both drivers from HRT, Virgin Racing and Lotus failed to make the cut, they were joined by BMW Sauber pilot Kamui Kobayashi  The second qualifying session saw Michael Schumacher miss the cut as the only surprise elimination  With two more cars setting faster times, Schumacher started the race from thirteenth  Barrichello was the fastest of this group followed by Hülkenberg, Schumacher, Petrov, Buemi, Alguersuari and de la Rosa 

At the third and final session all eyes were on Lewis Hamilton as he had set the fastest time in both qualifying sessions  But it was Mark Webber who grabbed the lead early on  The teams were running different tyres, making the results unpredictable  On the very last lap, Hamilton snatched the pole from Webber who could not answer  With Hamilton ending Red Bull's run of pole positions after seven races, Webber was set to start second right in front of his teammate Sebastian Vettel  Fernando Alonso was fourth, Jenson Button fifth followed by Vitantonio Liuzzi, who qualified at a career-best sixth; Felipe Massa, Robert Kubica, Adrian Sutil and Nico Rosberg completed the top ten 
On the cool down lap, Hamilton was instructed by his team to slow down and stop on the circuit because the team realised he would not have enough fuel left in his tank for a sample to be taken by the FIA  Hamilton turned his car off and let it continue rolling down the back straight of the circuit  He undid his belts and sat higher up in the cockpit of his car, relaxed until his McLaren nearly came to a stop  Hamilton then got out and started to push his still rolling car down the back straight  A group of circuit marshalls finally came to help him and he was picked up by the course car and taken to the press conference  The FIA later handed Hamilton a reprimand and fined the McLaren team $10,000 for not completing the cool down lap in the given time, with Hamilton retaining his pole position 

Race
The race was the first of the season in which all twenty-four cars started on the grid; prior to the Montreal race, at least one car—usually from Virgin, Lotus or Hispania—was forced to start from the pit lane with a mechanical issue of some kind  Mark Webber was demoted from second place on the grid to seventh after Red Bull found iron filings in a sample of oil taken from the gearbox used in Webber's car during qualifying  This finding, which suggested damage to the internals of the gearbox and necessitated a gearbox change under parc ferme conditions, resulted in the five-place grid penalty 
The opening lap saw drama unfold before the field had even cleared the start gantry  While Lewis Hamilton won the drag race to the first corner, in the middle of the pack, Vitaly Petrov jumped the start and was forced onto the grassy verge as he attempted to go around the outside  This resulted in a spin that forced Pedro de la Rosa to take evasive action; Petrov earned two drive-through penalties in the space of one hundred metres for his efforts and spent the rest of the race fighting with the new teams  Felipe Massa and Vitantonio Liuzzi made contact three times in one corner, with the Italian getting spun around in the process and sliding down the order  As Hamilton, Vettel and Alonso established the running order, Kamui Kobayashi and Nico Hülkenberg tangled on the run into the final corners  While the Williams driver cut the chicane to avoid further contact, Kobayashi was not as lucky and he became the Wall of Champions' 2010 victim  He retired a lap later with accident damage  After avoiding the spinning Petrov at the start, Kobayashi's Sauber teammate Pedro de la Rosa joined him on the sidelines shortly thereafter and gave the team the unenviable record of eleven retirements from sixteen starts 

The predicted early round of stops passed without incident, although Red Bull elected to run their drivers on separate strategies; Mark Webber ran the harder prime compound back-to-back with a finish on the softer options, while Vettel ran the options in his middle stint and picked up the primes for the run to the finish  Every other driver except Robert Kubica had qualified on and subsequently started the race with the softer options  The tyre lottery produced an unlikely winner with Toro Rosso's Sébastien Buemi inheriting the lead for a lap before his stop, the first time a Toro Rosso had led a race since Sébastien Bourdais led three laps at the 2008 Japanese Grand Prix  Elsewhere in the field, Hülkenberg proved to be his own worst enemy when he over-extended himself under brakes while attempting to pass Nico Rosberg at l'Epingle and damaging his front wing in the process  He was then flagged for speeding in the pit lane when he pitted to replace the wing, robbing himself of a potential points place as he was forced to serve a drive-through penalty 
An accident between Michael Schumacher and Robert Kubica was narrowly avoided as Schumacher emerged from the first of his scheduled stops  Schumacher refused to yield on the approach to the fourth corner and the two took a short trip across the grassy verge  The altercation damaged Kubica's undertray while the incident was investigated by the stewards  It was the first of many incidents involving Schumacher, with the Mercedes driver later tangling with Adrian Sutil and Felipe Massa  Massa's race was marked by a perpetual battle with the Force India drivers including several near-misses in the second corner, the scene of his first-lap tangle with Liuzzi  Massa would later force his way past Sutil as the two closed in on the Lotus of Heikki Kovalainen, the cars running three-abreast into turn six  His late altercation with former Ferrari teammate Schumacher required him to pit for a replacement front wing and, like Hülkenberg before him, the Brazilian driver was cited for speeding in the pit lane  Twenty seconds were added to his time after the race as punishment 

