document_title: The Merchant of Venice

question_text: who does jessica marry in the merchant of venice

text: The Merchant of Venice

text: Characters[edit]

text:
Antonio – a prominent merchant of Venice in a melancholic mood
Bassanio – Antonio's friend; suitor to Portia; later the husband of Portia
Gratiano – friend of Antonio and Bassanio; in love with Nerissa; later the husband of Nerissa
Lorenzo – friend of Antonio and Bassanio; in love with Jessica; later the husband of Jessica
Portia – a rich heiress; later the wife of Bassanio
Nerissa – Portia's waiting maid – in love with Gratiano; later the wife of Gratiano; disguises herself as Stephano
Balthazar – Portia's servant, whom Portia later disguises herself as
Shylock – a miserly Jew; moneylender; father of Jessica
Jessica – daughter of Shylock, later the wife of Lorenzo
Tubal – a Jew; friend of Shylock
Launcelot Gobbo – servant of Shylock; later a servant of Bassanio; son of Old Gobbo
Old Gobbo – blind father of Launcelot
Leonardo – slave to Bassanio
Duke of Venice – authority who presides over the case of Shylock's bond
Prince of Morocco – suitor to Portia
Prince of Arragon – suitor to Portia
Salarino and Salanio( also known as Solanio ) – friends of Antonio and Bassanio[2]
Salerio – a messenger from Venice[2]
Magnificoes of Venice, officers of the Court of Justice, gaoler, servants to Portia, and other attendants and Doctor Bellario, cousin of Portia

text: Summary[edit]

text: Bassanio, a young Venetian of noble rank, wishes to woo the beautiful and wealthy heiress Portia of Belmont. Having squandered his estate, he needs 3,000 ducats to subsidise his expenditures as a suitor. Bassanio approaches his friend Antonio, a wealthy merchant of Venice who has previously and repeatedly bailed him out. Antonio agrees, but since he is cash-poor – his ships and merchandise are busy at sea to Tripolis, the Indies, Mexico and England – he promises to cover a bond if Bassanio can find a lender, so Bassanio turns to the Jewish moneylender Shylock and names Antonio as the loan's guarantor.

text: Antonio has already antagonized Shylock through his outspoken antisemitism, and because Antonio's habit of lending money without interest forces Shylock to charge lower rates. Shylock is at first reluctant to grant the loan, citing abuse he has suffered at Antonio's hand. He finally agrees to lend the sum to Bassanio without interest upon one condition: if Antonio is unable to repay it at the specified date, Shylock may take a pound of Antonio's flesh. Bassanio does not want Antonio to accept such a risky condition; Antonio is surprised by what he sees as the moneylender's generosity (no "usance" – interest – is asked for), and he signs the contract. With money at hand, Bassanio leaves for Belmont with his friend Gratiano, who has asked to accompany him. Gratiano is a likeable young man, but is often flippant, overly talkative, and tactless. Bassanio warns his companion to exercise self-control, and the two leave for Belmont.

text: Meanwhile, in Belmont, Portia is awash with suitors. Her father left a will stipulating each of her suitors must choose correctly from one of three caskets – one each of gold, silver and lead. If he picks the right casket, he gets Portia. The first suitor, the Prince of Morocco, chooses the gold casket, interpreting its slogan, "Who chooseth me shall gain what many men desire", as referring to Portia. The second suitor, the conceited Prince of Arragon, chooses the silver casket, which proclaims, "Who chooseth me shall get as much as he deserves", as he believes he is full of merit. Both suitors leave empty-handed, having rejected the lead casket because of the baseness of its material and the uninviting nature of its slogan, "Who chooseth me must give and hazard all he hath". The last suitor is Bassanio, whom Portia wishes to succeed, having met him before. As Bassanio ponders his choice, members of Portia's household sing a song which says that "fancy" (not true love) is "engend'red in the eyes, / With gazing fed";[3] Bassanio chooses the lead casket and wins Portia's hand.

text: At Venice, Antonio's ships are reported lost at sea so the merchant cannot repay the bond. Shylock has become more determined to exact revenge from Christians because his daughter Jessica eloped with the Christian Lorenzo and converted. She took a substantial amount of Shylock's wealth with her, as well as a turquoise ring which Shylock had been given by his late wife, Leah. Shylock has Antonio brought before court.

text: At Belmont, Bassanio receives a letter telling him that Antonio has been unable to repay the loan from Shylock. Portia and Bassanio marry, as do Gratiano and Portia's handmaid Nerissa. Bassanio and Gratiano leave for Venice, with money from Portia, to save Antonio's life by offering the money to Shylock. Unknown to Bassanio and Gratiano, Portia sent her servant, Balthazar, to seek the counsel of Portia's cousin, Bellario, a lawyer, at Padua.

text: The climax of the play takes place in the court of the Duke of Venice. Shylock refuses Bassanio's offer of 6,000 ducats, twice the amount of the loan. He demands his pound of flesh from Antonio. The Duke, wishing to save Antonio but unable to nullify a contract, refers the case to a visitor. He identifies himself as Balthazar, a young male "doctor of the law", bearing a letter of recommendation to the Duke from the learned lawyer Bellario. The doctor is Portia in disguise, and the law clerk who accompanies her is Nerissa, also disguised as a man. As Balthazar, Portia repeatedly asks Shylock to show mercy in a famous speech, advising him that mercy "is twice blest: It blesseth him that gives and him that takes" (IV, i, 185). However, Shylock adamantly refuses any compensations and insists on the pound of flesh.

text: As the court grants Shylock his bond and Antonio prepares for Shylock's knife, Portia deftly appropriates Shylock's argument for "specific performance". She says that the contract allows Shylock only to remove the flesh, not the "blood", of Antonio (see quibble). Thus, if Shylock were to shed any drop of Antonio's blood, his "lands and goods" would be forfeited under Venetian laws. She tells him that he must cut precisely one pound of flesh, no more, no less; she advises him that "if the scale do turn, But in the estimation of a hair, Thou diest and all thy goods are confiscate."

text: Defeated, Shylock concedes to accepting Bassanio's offer of money for the defaulted bond, first his offer to pay "the bond thrice", which Portia rebuffs, telling him to take his bond, and then merely the principal, which Portia also prevents him from doing on the ground that he has already refused it "in the open court". She cites a law under which Shylock, as a Jew and therefore an "alien", having attempted to take the life of a citizen, has forfeited his property, half to the government and half to Antonio, leaving his life at the mercy of the Duke. The Duke pardons Shylock's life. Antonio asks for his share "in use" until Shylock's death, when the principal will be given to Lorenzo and Jessica. At Antonio's request, the Duke grants remission of the state's half of forfeiture, but on the condition that Shylock convert to Christianity and bequeath his entire estate to Lorenzo and Jessica (IV,i).

text: Bassanio does not recognise his disguised wife, but offers to give a present to the supposed lawyer. First she declines, but after he insists, Portia requests his ring and Antonio's gloves. Antonio parts with his gloves without a second thought, but Bassanio gives the ring only after much persuasion from Antonio, as earlier in the play he promised his wife never to lose, sell or give it. Nerissa, as the lawyer's clerk, succeeds in likewise retrieving her ring from Gratiano, who does not see through her disguise.

text: At Belmont, Portia and Nerissa taunt and pretend to accuse their husbands before revealing they were really the lawyer and his clerk in disguise (V). After all the other characters make amends, Antonio learns from Portia that three of his ships were not stranded and have returned safely after all.

text: Sources[edit]

text: The forfeit of a merchant's deadly bond after standing surety for a friend's loan was a common tale in England in the late 16th century.[4] In addition, the test of the suitors at Belmont, the merchant's rescue from the "pound of flesh" penalty by his friend's new wife disguised as a lawyer, and her demand for the betrothal ring in payment are all elements present in the 14th-century tale Il Pecorone by Giovanni Fiorentino, which was published in Milan in 1558.[5] Elements of the trial scene are also found in The Orator by Alexandre Sylvane, published in translation in 1596.[4] The story of the three caskets can be found in Gesta Romanorum, a collection of tales probably compiled at the end of the 13th century.[6]

text: Date and text[edit]

text: The date of composition for The Merchant of Venice is believed to be between 1596 and 1598. The play was mentioned by Francis Meres in 1598, so it must have been familiar on the stage by that date. The title page of the first edition in 1600 states that it had been performed "divers times" by that date. Salerino's reference to his ship the Andrew (I,i,27) is thought to be an allusion to the Spanish ship St. Andrew, captured by the English at Cádiz in 1596. A date of 1596–97 is considered consistent with the play's style.

text: The play was entered in the Register of the Stationers Company, the method at that time of obtaining copyright for a new play, by James Roberts on 22 July 1598 under the title The Merchant of Venice, otherwise called The Jew of Venice. On 28 October 1600 Roberts transferred his right to the play to the stationer Thomas Heyes; Heyes published the first quarto before the end of the year. It was printed again in a pirated edition in 1619, as part of William Jaggard's so-called False Folio. (Afterward, Thomas Heyes' son and heir Laurence Heyes asked for and was granted a confirmation of his right to the play, on 8 July 1619.) The 1600 edition is generally regarded as being accurate and reliable. It is the basis of the text published in the 1623 First Folio, which adds a number of stage directions, mainly musical cues.[7]

text: Themes[edit]

text: Shylock and the antisemitism debate[edit]

text: The play is frequently staged today, but is potentially troubling to modern audiences due to its central themes, which can easily appear antisemitic. Critics today still continue to argue over the play's stance on the Jews and Judaism.

text: Shylock as a villain[edit]

text: English society in the Elizabethan era has been described as "judeophobic".[8] English Jews had been expelled under Edward I in 1290 and were not permitted to return until 1656 under the rule of Oliver Cromwell. In Venice and in some other places, Jews were required to wear a red hat at all times in public to make sure that they were easily identified, and had to live in a ghetto protected by Christian guards.[9]

text: Shakespeare's play may be seen as a continuation of this tradition.[10] The title page of the Quarto indicates that the play was sometimes known as The Jew of Venice in its day, which suggests that it was seen as similar to Marlowe's The Jew of Malta. One interpretation of the play's structure is that Shakespeare meant to contrast the mercy of the main Christian characters with the vengefulness of a Jew, who lacks the religious grace to comprehend mercy. Similarly, it is possible that Shakespeare meant Shylock's forced conversion to Christianity to be a "happy ending" for the character, as, to a Christian audience, it saves his soul and allows him to enter Heaven.[11]

text: Regardless of what Shakespeare's authorial intent may have been, the play has been made use of by antisemites throughout the play's history. The Nazis used the usurious Shylock for their propaganda. Shortly after Kristallnacht in 1938, The Merchant of Venice was broadcast for propagandistic ends over the German airwaves. Productions of the play followed in Lübeck (1938), Berlin (1940), and elsewhere within the Nazi territory.[12]

text: In a series of articles called Observer, first published in 1785, British playwright Richard Cumberland created a character named Abraham Abrahams who is quoted as saying, "I verily believe the odious character of Shylock has brought little less persecution upon us, poor scattered sons of Abraham, than the Inquisition itself."[13] Cumberland later wrote a successful play, The Jew (1794), in which his title character, Sheva, is portrayed sympathetically, as both a kindhearted and generous man. This was the first known attempt by a dramatist to reverse the negative stereotype that Shylock personified.[14]

text: The depiction of Jews in literature throughout the centuries bears the close imprint of Shylock. With slight variations much of English literature up until the 20th century depicts the Jew as "a monied, cruel, lecherous, avaricious outsider tolerated only because of his golden hoard".[15]

text: Shylock as a sympathetic character[edit]

text: Many modern readers and theatregoers have read the play as a plea for tolerance, noting that Shylock is a sympathetic character. They cite as evidence that Shylock's "trial" at the end of the play is a mockery of justice, with Portia acting as a judge when she has no right to do so. The characters who berated Shylock for dishonesty resort to trickery in order to win. In addition, Shakespeare gives Shylock one of his most eloquent speeches:

text:
Salerio. Why, I am sure, if he forfeit, thou wilt not take his flesh. What's that good for?
Shylock. To bait fish withal; if it will feed nothing else, it will feed my revenge. He hath disgraced me and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies – and what's his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me, I will execute, and it shall go hard but I will better the instruction.