Webber's tyre strategy initially paid off but, as the race wore on, his tyres began to deteriorate rapidly  Hamilton, running second at the time, quickly reduced the Australian's lead and caught him with twenty laps to go, dragging the Ferrari of Alonso through in the process  Webber eventually pitted, emerging behind teammate Vettel in fifth place as Vettel struggled with an unspecified but serious problem that he had to nurse to the finish; the team later clarified this as being related to the gearbox  As Hamilton settled back into the lead, reigning World Champion Jenson Button took Alonso by surprise, passing him around the back half of the circuit and positioning McLaren for their second consecutive one-two finish  Button briefly attempted a run at his teammate, narrowing Hamilton's lead to just two seconds with ten laps to go, but Hamilton responded with a fast lap that dissuaded Button from making further attempts  The top five—Hamilton, Button, Alonso, Vettel and Webber—would remain in place until the very end with Vettel stopping on the circuit just after he crossed the finish line at the end of the race  Nico Rosberg fended off a late surge from Kubica to claim sixth while Buemi finished eighth and a lap down  Liuzzi and Sutil both found their way past Schumacher on the final lap—in Sutil's case this was in the final corner—as the Mercedes driver struggled with tyres that were almost completely out of grip and leaving the seven-time World Champion scoreless in what BBC commentator Martin Brundle later described as the German's "worst weekend of his career"  Kovalainen was the best of the new teams, two laps down and fighting off Petrov for the final phase of the race, while Karun Chandhok and Lucas di Grassi were the final cars home, four and five laps down respectively 

The race was notably short of attrition compared to previous races at the Circuit Gilles Villeneuve, which have seen the safety car deployed so often that teams factor an accident into their strategies  However, the 2010 race was so short of retirements that it boasted the greatest number of finishers in the season to date with nineteen classified drivers  In addition to the dual retirements for BMW Sauber, Bruno Senna was once again the victim of a gearbox problem while Jarno Trulli stopped in the pit entry on lap forty-seven with terminal brake problems  Timo Glock retired due to a steering rack leak that crippled his VR-01 on lap fifty-five 
The final result meant that Hamilton leapfrogged both Button and Webber in the championship standings with six points covering the top three drivers  With McLaren claiming the lead of the constructors' championship from Red Bull in Turkey, their maximum points score in Montreal placed them a further twenty points clear of the Austrian team  The race was also the first time since the 1991 United States Grand Prix that three former drivers' champions stood on the podium and the last 1–2 finish for the McLaren team until the 2021 Italian Grand Prix  The race was also the last time until the 2022 São Paulo Grand Prix where British drivers finished first and second on the podium 

Classification
Qualifying
Notes:

1 ^  – Mark Webber was demoted five places on the grid after the gearbox in his car was changed pre-race 
2
Context 3: 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



ground_truth: erotic thriller film

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

Question: Which racecar driver who performed in the 1971 Canadian Grand Prix was born in 1937?

The following are given passages.
Context 2: ^  – Karun Chandhok was given a five place penalty after the gearbox in his car was changed overnight  It did not affect his starting position 

Race
Notes

1 ^  – Felipe Massa was given a 20-second time penalty post-race for exceeding the pit lane speed limit in the closing stages of the race  However, as Massa finished one lap down and one lap clear of the next-placed car, the penalty did not affect his finishing position 

Championship standings after the race
Note: Only the top five positions are included for both sets of standings 
Passage 7:
Kevin Cogan
John Kevin Cogan (born in Culver City, California on March 31, 1956) is a former race car driver who drove in Formula One from 1980 to 1981  Driving a RAM Williams in the 1980 Canadian Grand Prix, he failed to qualify, suffering the same result driving for Tyrrell at the 1981 US GP West  He then moved over to Indy cars in 1982 but his career was cut short by a series of accidents 

Racing career
Cogan made his Indycar debut at the 1981 Indianapolis 500, driving the No  32 Sugaripe Prunes Phoenix PR-01-Cosworth DFX for Jerry O'Connell Racing, as part of the USAC Gold Crown Championship  Cogan qualified in 12th place and finished the race in fourth place with 197 laps completed  Despite this Cogan lost the Rookie of the Year Award to Josele Garza  Cogan then competed in the rival CART/PPG World Series for O'Connell  In his debut, the Gould Rex Mays Classic at the Milwaukee Mile, Cogan qualified in seventh place and finished in second  After the race, he was ranked fifth in points  Cogan participated in four more races that season with his best finish coming at the Los Angeles Times 500 at Riverside International Raceway  Cogan finished his first CART season 23rd in points 
In 1982 Cogan joined Team Penske to drive the No  4 Norton Spirit Penske PC-10-Cosworth DFX  At the season-opening Kraco Car Stereos 150 at Phoenix International Raceway, he qualified and finished in third place  The remainder of his season was inconsistent, highlighted by a second-place finish at the Domino's Pizza Pocono 500 at Pocono International Raceway to teammate Rick Mears  Cogan also had two pole positions at the Budweiser Cleveland 500 at Burke Lakefront Airport and the AirCal 500 at Riverside International Raceway  He finished the season sixth in points while Mears won the championship  Penske released Cogan at the end of the season 

1982 Indianapolis 500 controversy
During qualifying, Cogan set a new one-lap track record of 204 638 mph (329 333 km/h) and a record four-lap average of 204 082 mph (328 438 km/h)  He was beaten only by his teammate, Mears 
Cogan started from the middle of the front row, next to pole-sitter Mears, and A  J  Foyt  As the field approached the start-finish line to start the race, Cogan suddenly swerved right, touching and bouncing off Foyt's car, and directly into the path of and collecting Mario Andretti  The cars of Dale Whittington and Roger Mears, deeper in the field, were also damaged due to the field checking up  Bobby Rahal also reported getting hit from behind, but was undamaged  The race was immediately red-flagged 
Cogan's shocking accident took out four cars, including himself and Andretti  Foyt's team was able to make repairs and pushed his car out for the restart attempt  Meanwhile, Andretti and Foyt were furious and outspoken about their displeasure with Cogan  Andretti shunned Cogan's attempts to explain himself with a light shove 
Andretti on live radio and television said,  "This is what happens when you have children doing a man's job up front " Back in the garage area, Andretti complained about Cogan's abilities, claiming that Cogan was "looking for trouble", that he "couldn't handle the responsibilities of the front row" and that the Penske car he was driving was "too good for him" The commonly outspoken Foyt also chimed in during comments to ABC's Chris Economaki with, "   he ran right square into my goddamned left front   'Coogin' " Later, Foyt said back in the garage area,  of the crash and of Cogan that "It was a stupid deal  The guy had his head up his ass "
Gordon Johncock, Johnny Rutherford and Bobby Unser later placed some blame for the accident on the polesitter Rick Mears, for bringing the field down at such a slow pace  Johncock, who went on to win the 1982 race, pointed out that Andretti had jumped the start, and could have avoided the spinning car of Cogan had he been lined up properly in the second row  Foyt wrote a memoir of his career in 1983 and when mentioning the crash, in a more analytic form, assigned some blame on Mears for the slow start, while assigning Cogan the rest of the responsibility 
At the end of the USAC Gold Crown season, Cogan finished 47th in points  The reason was that Cogan ran the 1981 race without a USAC Class I license and received no points for his 4th-place finish 

Aftermath
Cogan quickly fell out of favor following the humiliation stemming from the accident  It was followed by a noticeable "blacklisting" by fans and press  Cogan nearly had the dubious distinction of taking out two of the most famous American auto racing legends (Foyt and Andretti) in one move in the biggest race of the season  The incident also further rehashed a standing feud between Team Penske and Patrick Racing  A year earlier, Penske and Patrick were the key fixtures in the controversial 1981 race  In a post-wreck interview, Penske stood behind Cogan, although he also refused to confirm nor deny the broken CV-joint believed to be responsible  As a result, Cogan faced a firestorm of controversy that impacted the remainder of his career 
Cogan never managed to win a race in 1982, and was possibly fired by Roger Penske because of it and replaced by Al Unser in 1983 
The accident was never explained by the Penske team, however, several experts had differing opinions  Rodger Ward, working for the IMS Radio Network immediately believed the rear brakes locked up  It was a common practice for drivers in the turbocharged era to "ride the brakes" during warm up laps in order to engage the turbocharger  Others theorized it may have happened due to a broken CV joint  Some feel that Sam Posey on ABC-TV inadvertently may have added to the controversy when he proclaimed "absolutely no idea" to the question of how it could have happened, and saying "it was as if he turned the wheel intentionally " The comments led many to conclude that the accident may have been entirely of Cogan's doing  As soon as he climbed from the car, Cogan was observed looking at the rear end axle, suggesting that he thought something broke 