text: It is difficult to know whether the sympathetic reading of Shylock is entirely due to changing sensibilities among readers, or whether Shakespeare, a writer who created complex, multi-faceted characters, deliberately intended this reading.

text: One of the reasons for this interpretation is that Shylock's painful status in Venetian society is emphasised. To some critics, Shylock's celebrated "Hath not a Jew eyes?" speech redeems him and even makes him into something of a tragic figure; in the speech, Shylock argues that he is no different from the Christian characters.[16] Detractors note that Shylock ends the speech with a tone of revenge: "if you wrong us, shall we not revenge?" Those who see the speech as sympathetic point out that Shylock says he learned the desire for revenge from the Christian characters: "If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me, I will execute, and it shall go hard but I will better the instruction."

text: Even if Shakespeare did not intend the play to be read this way, the fact that it retains its power on stage for audiences who may perceive its central conflicts in radically different terms is an illustration of the subtlety of Shakespeare's characterisations.[17] In the trial Shylock represents what Elizabethan Christians believed to be the Jewish desire for "justice", contrasted with their obviously superior Christian value of mercy. The Christians in the courtroom urge Shylock to love his enemies, although they themselves have failed in the past. Jewish critic Harold Bloom suggests that, although the play gives merit to both cases, the portraits are not even-handed: "Shylock's shrewd indictment of Christian hypocrisy delights us, but … Shakespeare’s intimations do not alleviate the savagery of his portrait of the Jew…"[18]

text: Antonio, Bassanio[edit]

text: Antonio's unexplained depression – "In sooth I know not why I am so sad" – and utter devotion to Bassanio has led some critics to theorise that he is suffering from unrequited love for Bassanio and is depressed because Bassanio is coming to an age where he will marry a woman. In his plays and poetry Shakespeare often depicted strong male bonds of varying homosociality, which has led some critics to infer that Bassanio returns Antonio's affections despite his obligation to marry:[19]

text:
ANTONIO: Commend me to your honourable wife:
Tell her the process of Antonio's end,
Say how I lov'd you, speak me fair in death;
And, when the tale is told, bid her be judge
Whether Bassanio had not once a love.

BASSANIO: But life itself, my wife, and all the world
Are not with me esteemed above thy life;
I would lose all, ay, sacrifice them all
Here to this devil, to deliver you. (IV,i)

text: In his essay "Brothers and Others", published in The Dyer's Hand, W. H. Auden describes Antonio as "a man whose emotional life, though his conduct may be chaste, is concentrated upon a member of his own sex." Antonio's feelings for Bassanio are likened to a couplet from Shakespeare's Sonnets: "But since she pricked thee out for women's pleasure,/ Mine be thy love, and my love's use their treasure." Antonio, says Auden, embodies the words on Portia's leaden casket: "Who chooseth me, must give and hazard all he hath." Antonio has taken this potentially fatal turn because he despairs, not only over the loss of Bassanio in marriage, but also because Bassanio cannot requite what Antonio feels for him. Antonio's frustrated devotion is a form of idolatry: the right to live is yielded for the sake of the loved one. There is one other such idolator in the play: Shylock himself. "Shylock, however unintentionally, did, in fact, hazard all for the sake of destroying the enemy he hated; and Antonio, however unthinkingly he signed the bond, hazarded all to secure the happiness of the man he loved." Both Antonio and Shylock, agreeing to put Antonio's life at a forfeit, stand outside the normal bounds of society. There was, states Auden, a traditional "association of sodomy with usury", reaching back at least as far as Dante, with which Shakespeare was likely familiar. (Auden sees the theme of usury in the play as a comment on human relations in a mercantile society.)

text: Other interpreters of the play regard Auden's conception of Antonio's sexual desire for Bassanio as questionable. Michael Radford, director of the 2004 film version starring Al Pacino, explained that although the film contains a scene where Antonio and Bassanio actually kiss, the friendship between the two is platonic, in line with the prevailing view of male friendship at the time. Jeremy Irons, in an interview, concurs with the director's view and states that he did not "play Antonio as gay". Joseph Fiennes, however, who plays Bassanio, encouraged a homoerotic interpretation and, in fact, surprised Irons with the kiss on set, which was filmed in one take. Fiennes defended his choice, saying "I would never invent something before doing my detective work in the text. If you look at the choice of language … you'll read very sensuous language. That's the key for me in the relationship. The great thing about Shakespeare and why he's so difficult to pin down is his ambiguity. He's not saying they're gay or they're straight, he's leaving it up to his actors. I feel there has to be a great love between the two characters … there's great attraction. I don't think they have slept together but that's for the audience to decide."[20]

text: Performance history[edit]

text: The earliest performance of which a record has survived was held at the court of King James in the spring of 1605, followed by a second performance a few days later, but there is no record of any further performances in the 17th century.[21] In 1701, George Granville staged a successful adaptation, titled The Jew of Venice, with Thomas Betterton as Bassanio. This version (which featured a masque) was popular, and was acted for the next forty years. Granville cut the clownish Gobbos[22] in line with neoclassical decorum; he added a jail scene between Shylock and Antonio, and a more extended scene of toasting at a banquet scene. Thomas Doggett was Shylock, playing the role comically, perhaps even farcically. Rowe expressed doubts about this interpretation as early as 1709; Doggett's success in the role meant that later productions would feature the troupe clown as Shylock.

text: In 1741, Charles Macklin returned to the original text in a very successful production at Drury Lane, paving the way for Edmund Kean seventy years later (see below).[23]

text: Arthur Sullivan wrote incidental music for the play in 1871.[24]

text: Shylock on stage[edit]

text: Jewish actor Jacob Adler and others report that the tradition of playing Shylock sympathetically began in the first half of the 19th century with Edmund Kean,[25] and that previously the role had been played "by a comedian as a repulsive clown or, alternatively, as a monster of unrelieved evil." Kean's Shylock established his reputation as an actor.[26]

text: From Kean's time forward, all of the actors who have famously played the role, with the exception of Edwin Booth, who played Shylock as a simple villain, have chosen a sympathetic approach to the character; even Booth's father, Junius Brutus Booth, played the role sympathetically. Henry Irving's portrayal of an aristocratic, proud Shylock (first seen at the Lyceum in 1879, with Portia played by Ellen Terry) has been called "the summit of his career".[27] Jacob Adler was the most notable of the early 20th century: Adler played the role in Yiddish-language translation, first in Manhattan's Yiddish Theater District in the Lower East Side, and later on Broadway, where, to great acclaim, he performed the role in Yiddish in an otherwise English-language production.[28]

text: Kean and Irving presented a Shylock justified in wanting his revenge; Adler's Shylock evolved over the years he played the role, first as a stock Shakespearean villain, then as a man whose better nature was overcome by a desire for revenge, and finally as a man who operated not from revenge but from pride. In a 1902 interview with Theater magazine, Adler pointed out that Shylock is a wealthy man, "rich enough to forgo the interest on three thousand ducats" and that Antonio is "far from the chivalrous gentleman he is made to appear. He has insulted the Jew and spat on him, yet he comes with hypocritical politeness to borrow money of him." Shylock's fatal flaw is to depend on the law, but "would he not walk out of that courtroom head erect, the very apotheosis of defiant hatred and scorn?"[29]

text: Some modern productions take further pains to show the sources of Shylock's thirst for vengeance. For instance, in the 2004 film adaptation directed by Michael Radford and starring Al Pacino as Shylock, the film begins with text and a montage of how Venetian Jews are cruelly abused by bigoted Christians. One of the last shots of the film also brings attention to the fact that, as a convert, Shylock would have been cast out of the Jewish community in Venice, no longer allowed to live in the ghetto. Another interpretation of Shylock and a vision of how "must he be acted" appears at the conclusion of the autobiography of Alexander Granach, a noted Jewish stage and film actor in Weimar Germany (and later in Hollywood and on Broadway).[30]

text: Adaptations and cultural references[edit]

text: Film and TV versions[edit]

text: The Shakespeare play has inspired several films.

text:
1914 – silent film directed by Lois Weber and Phillips Smalley

Weber, who also stars as Portia, became the first woman to direct a full-length feature film in America with this film.
The Merchant of Venice on IMDb

1916 – The Merchant of Venice, a silent British film directed by Walter West for Broadwest.

The Merchant of Venice on IMDb

1923 – The Merchant of Venice, a silent German film directed by Peter Paul Felner.

The Merchant of Venice on IMDb

1941 – Shylock, an Indian Tamil language film directed by the duo Sama-Ramu.[31]
1969 – The Merchant of Venice, an unreleased 40-minute television film directed by and starring Orson Welles; the film was completed, but the soundtrack for all but the first reel was stolen before it could be released.

The Merchant of Venice on IMDb

1972 – British video-taped television version directed by Cedric Messina for the BBC's Play of the Month series

Cast includes Maggie Smith, Frank Finlay and Charles Gray and Christopher Gable

1973 – British video-taped television version directed by John Sichel

The cast included Laurence Olivier as Shylock, Anthony Nicholls as Antonio, Jeremy Brett as Bassanio, Joan Plowright as Portia, Louise Purnell as Jessica.
The Merchant of Venice on IMDb

1980 – A BBC video-taped version for the BBC Television Shakespeare directed by Jack Gold

The cast includes Gemma Jones as Portia, Warren Mitchell as Shylock and John Nettles as Bassanio
The Merchant of Venice on IMDb

1996 – A Channel 4 television film directed by Alan Horrox

The cast included Paul McGann as Bassanio and Haydn Gwynne as Portia
The Merchant of Venice on IMDb

2001 – A BBC television film directed by Trevor Nunn

Royal National Theatre production starring Henry Goodman as Shylock
The Merchant of Venice on IMDb

2002 – The Maori Merchant of Venice, directed by Don Selwyn.

In Maori, with English subtitles. The cast included Waihoroi Shortland as Shylock, Scott Morrison as Antonio, Te Rangihau Gilbert as Bassanio, Ngarimu Daniels as Portia, Reikura Morgan as Jessica.
The Maori Merchant of Venice on IMDb

2003 – Shakespeare's Merchant, directed by Paul Wagar and produced by Lorenda Starfelt, Brad Mays and Paul Wagar.

Shakespeare's Merchant on IMDb

2004 – The Merchant of Venice, directed by Michael Radford and produced by Barry Navidi.

The cast included Al Pacino as Shylock, Jeremy Irons as Antonio, Joseph Fiennes as Bassanio, Lynn Collins as Portia, and Zuleikha Robinson as Jessica.
The Merchant of Venice on IMDb

text: Operas[edit]

text:
Josef Bohuslav Foerster's three-act Czech opera Jessika was first performed at the Prague National Theatre on 16 April 1905.
Reynaldo Hahn's three-act French opera Le marchand de Venise was first performed at the Paris Opéra on 25 March 1935.
The late André Tchaikowsky's (1935–1982) opera The Merchant of Venice premiered at the Bregenz Festival[32][33] on 18 July 2013.

text: Cultural references[edit]

text: The play contains the earliest known use of the phrase "with bated breath" (by Shylock, in Act I, Scene 3, "Shall I bend low and, in a bondman's key, / With bated breath and whisp'ring humbleness, / Say this ..."), which has come into common use to convey the idea of restraining one's breathing in anticipation or supplicance (in which the archaic "bated" is often misidentified as "baited" in modern usage).[34][35][36]

text: Arnold Wesker's play The Merchant tells the same story from Shylock's point of view. In this retelling, Shylock and Antonio are fast friends bound by a mutual love of books and culture and a disdain for the crass anti-Semitism of the Christian community's laws. They make the bond in defiant mockery of the Christian establishment, never anticipating that the bond might become forfeit. When it does, the play argues, Shylock must carry through on the letter of the law or jeopardise the scant legal security of the entire Jewish community. He is, therefore, quite as grateful as Antonio when Portia, as in Shakespeare's play, shows the legal way out. The play received its American premiere on 16 November 1977 at New York's Plymouth Theatre, with Joseph Leon as Shylock and Marian Seldes as Shylock's sister Rivka. This production had a challenging history in previews on the road, culminating (after the first night out of town in Philadelphia on 8 September 1977) with the death of the larger-than-life Broadway star Zero Mostel, who was initially cast as Shylock. The play's author, Arnold Wesker, wrote a book chronicling the out-of-town tribulations that beset the play and Zero's death called The Birth of Shylock and the Death of Zero Mostel.

text: David Henry Wilson's play Shylock's Revenge, which was first performed by The University Players at the Audimax (University of Hamburg) on 9 June 1989, can be seen as a full-length sequel to Shakespeare's drama.

text: The title of the film Seven Pounds is a reference to the "pound of flesh" from the play.

text: Edmond Haraucourt, the French playwright and poet, was commissioned in the 1880s by the actor and theatrical director Paul Porel to make a French-verse adaptation of The Merchant of Venice. His play Shylock, first performed at the Théâtre de l'Odéon in December 1889, had incidental music by the French composer Gabriel Fauré, later incorporated into an orchestral suite of the same name.[37]

text: One of the four short stories comprising Alan Isler's Op Non Cit is also told from Shylock's point of view. In this story, Antonio was a boy of Jewish origin kidnapped at an early age by priests.

text: Ralph Vaughan Williams' choral work Serenade to Music draws its text from the discussion about music and the music of the spheres in Act V, scene 1.

text: In both versions of the comic film To Be or Not to Be the character "Greenberg", specified as a Jew only in the later version, gives a recitation of the "Hath Not a Jew eyes?" speech to Nazi soldiers.[38]

text: In The Pianist, Henryk Szpilman quotes a passage from Shylock's "Hath Not a Jew eyes?" speech to his brother Władysław Szpilman in a Jewish ghetto in Warsaw, Poland, during the Nazi occupation in World War II. Given the questioning of Antisemitism in the speech and also the Nazi use of the play for antisemitic propaganda purposes, the quote is seen as particularly poignant and symbolic.

text: Steven Spielberg's Schindler's List depicts SS Lieutenant Amon Göth quoting Shylock's "Hath Not a Jew eyes?" speech when deciding whether or not to rape his Jewish maid.

text: The rock musical Fire Angel was based on the story of the play, with the scene changed to the Little Italy district of New York. It was performed in Edinburgh in 1974 and in a revised form at Her Majesty's Theatre, London, in 1977.

text: Christopher Moore combines The Merchant of Venice and Othello in his 2014 comic novel The Serpent of Venice, in which he makes Portia (from The Merchant of Venice) and Desdemona (from Othello) sisters. All of the characters come from those two plays with the exception of Pocket, the Fool, who comes from Moore's earlier novel based on King Lear.

text: Jane Lindskold's book Changer contains a scene in which the protagonists consider "using Portia's gambit from The Merchant of Venice" to escape from a situation and binding contract analogous to Antonio's.

text: In its article "Unconventional Director Sets Shakespeare Play In Time, Place Shakespeare Intended", the online satirical news site The Onion satirized the contemporary fashion of altering the play's setting.[39]

text: The play has been quoted and paraphrased several times in the Star Trek Universe:

text:
In Star Trek VI: The Undiscovered Country, while attacking the USS Enterprise in a cloaked Klingon Bird of Prey, General Chang says the following: "Tickle us, do we not laugh? Prick us, do we not bleed? Wrong us, shall we not revenge?"
In "The Naked Now", the second episode of Star Trek: The Next Generation, an "intoxicated" Lt. Cmdr. Data paraphrases Shylock when explaining to Captain Picard how an advanced android can become affected similarly to a biological entity, saying, "I have pores, humans have pores. I have fingerprints, humans have fingerprints. My chemical nutrients are like your blood. If you prick me, do I not...leak?"
Diane Duane's novel, Dark Mirror, contains quotes from a Mirror Universe version of the play. In it, Portia successfully argues that Antonio does indeed owe Shylock a pound of flesh, a sentence which is actually carried out (Antonio's heart is cut out and given to Shylock). Portia's speech is also much more authoritarian – "The quality of mercy must be earned, and not strewn gratis on the common ground..."

text: In the film OSS 117: Lost in Rio, the final speech of Von Zimmel parodies Shylock's tirade.

text: In the Brazilian film A Dog's Will, the marriage bargain involving a lump-sum payment or the skin off Chicó's back is foiled by reference to the legal contrivance familiar from the play — that is, the skin may be owing but not a drop of blood must be taken with it.

text: In Hey Arnold! episode, "Eating Contest / Rhonda's Glasses," Rhonda, becoming fed up with the treatment toward the geeks, yells “If you prick us, do we not bleed? If you tickle us, do we not laugh?,” a direct quote from Shylock's famous speech.

text: In David Fincher's 1995 film, Seven, John Doe coerces the lawyer, Eli Gould, to remove a pound of flesh and place it on a scale (symbolizing the scales of justice) prior to murdering him.

text: Notes[edit]

text:
Jump up ^ Bloom, Harold, ed. (2009). William Shakespeare: Comedies. Infobase Publishing. p. 1. ISBN 1604136316.
^ Jump up to: a b The Three Sallies – Salarino, Solanio, and Salerio
Jump up ^ Merchant of Venice: Act 3, Scene 2, Lines 67–68
^ Jump up to: a b Muir, Kenneth (2005). "The Merchant of Venice". Shakespeare's Sources: Comedies and Tragedies. New York: Routledge. p. 49. ISBN 0-415-35269-X.
Jump up ^ Bloom (2007: 112–113)
Jump up ^ Drakakis 2010, pp. 60–61.
Jump up ^ Stanley Wells and Michael Dobson, eds., The Oxford Companion to Shakespeare Oxford University Press, 2001, p. 288.
Jump up ^ Philipe Burrin, Nazi Anti-Semitism: From Prejudice to Holocaust. The New Press, 2005, p. 17. ISBN 1-56584-969-8.
Jump up ^ The Virtual Jewish History Tour – Venice
Jump up ^ Hales, John W. "Shakespeare and the Jews", The English Review, Vol. IX, 1894.
Jump up ^ Beauchamp, Gorman (2011). "Shylock's Conversion" (PDF). Humanitas. 24: 55-92. Retrieved October 26, 2017.
Jump up ^ Lecture by James Shapiro: "Shakespeare and the Jews".
Jump up ^ Newman, Louis I. (2012). Richard Cumberland: Critic and Friend of the Jews (Classic Reprint). Forgotten Books.
Jump up ^ Armin, Robert (2012). Sheva, the Benevolent. Moreclacke Publishing.
Jump up ^ David Mirsky, "The Fictive Jew in the Literature of England 1890–1920", in the Samuel K. Mirsky Memorial Volume.
Jump up ^ Scott (2002).
Jump up ^ Bloom (2007), p. 233.
Jump up ^ Bloom (2007), p. 24.
Jump up ^ Bloom, Harold (2010). Interpretations: William Shakespeare's The Merchant of Venice. New York: Infobase. p. 27. ISBN 978-1-60413-885-6.
Jump up ^ Reuters. "Was the Merchant of Venice gay?", ABC News Online, 29 December 2004. Retrieved on 12 November 2010
Jump up ^ Charles Boyce, Encyclopaedia of Shakespeare, New York, Roundtable Press, 1990, p. 420.
Jump up ^ Warde, Frederick (1915). The Fools of Shakespeare; an interpretation of their wit, wisdom and personalities. London: McBride, Nast & Company. pp. 103–120. Archived from the original on 2006-02-08. Retrieved 28 April 2015.
Jump up ^ F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; pp. 261, 311–12. In 2004, the film was released.
Jump up ^ Information about Sullivan's incidental music to the play Archived 25 November 2009 at the Wayback Machine. at The Gilbert and Sullivan Archive, accessed 31 December 2009
Jump up ^ Adler erroneously dates this from 1847 (at which time Kean was already dead); the Cambridge Student Guide to The Merchant of Venice dates Kean's performance to a more likely 1814.
Jump up ^ Adler (1999), p. 341.
Jump up ^ Wells and Dobson, p. 290.
Jump up ^ Adler (1999), pp. 342–44.
Jump up ^ Adler (1999), pp. 344–50.
Jump up ^ Granach (1945; 2010), pp. 275–9.
Jump up ^ Guy, Randor (29 March 2014). "Blast from the Past: Shylock (1941)". The Hindu. Retrieved 22 September 2016.
Jump up ^ "The Merchant of Venice – World premiere", Bregenzer Festspiele. Archived 2 December 2013 at the Wayback Machine.
Jump up ^ "André Tchaikowsky – Composer".
Jump up ^ "Bated breath". The Phrase Finder.
Jump up ^ "Bated breath – Shakespeare Quotes". eNotes.com.
Jump up ^ "Word Origin and History for bate". Dictionary.com.
Jump up ^ Nectoux, Jean-Michel (1991). "Gabriel Fauré: A musical life". Cambridge University Press: 143–46. ISBN 0-521-23524-3
Jump up ^ Sammond, Nicholas; Mukerji, Chandra (2001). Bernardi, Daniel, ed. Classic Hollywood, Classic Whiteness. Minneapolis: University of Minnesota Press. pp. 15–27. ISBN 0-8166-3239-1.
Jump up ^ [1]

tag: ol


document_title: Kickball

question_text: where was fieldball first played in the us

root

text: Kickball

text: History[edit]