1983–1993
In 1983 Cogan began driving for Bignotti-Cotter Racing in the No  6 Master Mechanic/Caesar's Palace March 83C-Cosworth DFX (numbered 16 at Indianapolis only)  During the season results were hard to come by for Cogan with his best finish being a 5th place at the Indianapolis 500 where teammate Tom Sneva won  Helping neither Cogan nor Sneva was that Bignotti-Cotter began to develop the Theodore 83 rather than continue to use the proven March 83C  At the end of the season Cogan finished 15th in the CART standings and 6th in the USAC standings  At year's end, team co-owner George Bignotti retired and sold his share of the operation to co-owner Dan Cotter, who did not retain Cogan for 1984 
For 1984 Cogan was originally going to drive the No  98 Dubonnet/Curb Records Ligier LC02-Cosworth DFX for Curb Racing and the No  98 Dubonnet Eagle 84SB-Pontiac V8 for All American Racers each in select races  At the season-opening Toyota Grand Prix of Long Beach on the Streets of Long Beach Cogan would start 21st and finish in 28th place in the Ligier  At the Dana Jimmy Bryan 150 at Phoenix International Raceway Cogan would finish in 8th place aboard the Eagle  Then at the Indianapolis 500 Cogan returned to the Ligier  The car was off the pace at the beginning of practice and Cogan faced the possibility of failing to qualify  Cogan would eventually qualify for the race after Ligier and Curb parted ways and when Michael Chandler suffered career-ending injuries in the Eagle  During this time Mike Curb and Dan Gurney merged their teams to form Curb-All American Racers  In the race Cogan qualified in 27th place, setting a new speed record for stock block engines at Indianapolis  In the race Cogan retired to 20th place after suffering a frozen wheel after 137 laps  Cogan would leave Curb-All American Racers after the Budweiser Cleveland Grand Prix at Burke Lakefront Airport  Cogan would then start driving for Forsythe Racing in the No  33 Skoal Bandit March 84C-Cosworth DFX  Initially results were good as Cogan was able to start 5th and finish 8th in his debut for the team at the Michigan 500 at Michigan International Speedway and would follow it up with a 10th-place finish at the Provimi Veal 200 at Road America  During practice for the Domino's Pizza 500 at Pocono International Raceway Cogan would suffer season-ending injuries  Cogan would finish 24th in points 
In 1985 Cogan would begin to drive for Kraco Racing in the No  18 Kraco Car Stereo/Wolff Systems March 85C-Cosworth DFX  The season had its ups and downs uch as Cogan nearly failing to qualify for the Indianapolis 500, eventually starting in 32nd place and finishing 11th  Cogan would also get a 4th-place finish at the Detroit News 200 at Michigan International Speedway and a 5th-place finish at the Stroh's/G I  Joe's 200 at Portland International Raceway to get a 14th-place finish in points 
For 1986 Cogan joined Patrick Racing to drive the No  7 7-Eleven March 86C-Cosworth DFX  At the season opening Dana 200 for Special Olympics at Phoenix International Raceway Cogan scored his first Indycar win, leading 2nd place Tom Sneva by a lap  It was also the first time Cogan led the CART standings in his career  With 13 laps to go in the Indianapolis 500, Cogan made a bold move to pass Rick Mears and Bobby Rahal in less than a lap when both were held up by the slower car of Randy Lanier  Despite his car conspicuously oversteering in the turns, Cogan pulled away to a 3-second lead before a caution came out on lap 195 for a crash by Arie Luyendyk in turn four  Cogan did not get a good restart on lap 198 and was passed by Rahal, eventually finishing in 2nd place  Cogan still led the standings after Indianapolis but suffered retirements in seven of the fourteen remaining races and fell to 6th in the championship 
For 1987 Cogan would return with Patrick, making it the first team Cogan drove for in consecutive years, driving the No  7 Marlboro March 87C-Ilmor-Chevrolet Indy V8 265A  The season would turn out to be a disappointment as Cogan got a best finish of 5th at the Escort Radar Warning 200 at Mid-Ohio Sports Car Course and the Bosch Spark Plug Grand Prix at Nazareth Speedway to get a 16th-place finish in points 
In 1988 Cogan would begin to drive for Machinists Union Racing in the No  11 Schaefer Beer/Playboy Fashions March 88C-Cosworth DFX (although an 87C was used at the Miller High Life 200 at the Milwaukee Mile)  The season started off well as Cogan got a 3rd-place finish at the Toyota Grand Prix of Long Beach on the Streets of Long Beach  After seven rounds Cogan was ranked 11th in points when he was injured while competing at the Molson Indy Toronto at Exhibition Place  Cogan would miss four races but would still finish 13th in points on the strength of a 4th-place finish at the Nissan Indy Challenge at Tamiami Park 
For 1989 Cogan returned with the Machinists Union driving the No  11 Schaefer Beer/Playboy Fashions March 88C-Cosworth DFX  Another frustrating season saw Cogan finish 14th in points with a best finish of 8th at the Champion Spark Plug 300K at Laguna Seca Raceway  The only 'highlight' of Cogan's season was a major crash at the Indianapolis 500  At the end of the third lap, Cogan spun in turn four and hit the entrance to the pit lane  The car broke in half, rebounded and slammed into the end of the pit wall before finally sliding to a stop on its side in the pit lane  To everyone's surprise, Cogan immediately climbed from his destroyed car unharmed 
In 1990 Cogan could only get a drive for Indianapolis for Vince Granatelli Racing in the No  11 Tuneup Masters Penske PC18-Buick V6  In the race Cogan qualified in 15th place and finished in 9th place  Cogan would later get a second race at the Marlboro 500 at Michigan International Speedway for Stoops Racing in the No  17 Conseco Lola T9000-Cosworth DFS starting 13th and finishing 20th  Cogan would finish out the season 23rd in points 
In 1991 Cogan would join Team Menard to drive the No  9 Glidden/Menards Lola T9100-Buick V6 at the Indianapolis 500  During qualifying Cogan was unable to make an attempt due to rain and would have to wait for the second day  Cogan would easily qualify for the race in 16th place with a speed that would have placed him easily in the top ten along with other drivers, such as teammate Gary Bettenhausen, Arie Luyendyk, Emerson Fittipaldi and Stan Fox  In the race Cogan was involved in a crash with Roberto Guerrero on lap 25  In the wreck Cogan broke his arm and leg  Original television footage was inconclusive, and Cogan firmly assessed the blame on Guerrero, claiming that Guerrero cut down on him  An amateur home video shot from the grandstands surfaced, however, which showed that Cogan may have moved up into Guerrero  At the very least, the video showed that it may have been a simple racing accident, although Cogan still holds Guerrero responsible  As a result of the crash Cogan missed the remainder of the year (Menard wasn't going to do anymore races) and the next year  Cogan scored no points during the season 
For 1993 Cogan would drive for Galles-Kraco Racing in the No  11 Conseco Lola T9300-Ilmor-Chevrolet Indy V8 265A in a part-time schedule  At Cogan's debut for the year, the Indianapolis 500 Cogan was on the bubble on Bump Day and was nearly bumped by Bobby Rahal  Rahal was not successful and Cogan started in 14th place and would lead for four laps during pit stops, eventually finishing in 14th place  Cogan would drive in three more races for Galles-Kraco, getting a best finish of 13th at the Budweiser Grand Prix of Cleveland at Burke Lakefront Airport  Cogan would again score no points towards the championship 
Cogan would retire from racing at the end of 1993 with 6th place in 1982 and 1986 being his best finish in the CART standings and his win at Phoenix in 1986 being his only win 

Personal life
Since leaving IndyCar, Cogan has distanced himself from racing to concentrate on a real estate business in Los Angeles, Palos Verdes Estates LLC  Cogan declined invitations to be interviewed for the centennial era of the Indianapolis Motor Speedway (2009) in which many IndyCar legends and IndyCar drivers were interviewed by ESPN  Cogan also refused invitations to participate in Indianapolis 500 festivities during the 100th anniversary of the race in 2011 (9)
In 1988, ESPN reporter Jack Arute reported that Cogan was married, to Tracy, and had a son  The couple has since been divorced since 2004  In a 2015 interview with a news reporter, it was revealed that Cogan has 2 more children, a daughter and a son, since his retirement 

Racing record
SCCA National Championship Runoffs
Complete USAC Mini-Indy Series results
Complete Formula One World Championship results
(key)

American open-wheel racing
(key)

CART
Indianapolis 500
24 Hours of Le Mans
Passage 8:
Mark Donohue
Mark Neary Donohue Jr  (March 18, 1937 – August 19, 1975), nicknamed "Captain Nice," and later "Dark Monohue," was an American race car driver and engineer known for his ability to set up his own race car as well as driving it to victories Donohue is probably best known as the driver of the 1500+ bhp "Can-Am Killer" Porsche 917-30 and as the winner of the Indianapolis 500 in 1972  Cars that Donohue raced include: AMC Javelin, AMC Matador, Chevrolet Camaro, Eagle-Offy, Elva Courier, Ford GT40 MK IV, Ferrari 250LM, Ferrari 512, Lola T70, Lola T330, Lotus 20, McLaren M16, Porsche 911, Porsche 917/10, Porsche 917/30, Shelby Cobra, and Shelby Mustang GT350R 

Early life
Born in Haddon Township, New Jersey, Donohue grew up in Summit, graduated from the Pingry School in Hillside, and entered Brown University in Providence, Rhode Island  At the age of 22 while a senior at Brown, Donohue began racing his 1957 Corvette  He won the first event he entered, a hillclimb in Belknap County, New Hampshire  He graduated from Brown in 1959 with a bachelor's degree in mechanical engineering Donohue won the SCCA national championship in an Elva Courier in 1961  Experienced race driver Walt Hansgen (who worked for Inskip Motors in New York & Rhode Island) recognized Donohue's ability and befriended him, eventually providing an MGB (through Inskip Motors in Providence, RI and prepped by their race shop Competition Engineering) for Donohue to race at the 1964 Bridgehampton 
500-mile (800 km) SCCA endurance event, which he won  Hansgen arranged for Donohue to become his teammate in 1965, co-driving a Ferrari 275 at the 12 Hours of Sebring endurance race, which they finished in 11th place  That year, Donohue also won two divisional championships: in SCCA B Class in a GT350 and in SCCA Formula C in a Lotus 20B Donohue was hired on March 29, 1964, by Jack Griffith [Griffith Motors, Syosset, N Y /Plainview, N Y ] as design engineer for the Griffith, formerly TVR Grantura Mk III, powered by a Ford 289 cid (4 7l) V8 engine  He went on to assist TVR's David Hives in designing the Series 400 Griffith and then working on the ill-fated Bob Cumberford-designed, Intermeccanica-(Torino, Italy) produced Series 600 Griffith 
During its production life, there were 192 Series 200 Griffiths built, 59 of the Series 400 and only 10 of the Series 600 
During his tenure at Griffith Mark drove the Griffith-owned Shelby 289 Cobra making his mark on the SCCA circuit 
In February of '65 Donohue was named comptroller at Griffith Motors, but was soon lured from Griffith by Roger Penske early in 1966 
The Griffith company went defunct in November, 1966 