text: Kickball, originally called "Kick Baseball", was invented as early as 1917 by Nicholas C Seuss, Supervisor of Cincinnati Park Playgrounds in Cincinnati, Ohio.[3] Seuss submitted his first documented overview of the game which included 12 rules and a field diagram in The Playground Book, published in 1917. Kickball is referred to as "Kick Base Ball" and "Kick Baseball" in this book.[4]

tag: p

text: Around 1920–1921 "Kick Ball" was used by physical education teachers in public schools to teach young boys and girls the basics of baseball. Around this time, the ball that was used was a soccer ball or volleyball. It was played by ten to thirty players and the field included a "Neutral Zone": an area not to be entered until the ball has actually been kicked. There was no pitcher as the ball would be kicked from the home area, which was a 3 ft circle. The ball must pass beyond the 5 foot line. Base-runners could only advance one base on infield balls. Teams would switch sides only after all team members have kicked.[5]

text: During this time, it was played on the same field as baseball except that there was only one base corresponding to a baseball diamond's 2nd base. Multiple players could be on base at a time, but all needed to get home before the last kicker kicked and the kicking order had retired.[6]

text: There were also two short stop player positions: one between 1st and 2nd and the other between 2nd and 3rd. Home plate was marked by a 3 ft by 4 ft rectangle on the ground.[7]

text: Published in April 1922, Daniel Chase; Supervisor of Physical Education for the New York State Department of Education, describes the earliest known account of adults playing kickball. This game took place at a conference of rural teachers in Mooers Forks, Clinton County, NY where Daniel was teaching games that the teachers could in turn teach to their pupils. They did not have a ball, so they made one out of an old stocking and some rags. The ball was about 7 to 8 inches long and tied off with an old shoelace. The construction of this makeshift ball was demonstrated to the rural teachers by Mr. Braddock Wells. The teachers were assigned numbers to create teams; odd numbers on one team and even numbers on the other. The team captains chose college names to represent each team name. The odds chose Yale & the evens chose Princeton. The game of "Kick Baseball" was the last game they played at the conference to decide the championship for the day. 10 players were chosen for each team and the remaining were organized into a cheering section. Yale kicked first. On the field there was no pitcher, but an extra short-stop between first and second. Only three innings were completed in the heat that day, with Yale ending up as the victor winning 3 to 2. The cheering sections showed great sportsmanship, applauding all good plays impartially.[8]

text: American World War II correspondent Ernie Pyle reported it being played by U.S. soldiers during the Tunisia Campaign, 1942-1943.[9]

text: "Kick Ball" was promoted as an informal game for soldiers by the United States Department of the Army as early as 1943. In this variant of the game, all kicks had to be home runs, by beating the kicked ball back to home after consecutive passes to all basemen before throwing them out at home.[10]

text: Field[edit]

text: The game is typically played on a softball diamond with an 8.5 inch to 16 inch diameter inflated rubber ball. As in baseball/softball, the game uses 3 bases, a pitcher's mound, and a home plate. Sometimes, in less formal games, the field is not bounded by a fence as in softball or baseball, but is open. This may result in informal rule changes to accommodate the field. Also it can be played on a rectangular blacktop area with chalk or paint outlines.

text: Kicking Strategy[edit]

text: The objective of kickball is to win by scoring more runs than the opposing team, thus kicking (or offensive) strategy is very important. Assuming the rules allow bunting, one popular strategy for putting runners in scoring position is to place fast kickers, particularly those with the ability to bunt the ball in specific directions, near the top of the line-up. Using this strategy, a team might put a fast player who can bunt down the third base line first in the line-up. That player would bunt down the third base line, forcing either the third baseman, the pitcher, or the catcher to field the ball and throw the runner out at first base. This is an optimal play with no outs and no players on base because throwing the ball from third to first base accurately is difficult. A well-placed bunt on the ground also removes the opportunity for the defense to catch the ball in the air for an easy out and can create fielding confusion between the third baseman, the pitcher and the catcher. The runner would then advance as far as their kick and the opposing team's defensive play allows he or she to advance. The next kicker would take stock of the base to which the first kicker has advanced and would try to kick the ball to a place that will maximize the first runner's ability to advance and the second kicker's ability to get on base safely. For instance, if the first kicker is on first base, the second kicker might also kick down the third base line. This would give both kickers a good chance of safely advancing to the next base.

text: Ideally, a team would have runners on base and fewer than two outs once three to four kickers have kicked following this bunting strategy. At that point in the line-up, it is advantageous to place one or two kickers who can kick the ball into the outfield. The time it takes to field a ball from the outfield will ideally allow runners on base to score, even if the ball is caught in the outfield.

text: Kickball in the United States[edit]

text: In the past, kickball was mostly considered a child's game in the United States, although recently many US cities have created kickball leagues only for adults. Some US cities have multiple organized leagues for adults over 21 years of age. It gained prominence in the 1970s.[11]

text: Kickball outside of the United States[edit]

text: Kickball is popular among youth in South Korea. Known as balyagu [발야구 (foot-baseball)], it is a staple in PE classes within elementary schools.[citation needed] Kickball is referred to as Soccer-Baseball, Chinese Baseball or California Kickball in some parts of Canada.[citation needed] In Japan kickball is played by elementary school students and is known as キックベース(Kickbase).[12] In England, the variation is often played in P.E. lessons in schools and is referred to as 'Football-Rounders', a mix of Association Football and Rounders.[13]


document_title: Avatar: The Last Airbender (season 1)

question_text: avatar the last airbender episodes season 1 episode 1

text: Avatar: The Last Airbender (season 1)

text: Production[edit]

text: The show was produced by and aired on Nickelodeon, which is owned by Viacom.[3] The show's executive producers were co-creators Michael Dante DiMartino and Bryan Konietzko, who worked alongside episode director and co-producer Aaron Ehasz.[3][9] Eight episodes were directed by Dave Filoni.[9] Animation directors Lauren MacMullan and Giancarlo Volpe directed five episodes each, and Anthony Lioi directed two.[3]

text: Episodes were written or co-written by a team of writers, which included Nick Malis, John O'Bryan, Matthew Hubbard, James Eagan, Ian Wilcox, Tim Hedrick and Elizabeth Welch Ehasz.[10] All of the show's music was composed by "The Track Team", which consists of Jeremy Zuckerman and Benjamin Wynn,[3] who were known to the producers because Zuckerman was Konietzko's roommate.[11] Two alternating Korean studios[9] were enlisted to provide animation production support for the series, DR Movie and JM Animation Co.[12]

text: Pilot[edit]

text: A pilot episode for the series was made in 2004. It was animated by Tin House, Inc., written by Michael Dante DiMartino and Bryan Konietzko, and directed by Dave Filoni. Mitchel Musso voiced Aang in this pilot but was later replaced by Zach Tyler Eisen when the show began production. In the episode, Sokka and his sister Kya (Katara was named Kya at the time of the pilot) must travel the world to find masters for Aang, who is the Avatar; however, they must evade a critical foe, Prince Zuko of the Fire Nation, who wants to capture Aang.

text: This episode was first publicly released as one of the extras in the NTSC season 1 DVD box set, which were not available with the previously-released individual volumes. As the PAL box set lacks extras, the episode was not made available on DVD in PAL regions. The episode was released with audio commentary from the creators, which unlike commentary on other episodes in the season is not possible to disable on the DVD set.[13] On June 14, 2010, the unaired pilot was made available with and without commentary for the first time via the iTunes Store.[14]

text: Cast[edit]

text: Most of the show's main characters made their debut within most, if not all, of the first episodes: Zach Tyler Eisen provided Aang's voice, Mae Whitman as Katara's voice, Jack DeSena as Sokka's voice,[3] Dante Basco as Zuko's voice, Mako as Iroh's voice,[3][15] and Dee Bradley Baker as the voices of both Appa and Momo.[10] Additional supporting characters include Admiral Zhao voiced by Jason Isaacs,[10][16] and Jet voiced by Crawford Wilson.[10][17]

text: Reception[edit]

text: Film critics appreciated the first season of Avatar: The Last Airbender because it attracted the attention of "an audience beyond the children's market with crisp animation and layered storytelling."[13] As for the video and picture quality, Gord Lacey from TVShowsOnDVD.com claims "the colors are bright, and the picture is nearly flawless." He says later in the review that "the audio is very nice, with lots of directional effects and nice musical cues."[18] Barnes & Noble reviewer Christina Urban praised the season's masterful combination of "elements from Chinese kung fu, Tibetan philosophy, Japanese martial arts forms, and even Hindu spiritual beliefs".[19] According to Aaron Bynum from AnimationInsider.net, "the series posted double digit year-to-year gains in May". He also said that the show has been number one in the boys 9- to 14-year-old demographic, and has attracted many age and gender groups in its pool of 1.1 million viewers who watch each new episode.[20]

text: In addition, the season has won many awards throughout its runtime. During the 33rd Annual Annie Awards, the show was nominated for the "Best Animated Television Production" award. Because of the episode "The Fortuneteller", the show was nominated for the "Writing for an Animated Television Production" award. For the episode "The Deserter", the season was nominated for and won the "Storyboarding in an Animated Television Production" award.[21] During the 2005 Pulcinella Awards, the season won the "Best Action/Adventure TV Series" award as well and the general "Best TV Series" award.[4]

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Animated by
Directed by
Written by
Original air date
Prod.
code [1]

1
1
"The Boy in the Iceberg"
JM Animation
Dave Filoni
Michael Dante DiMartino
Bryan Konietzko
February 21, 2005 (2005-02-21)
101

While fishing, Sokka and Katara discover Aang and his ten-ton, six-legged sky bison Appa icebound floating on the sea. After freeing them, they discover that Aang is an Airbender from the Air Nomads, a race of people assumed to have died out a hundred years before. When he goes with them to the water tribe he doesn't reveal that he is the Avatar, that has the ability to bend the four elements. The Avatar is reincarnated generation after generation and would be the only one who could prevent the Fire Nation from conquering all the nations, which is why the Fire Nation exterminated the Air Nomads, Aang's tribe. Meanwhile, Zuko, the banished Prince of the Fire Nation, is patrolling the seas in search of the Avatar. While exploring an abandoned Fire Nation ship, Katara tells Aang about the war that had been going on for the past hundred years. They accidentally set off a light beam in the ship, which alerts Zuko to the village.

2
2
"The Avatar Returns"
JM Animation
Dave Filoni
Michael Dante DiMartino
Bryan Konietzko
February 21, 2005 (2005-02-21)
102

When Zuko locates the Southern Water Tribe village where Aang has been, he demands the Avatar be surrendered to him. Aang returns to the village, despite having been banished, to surrender himself to Zuko as long as he agrees to leave the village alone. Aboard Zuko's ship, Aang is at Zuko's mercy, but he eventually manages to maneuver away from the guards and to battle Zuko. Katara and Sokka take the flying bison Appa to go after Aang. Aang and his friends manage to defeat Zuko and his subordinates. Katara and Sokka decide to travel with Aang to the North Pole so that Aang can learn Waterbending from members of the Northern Water Tribe.

3
3
"The Southern Air Temple"
DR Movie
Lauren MacMullan
Michael Dante DiMartino
February 25, 2005 (2005-02-25)
103

Due to an interest in reliving his old memories, Aang suggests a visit to the Southern Air Temple. He tells stories of his old mentor, Monk Gyatso, as well as sports and games that Airbenders used to play. At the temple, Aang finds a flying lemur, whom he names Momo. Upon arrival, it becomes clear to Sokka and Katara that the Fire Nation have slaughtered the inhabitants, but Katara keeps Aang in the dark to spare his feelings. When Aang discovers the truth for himself, he becomes upset and enters the Avatar State. Luckily, Katara calms him down and he is forced to accept that he is the last airbender. Meanwhile, because his ship was damaged by Aang in the previous episode, Zuko needs to stop at a docking area to have it repaired. There, he and his uncle run into Commander Zhao, who manages to learn that the Avatar has been found. Zuko challenges Zhao to a duel (known as an agni-kai) over the right to track the Avatar, which Zuko wins. Zuko spares Zhao's life; Zhao in turn tries to kill Zuko after Zuko turns his back on Zhao, though Iroh stops the attack in time.

4
4
"The Warriors of Kyoshi"
JM Animation
Giancarlo Volpe
Nick Malis
March 4, 2005 (2005-03-04)
104

Looking for a short break from their travels, Aang brings the gang to the Earth Kingdom's Kyoshi Island, where he seeks to ride "Elephant Koi," large fish who inhabit the surrounding waters. Before they are able to leave, the gang are captured by a group of female warriors who live on the island. Aang is able to convince them to trust him, for Kyoshi was a past Avatar and he is the current Avatar. Sokka is trained by the Kyoshi Warrior Suki who manages to change his sexist attitude, and Aang lets the village's reverence of him go to his head. Meanwhile, Zuko catches up to them and begins to burn the village until the group draws him off.

5
5
"The King of Omashu"
DR Movie
Anthony Lioi
John O'Bryan
March 18, 2005 (2005-03-18)
105

The next stop on the group's trip around the world is the Earth Kingdom city of Omashu. There, Aang shows Katara and Sokka the Omashu chute mail delivery system, which he and his friend Bumi (a Hindi word meaning 'Earth') used to ride for fun a hundred years ago. The trio gives the chutes a try but runs into trouble after it destroys a cabbage merchant's cart. Put in front of the crazy King of the city, the gang is unexpectedly given a feast. The King suspects that Aang is the Avatar and puts him through three deadly challenges to test his skills. After the last challenge, Aang is forced to figure out the King's name, and based on the nature of the challenges, he realizes that the King is his old friend Bumi. Bumi informs Aang of what his task as the current Avatar entails.

6
6
"Imprisoned"
JM Animation
Dave Filoni
Matthew Hubbard
March 25, 2005 (2005-03-25)
106

Aang, Katara, and Sokka camp near a small Earth Kingdom town that is controlled by the Fire Nation, which bans Earthbending. Katara convinces a young earthbender named Haru to save an old man with earthbending, only to have Haru captured by the soldiers as the old man turns him in. Katara devises a plan to get herself arrested so Aang and Sokka can follow her to where Haru was taken and liberate him. While at the prison, a metal sea fortress that is impervious to Earthbending, Aang and Katara incite a rebellion with an inspiring speech and the realization that the coal powering the fortress is susceptible to Earthbending. The imprisoned Earthbenders manage to liberate themselves and return to their occupied cities.

7
7
"Winter Solstice, Part 1: The Spirit World"
DR Movie
Lauren MacMullan
Aaron Ehasz
April 8, 2005 (2005-04-08)
107

Aang finds himself in a small Earth Kingdom village that is being attacked by a monster from the Spirit World. One night, this monster (named Hei Bai) captures Sokka. Aang decides to go after him. But after Aang is knocked out, he accidentally ends up in the Spirit World. There, he is told that Avatar Roku has a message for him. Aang proceeds to calm the attacking beast, restoring peace to the village. Meanwhile, Iroh gets captured by the Earth Kingdom. The soldiers who captured him wish to take him back to Ba Sing Se to face justice, the city Iroh laid siege to for 600 days during his youth as a Fire Nation general. This causes Zuko to stop his chase for the Avatar and to instead go after Iroh.

8
8
"Winter Solstice, Part 2: Avatar Roku"
DR Movie
Giancarlo Volpe
Michael Dante DiMartino
April 15, 2005 (2005-04-15)
108

Aang has to travel to the Fire Temple to receive the message from Avatar Roku on the Winter Solstice. They are chased by Zuko and attacked by a Fire Nation blockade led by Zhao on the way there. When Aang gets to the temple he is shocked to learn the five Fire Sages there are no longer the Avatar's allies. However, a friendly sage helps Aang get to the sanctuary where he can talk to Roku. Avatar Roku informs Aang about "Sozin's Comet," which will return in just under a year and give the Fire Nation the power to finish the war. When Aang leaves the sanctuary, he is attacked by Zhao and the Sages. Aang defeats them when he manifests the spirit of Roku, who destroys the temple.

9
9
"The Waterbending Scroll"
JM Animation
Anthony Lioi
John O'Bryan
April 29, 2005 (2005-04-29)
109

Aang grows frantic over the fact that he must defeat the Fire Lord in less than a year when he only has mastered one element and Team Avatar is still a long way from the North Pole. Katara, despite her limited training as a waterbender, begins teaching Aang, and is frustrated when he surpasses her without effort. However, Aang accidentally washes away their supplies while practicing. When they go into town to buy more supplies, Katara finds a waterbending scroll at a store run by pirates. After Katara steals the scroll, the pirates chase the group. Meanwhile, Zuko runs into the pirates and agrees to help them find Aang and the scroll that Katara stole. Zuko captures Katara and the pirates capture Aang and Sokka. A fight breaks out between Zuko's crew and the pirates. During the commotion, the group escapes with the waterbending scroll.

10
10
"Jet"
JM Animation
Dave Filoni
James Eagan
May 6, 2005 (2005-05-06)
110

A band of guerrilla fighters, led by the rogue Jet, rescue Aang, Katara, and Sokka from a small group of Fire Nation soldiers. Jet invites the team back to the Freedom Fighters' hideout, where the group plots out its attacks. Sokka has suspicions about Jet, however, which leads the young rebel to tempt Sokka with missions. His plan fails, making Sokka more skeptical of Jet's motives. Aang and Katara decide to help Jet "save" a nearby Earth Kingdom town, but Jet's real intent is to drown the village, willing to sacrifice the lives of innocent civilians to destroy the Fire Nation garrison there. However, Sokka manages to evacuate the city, Earth and Fire citizens alike, in time to avoid Jet's plot.

11
11
"The Great Divide"
DR Movie
Giancarlo Volpe
John O'Bryan
May 20, 2005 (2005-05-20)
111

The next destination the gang stumbles into is the Great Divide, the world's largest canyon. The group starts bickering, so Aang decides to put his Avatar skills to the test. He successfully solves their minor disputes, but Aang tries to put his skills to practical use, when two Earth Kingdom tribes, who have been in a feud for 100 years, need to cross the canyon together. Aang sends Appa across with most needy people of the two tribes, and, with the help of a knowledgeable earthbender, guides the rest across the vast, dry landscape. In the end, Aang is able to end the feud, and the two tribes travel together to the capital city of Ba Sing Se.

12
12
"The Storm"
JM Animation
Lauren MacMullan
Aaron Ehasz
June 3, 2005 (2005-06-03)
112

The group is in need of money, so Sokka decides to help out a fisherman who is willing to pay him to help him on his next fishing trip, even though a storm seems imminent. The fisherman recognizes Aang as the Avatar "who turned his back on the world". Aang runs away in guilt, but Katara manages to track him down. Aang reveals to Katara that the monks at the Southern Air Temple wanted to send him away to the Eastern Air Temple to separate him from Monk Gyatso, the only person who cared about Aang as a person instead of as the Avatar. This led Aang to run away from home and (eventually) seal himself in the iceberg. Meanwhile on Zuko's ship, Zuko's crew begins to question his leadership, until Iroh enlightens them on how the prince was scarred in a duel, and was then banished from the Fire Nation, by his own father.

13
13
"The Blue Spirit"
DR Movie
Dave Filoni
Michael Dante DiMartino
Bryan Konietzko
June 17, 2005 (2005-06-17)
113

Sokka suffers from an illness due to his exposure to the elements during the storm. When Katara begins to contract the illness as well, Aang goes to a nearby herbalist institute in hopes of finding a cure for his friends. On his way to collect the remedy the herbalist recommends, Aang is kidnapped by a group of Fire Nation Yuu Yan archers, commanded by the newly promoted Admiral Zhao. However, a masked marauder, the titular "Blue Spirit," rescues Aang from Zhao; the "Blue Spirit" is knocked unconscious during the escape, and Aang discovers that he is Prince Zuko. Aang offers him friendship, but departs when he is rebuffed.

14
14
"The Fortuneteller"
JM Animation
Dave Filoni
Aaron Ehasz
John O'Bryan
September 23, 2005 (2005-09-23)
114

Katara, Aang, and Sokka go into a village that relies solely on the predictions of a fortuneteller, Aunt Wu. Sokka is skeptical and refuses to believe anything the fortuneteller says, and tries to disprove all the predictions she makes. Katara, on the other hand, is obsessed, and keeps returning to the fortuneteller for more predictions on her love life. Aang, who has just recently become smitten with Katara, attempts to attract her attention throughout the episode, with limited success; eventually he attempts to fetch a rare flower from the lip of a nearby volcano, which is revealed to be on the verge of erupting—a direct contradiction to Aunt Wu's predictions. Katara and Aang use waterbending to manipulate the clouds as a warning to the villagers, and the group manages to evacuate the village before the volcano erupts. As the lava comes toward the town, Aang pushes it back with strong airbending, causing Sokka to comment that Aang is a "powerful bender". This catches Katara's attention, as Aunt Wu had earlier predicted that she would marry a "powerful bender".

15
15
"Bato of the Water Tribe"
DR Movie
Giancarlo Volpe
Ian Wilcox
October 7, 2005 (2005-10-07)
115

Sokka, Aang, and Katara find a seemingly abandoned Water Tribe fleet ship. Camping out by the boat, the kids discover that it belongs to Bato, an old friend of Katara and Sokka's father, Hakoda, and fellow member of the Southern Water Tribe. While they reminisce about the old days, Aang feels left out; when a messenger arrives with a message from Hakoda, inviting his children to visit them, Aang intercepts it and keeps it to himself, fearing they will abandon him. Later he comes clean about the message, but Sokka, furious at Aang for keeping it from them, is insistent on leaving to find his father. Meanwhile, Zuko finds a bounty hunter, June, to help him track down the Avatar. This leads to a skirmish, with Katara and Sokka returning to rescue Aang and resume their collective journey to the North Pole.

16
16
"The Deserter"
JM Animation
Lauren MacMullan
Tim Hedrick
October 21, 2005 (2005-10-21)
116

The protagonists travel into a Fire Nation town, which is hosting a festival of Fire Nation culture. Unfortunately, Aang's identity is discovered, but a strange man, Chey, helps the gang escape. Chey tells the trio about "the deserter", a man named Jeong Jeong who is the first man to desert the Fire Nation army and live. More importantly, he is a firebender who is not allied with the Fire Nation. However, Jeong Jeong refuses to teach Aang, still haunted by his failure to teach self-control to a previous student; it is only when Avatar Roku intervenes that Jeong Jeong consents to teach Aang. Aang, unfortunately, shows the same disregard for discipline, and accidentally burns Katara. While she discovers that she can heal others, and herself as well, Aang still regards firebending as dangerous and vows never to firebend again. Meanwhile, Aang is tracked down by Admiral Zhao, who is revealed to be Jeong Jeong's undisciplined former student. He fights Aang, but Aang is able to escape him by using his lack of self-control against him; he causes Zhao to burn his own ship.