Ford GT40 and joining with Penske
In 1966, thanks to his friendship with Hansgen, word quickly spread to the Ford Motor Company about the young driver  Ford immediately signed Donohue to drive one of their GT-40 Mk II race cars campaigned at the 24 Hours of Le Mans by the Holman & Moody racing team   Le Mans proved frustrating for Donohue   Hansgen died while testing the GT40 in preparation for Le Mans so Donohue partnered with Australian Paul Hawkins   Donohue and Hawkins completed only twelve laps due to differential failure and finished 47th  Earlier that year, co-driving with Hansgen, Donohue finished third at the 24 Hours of Daytona and second at the 12 Hours of Sebring At Hansgen's funeral, Roger Penske spoke to Donohue about driving for him  In his first race for Penske, at Watkins Glen in June 1966, Donohue qualified well but crashed the car at the top of a hill, destroying it Donohue was invited back to Le Mans by Ford in 1967  Ford had developed a new GT, the Mark IV  Donohue co-drove in the No  4 yellow car with sports car driver and race car builder Bruce McLaren for Shelby American Racing  The two drivers disagreed on many aspects of racing and car setup, but as a team were able to muster a fourth-place finish in the endurance classic In 1967, Penske contacted Donohue about driving Penske's brand new Lola T70 spyder in the United States Road Racing Championship   Donohue dominated the 1967 race, driving a Lola T70 MkIII Chevrolet for Penske  Donohue raced in seven of the eight races that year, winning six (at Las Vegas, Riverside, Bridgehampton, Watkins Glen, Pacific Raceways, and Mid-Ohio) and finishing third at the Laguna Seca Raceway round behind Lothar Motschenbacher and Mike Goth 
In 1968, Donohue and Penske returned to defend their USRRC championship with the McLaren M6A Chevrolet  Donohue did not start the first race of the year at Circuit Hermanos Rodriguez in Mexico City due to problems getting the engine to start  Despite this, Donohue still dominated the series, even though he suffered three DNFs during the season due to mechanical problems with the M6A 

Trans-Am
Donohue began his Trans-Am series campaign in 1967, winning three of twelve races in a Roger Penske-owned Chevrolet Camaro  In 1967 and 1968, Trans-Am schedule included two of the most prized endurance races in the world, the 24 Hours of Daytona and the 12 Hours of Sebring  Donohue finished fourth at Daytona and won the Trans-Am class at the 12 Hours of Sebring 
1968 would be a banner year for Donohue in the Trans-Am series, as he successfully defended his 12 Hours of Sebring victory by partnering with Craig Fisher and driving his Penske Chevrolet Camaro to victory  Donohue went on to win 10 of 13 races, a Trans-Am series record which would stand until Tommy Kendall went 11 for 13 in the 1997 Trans-Am championship, winning the first 11 races that year in his All-Sport liveried Mustang 
Donohue was considered a leading Trans-Am driver of the late 1960s and early 1970s  Had there been a Drivers' Championship in place at the time, he would have won three of them (his last in 1971) while driving Camaros in 1968 and 1969, and an AMC Javelin in 1971, all for Roger Penske Racing 
During their enormous success in Trans-Am, Penske and Donohue would begin to experiment with their Camaros  They discovered that using a drag racing trick of dipping a car in an acid bath would eat away small amounts of metal, which in turn made the car incrementally lighter, and allowed it to be driven faster  The 1967 Z-28 won its last race by lapping the entire field of cars, causing suspicion throughout the paddock During a post-race inspection, race stewards discovered that the car was 250 pounds lighter than the 2,800-pound minimum weight requirement  Donohue was about to have his race victory taken away for cheating, but Roger Penske stepped in  Penske warned that any disqualification would have the potential of motivating Chevrolet to pull all support for the Trans-Am series  After considering the potential consequences, the race stewards allowed Donohue's victory to stand, but the rules for the 1968 season incorporated a change whereby all cars would be weighed during the technical inspection before the race 
Penske and Donohue did not stop acid-dipping after this, however  Continuing the practice of reducing weight allowed them to place weights of certain sizes strategically in specific locations within the car, thus helping to balance the car while being driven on the limit  Acid-dipping car bodies was prevalent with competing Trans-Am teams also 
They continued to use the "lightweight" car in 1968, at the Sebring 12-hour race  They changed the grille and taillight to the 1968 model, and then painted both cars identically  They sent the legal weight car through the technical inspection with the number 15 and again with the number 16 on it  Then they put both cars in the race, number 15 and 16, one car being 250 pounds lighter  They won the race, finished third overall, and went on to win 10 out of 13 races that year 
They also acid-dipped the body on the Camaro and had to caution people not to lean against it, for fear it would dent  The lightweight car was featured on an episode of Dream Car Garage on Speed TV in 2005 
In 1970 new Javelin team owner Roger Penske and driver Mark Donohue would breathe new life into the AMC team  Donohue drove the Javelin to three victories, with AMC finishing second overall in the Manufacturers' Championship  In 1971, of the ten races that the Over 2 5L Class cars participated in, Donohue won seven of them, including the final six races in a row, with AMC winning the Manufacturers' championship for the first time ever  In the final race of the season, Javelins finished in first, second and third place, with George Follmer becoming the only other Javelin driver to win besides Donohue 