17
17
"The Northern Air Temple"
DR Movie
Dave Filoni
Elizabeth Welch Ehasz
November 4, 2005 (2005-11-04)
117

A storyteller tells the gang of a group of people who travel in the air. According to the story, these people reside at the Northern Air Temple. The group decides to check it out, but are disappointed to just see normal people gliding. Aang is saddened that the Northern Air Temple has changed so dramatically since the time when he visited over 100 years ago, as its current residents have remodeled it extensively. Teo, a young paraplegic, convinces Aang to open the one remaining area of the temple left untouched. Aang is shocked to see the room stored with dozens of inventions with Fire Nation insignias on them. The Mechanist, Teo's father, confesses to aiding the Fire Nation with building weapons. When the Fire Nation comes to collect their latest invention, Aang tells them to leave. The Fire Nation proceeds to launch an attack against the temple, but Aang and the villagers manage to successfully defend against the attack. The Fire Nation, however, does manage to recover the invention, a war balloon.

18
18
"The Waterbending Master"
JM Animation
Giancarlo Volpe
Michael Dante DiMartino
November 18, 2005 (2005-11-18)
118

After the journey to the Northern Air Temple, the group lurks around the waters surrounding the North Pole, seeking out the Northern Water Tribe. They are found by a group of waterbenders from the tribe, who show them the way. Upon arriving, the gang is welcomed warmly by the citizens of the Northern Water Tribe, and the chief of the tribe throws a huge party in celebration. Sokka meets Yue, an attractive princess whom he falls for. Aang and Katara seek to learn waterbending from a master named Pakku, but he refuses to teach Katara due to sexist customs. Katara proves herself worthy, both by demonstration of technique and by invoking the memory of Pakku's beloved ex-fiancee—Katara's own grandmother, who could not stand to live under the Northern Water Tribe's misogyny—and Pakku relents. Meanwhile, Admiral Zhao hires the pirates from "The Waterbending Scroll" to assassinate Zuko; hearing his nephew was killed, Iroh agrees to assist Zhao with an attack on the North Pole. But Zuko has survived, and, with Iroh's help, sneaks aboard Zhao's lead ship as his fleet departs.

19
19
"The Siege of the North, Part 1"
DR Movie
Lauren MacMullan
John O'Bryan
December 2, 2005 (2005-12-02)
119

As the Fire Nation's forces close in on the Northern Water Tribe, the leaders and citizens scramble to find a way to defend against the armada. As night begins to fall, Admiral Zhao decides to heed Iroh's advice and halt the attack since waterbenders are stronger under the moonlight. Zuko leaves Zhao's ship and infiltrates the tribe on his own, seeking to capture Aang. Aang believes going into the spirit world and speaking to the moon and ocean spirits could give him the wisdom to defeat the Fire Nation. However, after Aang's spirit leaves for the spirit world, Zuko arrives to kidnap his body; despite stern resistance from Katara, he succeeds when dawn breaks and it is revealed that the Fire Nation is the strongest when the Sun comes up.

20
20
"The Siege of the North, Part 2"
JM Animation
Dave Filoni
Aaron Ehasz
December 2, 2005 (2005-12-02)
120

Zuko struggles to find shelter in the freezing temperatures of the North Pole, while Sokka, Katara and Yue search for him and Aang. At the Northern Water Tribe, firebenders and Fire Nation tanks manage to infiltrate the city. Admiral Zhao slays the moon spirit, Tui, and the waterbenders lose their ability to waterbend. In anger, Aang, who along with Zuko was rescued by Sokka, Katara and Yue, goes into the Avatar State and, in joining with the Ocean Spirit La, destroys the entire Fire Nation armada and army, with the exceptions of Iroh and Zuko. Yue, who was imbued with some of the energy of the Moon Spirit when she was a baby, sacrifices her life to revive it, and becomes the Moon Spirit. Zhao is pulled underwater by the Ocean Spirit in retaliation for slaying the Moon Spirit, refusing to accept Zuko's help when he attempts to save him; Zhao is never seen again. At the end of the episode, Ozai assigns Azula a mission: to hunt down her traitor uncle and brother.

tag: table

text: DVD releases[edit]

text: Region 1[edit]

text: Nickelodeon started releasing Season One DVDs in North America on January 31, 2006 with a series of single-disc sets containing four episodes per disc. Later the Complete Book 1 Collection was released on September 12, 2006 containing all twenty episodes plus extras on six discs.

text: Region 2[edit]

text: PAL versions of the single-disc volume sets started being released on February 19, 2007;.[6] As with the original Region 1 NTSC DVDs, each set contains four episodes per disc.[6][22][23][24][25] The Complete Book One Collection was released on January 26, 2009 containing all twenty episodes on five discs.[26] These Region 2 releases lack the commentary tracks and other DVD extras found on the Region 1 releases.

text:
Volume
Discs
Episodes
Release date

Region 1
Region 2
Region 4

1
1
4
January 31, 2006[27]
February 19, 2007[6]
March 15, 2007[28][29]

2
1
4
March 28, 2006[27]
June 4, 2007[22]
July 5, 2007[30]

3
1
4
May 30, 2006[27]
September 3, 2007[23]
March 13, 2008[31]

4
1
4
July 18, 2006[27]
February 18, 2008[24]
June 19, 2008[32]

5
1
4
September 19, 2006[27]
May 26, 2008[25]
March 5, 2009[33][34]

Box set
6[35]
20[35]
September 12, 2006[27]
January 26, 2009[36]
June 4, 2009[37][38]

text: Film adaptation[edit]

text: The Last Airbender is a live action film based on the first season of the animated television series and had a theatrical release on July 1, 2010. The film was directed by M. Night Shyamalan.[7][8]

text: Footnotes[edit]


document_title: List of nearest stars and brown dwarfs

question_text: what is the name of the nearest star to earth

text: List of nearest stars and brown dwarfs

text: List[edit]

text: Stars visible to the unaided eye have their magnitude shown in light blue below. Brown dwarfs are shown with their designations in brown. White dwarfs are shown with their designation in beige. The classes of the stars and brown dwarfs are shown in the color of their spectral types (these colors are derived from conventional names for the spectral types and do not represent the star's observed color). Many brown dwarfs are not listed by visual magnitude but are listed by near-IR J band magnitude. Some of the parallax and distance results are preliminary measurements.[2]

text:
#
Distance[3]
Light-years (±err)
Designation
Stellar class
Apparent magnitude (mV or mJ)
Absolute magnitude (MV or MJ)
Epoch J2000.0
Parallax[2][note 1]
mas (±err)
Discovery date[note 2]
Notes and additional
references

System
Star
Star #
Right ascension[2]
Declination[2]

0
Solar System
Sun

G2V[2]
−26.74[2]
4.85[2]
—
—
—
—
has eight known planets

1
4.2421(16)
Alpha Centauri
(Rigil Kentaurus)
Proxima Centauri (V645 Centauri)
1
M5.5Ve
11.09[2]
15.53[2]
14h 29m 43.0s
−62° 40′ 46″
768.87(029)[4][5]
1915
Flare star, has one known planet (b) (2016)

4.3650(68)
α Centauri A (HD 128620)
2
G2V[2]
0.01[2]
4.38[2]
14h 39m 36.5s
−60° 50′ 02″
747.23(117)[4][6]
—

α Centauri B (HD 128621)
2
K1V[2]
1.34[2]
5.71[2]
14h 39m 35.1s
−60° 50′ 14″
1689
has one suspected planet (c) (2013)
(planet b refuted in 2015)

2
5.9630(109)
Barnard's Star (BD+04°3561a)
4
M4.0Ve
9.53[2]
13.22[2]
17h 57m 48.5s
+04° 41′ 36″
546.98(1 00)[4][5]
1916
Flare star, largest known proper motion[7]

3
6.59(7)
Luhman 16
(WISE 1049−5319)
Luhman 16A
5
L8±1[8]
10.7 J
14.2 J
10h 49m 15.57s
−53° 19′ 06″
495 (5)[8]
2013
had one suspected planet (Ab) (doubtful) (2013)[9]

Luhman 16B
5
T1±2[8]

4
7.27(13)[10]
WISE 0855−0714
7
Y
25.0 J

08h 55m 10.83s
−07° 14′ 42.5″

2014
sub-brown dwarf

5
7.7825(390)
Wolf 359 (CN Leonis)
8
M6.0V[2]
13.44[2]
16.55[2]
10h 56m 29.2s
+07° 00′ 53″
419.10(210)[4]
1919
Flare star

6
8.2905(148)
Lalande 21185 (BD+36°2147)
9
M2.0V[2]
7.47[2]
10.44[2]
11h 03m 20.2s
+35° 58′ 12″
393.42(070)[4][5]
1801
has one suspected planet (2017)[11]

7
8.5828(289)
Sirius
(α Canis Majoris)
Sirius A
10
A1V[2]
−1.46[2]
1.42[2]
06h 45m 08.9s
−16° 42′ 58″
380.02(128)[4][5]
—
brightest star in the night sky

Sirius B
10
DA2[2]
8.44[2]
11.34[2]
1844

8
8.7280(631)
Luyten 726-8
Luyten 726-8 A (BL Ceti)
12
M5.5Ve
12.54[2]
15.40[2]
01h 39m 01.3s
−17° 57′ 01″
373.70(270)[4]
1949
Flare star (Archetypal member)

Luyten 726-8 B (UV Ceti)
12
M6.0Ve
12.99[2]
15.85[2]

9
9.6813(512)
Ross 154 (V1216 Sagittarii)
14
M3.5Ve
10.43[2]
13.07[2]
18h 49m 49.4s
−23° 50′ 10″
336.90(178)[4][5]
1925
Flare star

10
10.322(36)
Ross 248 (HH Andromedae)
15
M5.5Ve
12.29[2]
14.79[2]
23h 41m 54.7s
+44° 10′ 30″
316.00(110)[4]
1925
Flare star

11
10.522(27)
Epsilon Eridani (BD−09°697)
16
K2V[2]
3.73[2]
6.19[2]
03h 32m 55.8s
−09° 27′ 30″
309.99(079)[4][5]
150
has three known circumstellar disks
two suspected planets (AEgir) (debated) and c (2000 & 2002)[12]

12
10.742(31)
Lacaille 9352 (CD−36°15693)
17
M0.5V
7.34[2]
9.75[2]
23h 05m 52.0s
−35° 51′ 11″
303.64(087)[4][5]
1753

13
10.919(49)
Ross 128 (FI Virginis)
18
M4.0Vn
11.13[2]
13.51[2]
11h 47m 44.4s
+00° 48′ 16″
298.72(135)[4][5]
1925
Flare star, has one known planet (b) (2017)[13]

14
11.089[14]
WISE 1506+7027
19
T6
14.3 J
16.6 J
15h 06m 49.9s
+70° 27′ 36″
310(042)[14]
2011

15
11.266(171)
EZ Aquarii
(Gliese 866, Luyten 789-6)
EZ Aquarii A
20
M5.0Ve
13.33[2]
15.64[2]
22h 38m 33.4s
−15° 17′ 57″
289.50(440)[4]
1937
A & B Flare stars

EZ Aquarii B
20
M?
13.27[2]
15.58[2]
-

EZ Aquarii C
20
M?
14.03[2]
16.34[2]
1995

16
11.402(32)
Procyon
(α Canis Minoris)
Procyon A
23
F5V–IV[2]
0.38[2]
2.66[2]
07h 39m 18.1s
+05° 13′ 30″
286.05(081)[4][5]
—

Procyon B
23
DQZ[2]
10.70[2]
12.98[2]
1844

17
11.403(22)
61 Cygni
61 Cygni A (BD+38°4343)
25
K5.0V[2]
5.21[2]
7.49[2]
21h 06m 53.9s
+38° 44′ 58″
286.04(056)[4][5]
1725
B flare star, first star (other than the Sun) to have its distance measured[15]
possible circumstellar disk.