Indianapolis 500
In 1969, Penske and Donohue raced in their first Indianapolis 500, with Donohue finishing seventh, winning the rookie of the year award  Donohue raced at Indianapolis each year following, finishing second in 1970 and 25th in 1971 
Donohue won in 1972, driving for Penske  He finished the race in his McLaren-Offy setting a record speed of over 162 mph (261 km/h), which stood for twelve years  The victory was the first for Penske in the Indy 500 

NASCAR
Donohue raced in several NASCAR Grand American races and a NASCAR pony car division from 1968 until 1971  In the 1972–1973 season, driving an AMC Matador for Penske Racing in NASCAR's top division, the Winston Cup Series, Donohue won the season-opening event at Riverside  That race was Penske's first NASCAR win in a long history of NASCAR participation  Although photographs of Donohue with the more aerodynamic 1974 Matador coupe exist and are published, he did not drive it in competition 

Can-Am Porsche
Between 1971 and 1972, Penske Racing (along with Donohue as the primary test and development driver) was commissioned by Porsche to help develop the 917-10 to compete in the Can-Am series  During testing at Road Atlanta, Donohue recommended larger brake ducts, believing that more cooling would slow the brakes' degradation during a race 
The Porsche engineers obliged, but the new ducts interfered with the bodywork closure pins that attached body panels to the car  Coming out of turn seven at about 150 mph (240 km/h), the rear bodywork flew off the car, which became extremely unstable, lifted off the ground, and tumbled down the track  The front of the car was torn away, leaving Donohue, still strapped to his safety seat, with his legs dangling outside the car  Amazingly, Donohue only suffered an internal derangement of his knee with meniscus damage and limited cruciate plus collateral ligament damage  (He was operated on at Piedmont Hospital in Atlanta by Drs  J  Funk and J  L  Watts )  George Follmer, Donohue's old Trans-Am teammate, took over testing the 917-10 for Donohue, who said:

It just doesn't feel right  Seeing another man driving your car, a car you know so well  I imagine it must feel like watching another man in bed with your wife 

Porsche, Penske, and Donohue quickly started the development of the 917-30, complete with a reworked aerodynamic "Paris" body and a 5 4-liter turbocharged flat-12 engine whose output could be adjusted from about 1,100 to 1,500 bhp by turning a boost knob in the cockpit  During the development of this motor, the German Porsche engineers often asked Donohue if the motor finally had enough power  He answered, "It will never have enough power until I can spin the wheels at the end of the straightaway in high gear "
On August 9, 1975, Donohue drove the 917–30 to a world closed-course speed record at the Talladega Superspeedway in Talladega, Alabama  His average speed around the 2 66-mile (4 28 km) high-banked oval was 221 120 mph (355 858 km/h)  Donohue held the record for 11 years, until it was broken by Rick Mears at Michigan International Speedway 
The 917-30 is referred to as the "Can-Am killer"  as it dominated the competition, winning all but two races of the 1973 Can-Am championship (which is an untrue statement, because OPEC killed the Can-Am series in 1975–1976)  After the Arab oil embargo in 1973, it led the SCCA, IMSA and other race series to impose fuel limitations on motor sport racing as a whole, which hampered the performance of the 917/30, making it uncompetitive in the Can-Am series  Brian Redman drove it once in 1974, and that was it for the car as far as Penske campaigning it  The 917/30 generally is considered one of the most powerful and most dominant racing machines ever created 

First IROC champion
Donohue raced in the inaugural IROC series in 1973–74, racing identical, specially-prepared Porsche RSRs  In the four-race series, Donohue won the first and third of three races at Riverside and the final race of the year at Daytona  The only person to beat Donohue was his former Penske Trans-Am teammate, George Follmer  In winning the first IROC championship, Donohue beat the best racing drivers of that era from all of the major championships, such as Denny Hulme, Richard Petty, A  J  Foyt, Emerson Fittipaldi, Bobby Allison, David Pearson, Peter Revson, Bobby Unser, and Gordon Johncock 

Retirement and Formula One
The pressures of racing and designing the car took their toll on Donohue  By 1973, the "Captain Nice" nickname he had earned earlier in his career was being supplanted by the nickname "Dark Monohue"   Donohue announced that he would retire from racing after the 1973 Can-Am season  In addition, the horrific events at the 1973 Indianapolis 500 and the subsequent death of his friend, Swede Savage, pushed him to quit  His retirement was short-lived, however, as he was lured back to full-time competitive driving by Penske when he formed a Formula One team, Penske Cars Ltd, to compete in the final two events of the 1974 Formula One World Championship, and to continue competing in 1975 with the new Penske PC1 

Donohue previously had debuted in Formula One on September 19, 1971, with a Penske-sponsored McLaren at the Canadian Grand Prix at Mosport Park, finishing on the podium in third place  After coming out of retirement with his former boss, Penske, Donohue returned to Formula One, entering into the final two races of the 1974 Formula One season  Donohue finished in 12th place at the Canadian Grand Prix, but failed to finish at the United States Grand Prix 
A full season of racing for the 1975 Formula One season was planned  The 1975 season turned out to be a difficult one for Donohue and Penske   Donohue was able to muster fifth-place finishes at the Swedish Grand Prix and the British Grand Prix, but the new Penske PC1 chassis proved problematic, as evidenced by three retirements in the first six races  At the Austrian Grand Prix, Donohue's career, along with Roger Penske's Formula One aspirations, took a tragic turn 

Death
Midway through the 1975 F1 season, Penske abandoned the troublesome PC1 and started using the March 751  Donohue recently had arrived in Austria for the Austrian Grand Prix at the Österreichring race track following the successful closed-course speed record attempt at Talladega Superspeedway in Alabama just a few days earlier  During a practice session for the race, Donohue lost control of his March after a tire failed, sending him into the catch fencing at the fastest corner on the track, Vöest Hügel Kurve  A track marshal was killed by debris from the accident, but Donohue did not appear to be injured significantly  It is said that Donohue's head struck either a catch fencing post or the bottom of the wood frame for an advertising billboard located alongside of the racetrack  A headache resulted, however, and worsened  After going to the hospital in Graz the next day, Donohue lapsed into a coma from a cerebral hemorrhage and died  He was survived by his second wife and two sons from his first marriage  Donohue is buried at St  Teresa Cemetery in Summit, New Jersey 

Commemorations and legacy
In 2003, in commemoration of Penske Racing's 50th NASCAR win, Nextel Cup driver Ryan Newman drove a Dodge Intrepid painted to resemble Donohue's 1973 AMC (with a No  12 and current Alltel decals) at the fall Rockingham, North Carolina, race 
Penske's new Penske Racing complex in Mooresville, North Carolina is decorated with various murals of Donohue and his racing cars, most notably the AMC stock car and the various Porsche prototypes that Donohue drove through his career 
Donohue chronicled his entire racing career in the book, The Unfair Advantage (co-written with noted motorsports and engineering journalist Paul Van Valkenburgh)  The book documents his career from his first races to his final full season of racing the year before he was killed  This was not merely a celebrity autobiography, but a detailed, step-by-step record of the engineering approach he took to getting the absolutely highest performance from every car he drove, always looking for that elusive "unfair advantage"  Donohue (along with Penske) were pioneers in many rights, some as notable as the use of a skidpad as a tool for developing and perfecting race car suspension designs and setups  The book told how Donohue learned to exploit the antilock braking system and the powerful turbocharged engine of several prototype Porsches, as well as how he learned from various mishaps, including a near-fatal crash  The book was published shortly before Donohue's death 
The book was re-released in 2000 by Bentley Publishers (Cambridge, Massachusetts)  It includes information and additional photography that was not available before the first edition was published 
Donohue's racing tradition is carried on by his son, David Donohue, a successful road racer in his own right 

Awards
Drexel University presented Mark Donohue with its Engineering and Science Award in 1973 
Mark Donohue was inducted into the International Motorsports Hall of Fame in 1990 
He was also inducted in the Motorsports Hall of Fame of America in 1990 
He was inducted in the Sports Car Club of America Hall of Fame in its 2006 class 

Motorsports career results
SCCA National Championship Runoffs
Formula One World Championship
(key)

Formula One Non-Championship
(key)

Complete USAC Championship Car results
Indianapolis 500 results
NASCAR
Winston Cup Series
Daytona 500
International Race of Champions
(key) (Bold – Pole position  * – Most laps led )

Complete Canadian-American Challenge Cup results
(key) (Races in bold indicate pole position) (Races in italics indicate fastest lap)

Complete 24 Hours of Le Mans results
See also
Roger Penske
Indianapolis Motor Speedway
George Follmer
Walt Hansgen
Skidpad
Turbocharger
Brown University
Lola Cars
Vehicle Dynamics
Elva (car manufacturer)



ground_truth: Mark Neary Donohue Jr.

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 3:  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