61 Cygni B (BD+38°4344)
25
K7.0V[2]
6.03[2]
8.31[2]
21h 06m 55.3s
+38° 44′ 31″
-

18
11.525(69)
Struve 2398
(Gliese 725, BD+59°1915)
Struve 2398 A (HD 173739)
27
M3.0V[2]
8.90[2]
11.16[2]
18h 42m 46.7s
+59° 37′ 49″
283.00(169)[4][5]
1835
Flare stars

Struve 2398 B (HD 173740)
27
M3.5V[2]
9.69[2]
11.95[2]
18h 42m 46.9s
+59° 37′ 37″
1835

19
11.624(39)
Groombridge 34
(Gliese 15)
Groombridge 34 A (GX Andromedae)
29
M1.5V[2]
8.08[2]
10.32[2]
0h 18m 22.9s
+44° 01′ 23″
280.59(095)[4][5]
1813
Flare star, has two suspected planets (Ab)(2014) (debated)[16]
and (Ac) (2017)

Groombridge 34 B (GQ Andromedae)
29
M3.5V[2]
11.06[2]
13.30[2]
-
Flare star

20
11.824(30)
Epsilon Indi
(CPD−57°10015)
Epsilon Indi A
31
K5Ve[2]
4.69[2]
6.89[2]
22h 03m 21.7s
−56° 47′ 10″
275.84(069)[4][5]
1597
one suspected planet (b) (2002, 2013) (likely)[17]

Epsilon Indi Ba
31
T1.0V
12.3 J[18]

22h 04m 10.5s
−56° 46′ 58″
2003

Epsilon Indi Bb
31
T6.0V
13.2 J[18]

2003

21
11.826(129)
DX Cancri (G 51-15)
34
M6.5Ve
14.78[2]
16.98[2]
08h 29m 49.5s
+26° 46′ 37″
275.80(300)[4]
1972
Flare star

22
11.887(33)
Tau Ceti (BD−16°295)
35
G8Vp[2]
3.49[2]
5.68[2]
01h 44m 04.1s
−15° 56′ 15″
274.39(076)[4][5]
150
has one known debris disk
has two confirmed planets (e and f) (2012)
has three suspected planets (d, g and h) (2012, 2017) (d doubtful)
planets b and c refuted in 2017

23
11.991(57)
GJ 1061 (LHS 1565)
36
M5.5V[2]
13.09[2]
15.26[2]
03h 35m 59.7s
−44° 30′ 45″
272.01(130)[note 3]
1995
[19][20]

24
12.068[14]
WISE 0350−5658
37
Y1
22.8 J[21]

03h 50m 00.32s
−56° 58′ 30.2″
291(050)[14]
2011

25
12.132(133)
YZ Ceti (LHS 138)
38
M4.5V[2]
12.02[2]
14.17[2]
01h 12m 30.6s
−16° 59′ 56″
268.84(295)[4][5]
1961
Flare star, has three known planets (b, c, and d) (2017)[22]
has one suspected planet (e)

26
12.366(59)
Luyten's Star (BD+05°1668)
39
M3.5Vn
9.86[2]
11.97[2]
07h 27m 24.5s
+05° 13′ 33″
263.76(125)[4][5]
1935
has two known planets (b, c) (2017)[23]

27
12.514(129)
Teegarden's star (SO025300.5+165258)
40
M6.5V
15.14[2]
17.22[2]
02h 53m 00.9s
+16° 52′ 53″
260.63(269)[note 3]
2003
tentative radial velocity variation (2010)[20][24]

28
12.571(54)
SCR 1845-6357
SCR 1845-6357 A
41
M8.5V[2]
17.39
19.41
18h 45m 05.3s
−63° 57′ 48″
259.45(111)[note 3]
2004
[20]

SCR 1845-6357 B
41
T6[25]
13.3 J[18]

18h 45m 02.6s
−63° 57′ 52″
2006

29
12.777(43)
Kapteyn's Star (CD−45°1841)
43
M1.5V[2]
8.84[2]
10.87[2]
05h 11m 40.6s
−45° 01′ 06″
255.27(086)[4][5]
1898
has two suspected planets (b (debated) and c) (2014)[26]

30
12.870(57)
Lacaille 8760 (AX Microscopii)
44
M0.0V[2]
6.67[2]
8.69[2]
21h 17m 15.3s
−38° 52′ 03″
253.43(112)[4][5]
1753
Flare star

31
13.0+6.0
−3.1
WISE 0535−7500
45
≥Y1
>21.1 J[14]

05h 35m 16.8s
−75° 00′ 24.9″
250[14]
2012

32
13.149(74)
Kruger 60
(BD+56°2783)
Kruger 60 A
46
M3.0V[2]
9.79[2]
11.76[2]
22h 27m 59.5s
+57° 41′ 45″
248.06(139)[4][6]
1880
B flare star

Kruger 60 B (DO Cephei)
46
M4.0V[2]
11.41[2]
13.38[2]
1890?

33
13.167(82)
DEN 1048-3956
48
M8.5V[2]
17.39[2]
19.37[2]
10h 48m 14.7s
−39° 56′ 06″
247.71(155)[note 3]
2001
[27][28]

34
13.259
UGPS 0722-05
49
T9[2]
16.52 J[29]

07h 22m 27.3s
–05° 40′ 30″
246
2010
[30]

35
13.349(110)
Ross 614
(V577 Monocerotis, Gliese 234)
Ross 614A (LHS 1849)
50
M4.5V[2]
11.15[2]
13.09[2]
06h 29m 23.4s
−02° 48′ 50″
244.34(201)[4][6]
1927
A Flare star

Ross 614B (LHS 1850)
50
M5.5V
14.23[2]
16.17[2]
1936

36
13.820(98)
Wolf 1061 (Gliese 628, BD−12°4523)
52
M3.0V[2]
10.07[2]
11.93[2]
16h 30m 18.1s
−12° 39′ 45″
236.01(167)[4][5]
1919
three known planets (b, c, and d) (2015)[31]

37
14.066(109)
Van Maanen's star (Gliese 35, LHS 7)
53
DZ7[2]
12.38[2]
14.21[2]
00h 49m 09.9s
+05° 23′ 19″
231.88(179)[4][5]
1896
closest known free-floating white dwarf to the Sun,
one of the first 3 known white dwarfs.
possible debris disk (1917)
possible planet (b) (2004) (debated)

38
14.231(66)
Gliese 1 (CD−37°15492)
54
M1.5 V [2]
8.55[2]
10.35[2]
00h 05m 24.4s
−37° 21′ 27″
229.20(107)[4][5]
1884

39
14.312(289)
Wolf 424
(FL Virginis, LHS 333, Gliese 473)
Wolf 424 A
55
M5.5Ve
13.18[2]
14.97[2]
12h 33m 17.2s
+09° 01′ 15″
227.90(460)[4]

Flare stars

Wolf 424 B
55
M7Ve
13.17[2]
14.96[2]

40
14.4
2MASS J154043.42-510135.7
57
M7V
15.26
17.04
15h 40m 43.42s
−51° 01′ 35.7″
228(024)
2014
[32]

41
14.509(187)
L 1159-16 (TZ Arietis, Gliese 83.1)
58
M4.5V[2]
12.27[2]
14.03[2]
02h 00m 13.2s
+13° 03′ 08″
224.80(290)[4]

Flare star

42
14.793(55)
Gliese 687 (LHS 450, BD+68°946)
59
M3.0V[2]
9.17[2]
10.89[2]
17h 36m 25.9s
+68° 20′ 21″
220.49(082)[4][5]

Possible flare star, has one known planet (b) (2014)[33]

43
14.805(242)
LHS 292 (LP 731-58)
60
M6.5V[2]
15.60[2]
17.32[2]
10h 48m 12.6s
−11° 20′ 14″
220.30(360)[4]

Flare star

44
14.809(107)
Gliese 674 (LHS 449)
61
M3.0V[2]
9.38[2]
11.09[2]
17h 28m 39.9s
−46° 53′ 43″
220.25(159)[4][5]

has one known planet (b) (2007)[34]

45
14.812(67)
G 208-44
G 208-45
(GJ 1245)
G 208-44 A (V1581 Cyg)
62
M5.5V[2]
13.46[2]
15.17[2]
19h 53m 54.2s
+44° 24′ 55″
220.20(100)[4]

Flare stars

G 208-45
62
M6.0V[2]
14.01[2]
15.72[2]
19h 53m 55.2s
+44° 24′ 56″

G 208-44 B
62
M5.5
16.75[2]
18.46[2]
19h 53m 54.2s
+44° 24′ 55″

46
15.060(140)
LP 145-141 (WD 1142-645, Gliese 440)
65
DQ6[2]
11.50[2]
13.18[2]
11h 45m 42.9s
−64° 50′ 29″
216.57(201)[4][5]

47
15.313(259)
GJ 1002
66
M5.5V[2]
13.76[2]
15.40[2]
00h 06m 43.8s
−07° 32′ 22″
213.00(360)[4]

48
15.342(141)
Gliese 876 (Ross 780)
67
M3.5V[2]
10.17[2]
11.81[2]
22h 53m 16.7s
−14° 15′ 49″
212.59(196)[4][5]

Has four known planets (d (2005), c (2001), b (1998), and e (2010))[35]
has two possible planets (f and g) (2014)

49
15.610(204)
LHS 288 (Luyten 143-23)
68
M5.5V[2]
13.90[2]
15.51[2]
10h 44m 21.2s
−61° 12′ 36″
208.95(273)[note 3]

Has one possible planet (b) (2007) (tentative)[20]

50
15.832(83)
Gliese 412
Gliese 412 A
69
M1.0V[2]
8.77[2]
10.34[2]
11h 05m 28.6s
+43° 31′ 36″
206.02(108)[4][5]

Gliese 412 B (WX Ursae Majoris)
69
M5.5V[2]
14.48[2]
16.05[2]
11h 05m 30.4s
+43° 31′ 18″

Flare star

51
15.848(52)
Groombridge 1618 (Gliese 380)
71
K7.0V[2]
6.59[2]
8.16[2]
10h 11m 22.1s
+49° 27′ 15″
205.81(067)[4][5]

Flare star, Has one suspected debris disk
Has one suspected planet (b) (1989) (tentative)

52
15.942(218)
AD Leonis
72
M3.0V[2]
9.32[2]
10.87[2]
10h 19m 36.4s
+19° 52′ 10″
204.60(280)[4]

Flare star

53
16.067[21]
DENIS J081730.0-615520
73
T6
13.6

08h 17m 30.1s
−61° 55′ 16″
203 [21]
2010

54
16.085(105)
Gliese 832
74
M1.5 V[2]
8.66[2]
10.20[2]
21h 33m 34.0s
−49° 00′ 32″
202.78(132)[4][5]

Possible flare star, has two known planets (b (2008) and c (2014))[36][37]

55
16.197(313)
DEN 0255-4700
75
L7.5V[2]
22.92[2]
24.44[2]
02h 55m 03.7s
−47° 00′ 52″
201.37(389)[note 3]
1999?
[28]

56
16.265(765)
GJ 1005
GJ 1005 A
76
M4V[38]
11.48[38]

00h 15m 28.11s
−16° 08′ 01.6″
200.53(941)[38]

GJ 1005 B
76
M7V
 ?
 ?

#
Distance[3]
Light-years (±err)
System
Star
Star #
Stellar class
Apparent magnitude (mV or mJ)
Absolute magnitude (MV or MJ)
Right ascension[2]
Declination[2]
Parallax[2][note 1]
mas (±err)
Discovery date
Additional
references

Designation
Epoch J2000.0

text: Maps of nearby stars[edit]

text: Future and past[edit]

text: Backwards extrapolation of the motion of Gamma Microscopii has shown that approximately 3.8 million years ago, it was only around 6 light-years from the Sun. Because it is a yellow giant, it would then have had an apparent magnitude of −3, brighter than Sirius currently is.

text: It is estimated that Scholz's star and its companion brown dwarf passed about 52,000 astronomical units (0.25 parsecs; 0.82 light-years) from the Sun about 70,000 years ago.[39]

text: Ross 248, currently at a distance of 10.3 light-years, has a radial velocity of −81 km/s. In about 31,000 years it may be the closest star to the Sun for several millennia, with a minimum distance of 0.927 parsecs (3.02 light-years) in 36,000 years.[40] Gliese 445, currently at a distance of 17.6 light-years, has a radial velocity of −119 km/s. In about 40,000 years it will be the closest star for a period of several thousand years. Gliese 710 is currently about 63.8 light-years (19.6 parsecs) from Earth, but its proper motion, distance, and radial velocity[41] indicate that it will approach within a very small distance—perhaps under one light year—from the Sun within 1.4 million years, based on past and current Hipparcos data.[42] At closest approach it will be a first-magnitude star about as bright as Antares. The proper motion of Gliese 710 is very small for its distance measured over a period of years, meaning it is traveling at a similar and relatively close-approach trajectory to the solar system.

text: In a time interval of ±10 million years from the present, Gliese 710 is the star whose combination of mass and close approach distance will cause the greatest gravitational perturbation of the Solar System.

text: HIP 85605's spectral type and trajectory are not fully understood. More-accurate astrometry is required to determine the distance to the star, and thus if it will pass close to the Sun. It was estimated in 2014 that HIP 85605 could approach to about 0.13 to 0.65 light-years (0.04 to 0.2 pc) from the Sun within 240,000 to 470,000 years.

text: Known Hipparcos stars that have passed or will pass within 5.1 light-years of the Sun within ±2 million years:[42]

text:
Star name
HIP#
Minimum distance in light-years (parsecs)
Approach date in kiloyears
Current distance in light-years (parsecs)
Stellar classification
Mass in M☉
Current apparent magnitude
Current Constellation
Current Right ascension
Current Declination

Gliese 710
89825
0.14–0.27 ly (0.043–0.083 pc)
1340 !1320-1390
062.3 !62.3 (19.1)
K7V
0.4–0.6
09.6 !9.6
Serpens
18h 19m 50.843s
−01° 56′ 18.98″

Scholz's star and companion brown dwarf

0.59–1.17 ly (0.18–0.36 pc)
0.1 !–70
020 !20 (6)
M9+T5
0.15
18.3 !18.3
Monoceros
07h 20m 03.20s
−08° 46′ 51.2″

HIP 85605
85605[43]
0.13–0.65 ly (0.04–0.2 pc) (?)
0355 !240–470
022.2 !22.2 (6.8)?
K or M
0.4 !unknown
11.03 !11.03[44]
Hercules
17h 29m 36.24527s
24° 39′ 14.1204″

Gamma Microscopii[43]
103738
0.35–1.34 ly (0.11–0.41 pc)
0.0001 !−3800
229 !7002229000000000000♠229±4 (7001700000000000000♠70±1)
G6III
2.5
04.68 !4.68
Microscopium
21h 01m 17.46047s
−32° 15′ 27.9574″

Proxima Centauri
70890
2.90 (0.890)
0027.4 !27.4
004.24 !4.24 (1.29)
M5Ve
0.15
11.05 !11.05
Centaurus
14h 29m 42.949s
−62° 40′ 46.14″

Alpha Centauri A
71683
2.97 (0.910)
0028.4 !28.4
004.36 !4.36 (1.338)
G2V
1.100[45]
-00.01 !−0.01
Centaurus
14h 39m 36.495s
−60° 50′ 02.31″

Alpha Centauri B
71681
2.97 (0.910)
0028.4 !28.4
004.36 !4.36 (1.338)
K1V
0.907[45]
01.33 !1.33
Centaurus
14h 39m 35.080s
−60° 50′ 13.76″

Gliese 445
57544
3.45 (1.059)
0046.0 !46.0
017.6 !17.6 (5.39)
M4
0.15?
10.8 !10.8
Camelopardalis
11h 47m 41.377s
+78° 41′ 28.18″

Barnard's Star
87937
3.74 (1.148)
0009.8 !9.8
005.98 !5.98 (1.834)
sdM4
0.144
09.54 !9.54
Ophiuchus
17h 57m 48.498s
+04° 41′ 36.25″

Zeta Leporis
27288
4.16 (1.275)
0.001 !−861
070.2 !70.2 (21.5)
A2Vann
2.0
03.55 !3.55
Lepus
05h 46m 57.341s
−14° 49′ 19.02″

Lalande 21185
54035
4.65 (1.426)
0020.5 !20.5
008.32 !8.32 (2.55)
M2V
0.39
07.52 !7.52
Ursa Major
11h 03m 20.194s
+35° 58′ 11.55″

Gliese 208
26335
5.01 (1.537)
0.01 !−500
037.1 !37.1 (11.38)
K7
0.47
08.9 !8.9
Orion
05h 36m 30.991s
+11° 19′ 40.32″

text: The distance to HIP 85605 was probably underestimated by a factor of ten due to it being an optical double that is particularly problematic in the Hipparcos data reduction.


question_text: who has the highest clean sheet in epl

question_tokens: who has the highest clean sheet in epl

text: Players[edit]

text:
List of Premier League goalkeepers with 100 or more clean sheets

Rank
Player
Apps
Clean
sheets
Average
Club(s)
Ref.

1
 Čech, PetrPetr Čech
413
194
0.47
Chelsea (162), Arsenal (32)
[3][4][1]

2
 James, DavidDavid James
572
169
0.30
Liverpool (72), Aston Villa (21), West Ham United (18), Manchester City (19), Portsmouth (39)
[5]

3
 Schwarzer, MarkMark Schwarzer
514
152
0.30
Middlesbrough (93), Fulham (56), Chelsea (2), Leicester City (1)
[6]

4
 Seaman, DavidDavid Seaman
344
142
0.41
Arsenal (138), Manchester City (4)
[7]

5
 Martyn, NigelNigel Martyn
372
138
0.37
Crystal Palace (25), Leeds United (82), Everton (31)
[8]

6
 Reina, PepePepe Reina
285
134
0.47
Liverpool (134)
[9]

=
 van der Sar, EdwinEdwin van der Sar
313
134
0.43
Fulham (42), Manchester United (92)
[10]

8
 Howard, TimTim Howard
399
132
0.33
Manchester United (16), Everton (116)
[11][12]

=
 Friedel, BradBrad Friedel
450
132
0.29
Liverpool (6), Blackburn Rovers (77), Aston Villa (35), Tottenham Hotspur (14)
[13]

10
 Schmeichel, PeterPeter Schmeichel
310
129
0.42
Manchester United (113), Aston Villa (7), Manchester City (9)
[14]

11
 Hart, JoeJoe Hart
313
122
0.39
Manchester City (109), Birmingham City (10), West Ham United (3)
[15]

12
 Given, ShayShay Given
451
116
0.26
Blackburn Rovers (1), Newcastle United (91), Manchester City (15), Aston Villa (9)
[16]

13
 Sørensen, ThomasThomas Sørensen
364
109
0.30
Sunderland (36), Aston Villa (46), Stoke City (27)
[17]

=
 Jääskeläinen, JussiJussi Jääskeläinen
436
109
0.25
Bolton Wanderers (89), West Ham United (20)
[18]

(Bold denotes goalkeeper currently playing in Premier League)
(Italics denote goalkeeper currently playing outside the Premier League)
Statistics correct as of 5 November 2017.

text: Milestones[edit]

text:
Milestone
Player
Match
Date

1st clean sheet
 Tim Flowers
Southampton 0–0 Tottenham Hotspur
15 August 1992

 Erik Thorstvedt
Southampton 0–0 Tottenham Hotspur
15 August 1992

50th clean sheet
 Peter Schmeichel
Manchester United 3–0 Arsenal
22 March 1995

100th clean sheet
 Peter Schmeichel
Crystal Palace 0–3 Manchester United
27 April 1998

150th clean sheet
 David James
Portsmouth 0–0 Everton
1 December 2007

text: Consecutives[edit]

text:
Games
Player
Club
Dates
Season(s)

14
 Edwin van der Sar
Manchester United
22 November 2008 – 18 February 2009
2008–09

10
 Petr Čech
Chelsea
18 December 2004 – 15 March 2005
2004–05

8
 Pepe Reina
Liverpool
29 October 2005 – 28 December 2005
2005–06

8
 Petr Čech
Chelsea
31 January 2007 – 7 April 2007
2006–07

7
 Neville Southall
Everton
1 November 1994 – 17 December 1994
1994–95

7
 Peter Schmeichel
Manchester United
8 May 1997 – 30 August 1998
1996–97 and 1997–98

7
 Paul Jones
Southampton
13 January 2001 – 17 March 2001
2000–01

6
 Alex Manninger
Arsenal
31 January 1998 – 14 March 1998
1997–98

6
 Petr Čech
Chelsea
30 April 2005 – 17 September 2005
2004–05 and 2005–06

6
 David de Gea
Manchester United
2 February 2013 – 30 March 2013
2012–13

6
 Joe Hart
Manchester City
24 May 2015 – 19 September 2015
2014–15 and 2015–16

6
 Fraser Forster
Southampton
13 January 2016 – 13 February 2016
2015–16

6
 Thibaut Courtois
Chelsea
1 October 2016 – 26 November 2016
2016–17