document_title: M*A*S*H (TV series)

question_text: where was m*a*s*h filmed

question_tokens: where was m * a * s * h filmed

text: M*A*S*H (TV series)

text: Plot[edit]

text: M*A*S*H aired weekly on CBS, with most episodes being a half-hour (25 minutes) in length. The series is usually categorized as a situation comedy, though it has also been described as a "dark comedy" or a "dramedy" because of the often dramatic subject matter.[a]

text: The show is an ensemble piece revolving around key personnel in a United States Army Mobile Army Surgical Hospital (MASH) in the Korean War (1950–53). (The asterisks in the name are not part of military nomenclature and were creatively introduced in the novel and used in only the posters for the movie version, not the actual movie.)[clarification needed] The "4077th MASH" was one of several surgical units in Korea.

text: While the show is traditionally viewed as a comedy, many episodes had a more serious tone. Airing on network prime time while the Vietnam War was still going on, the show was forced to walk the fine line of commenting on that war while at the same time not seeming to protest it. For this reason, the show's discourse, under the cover of comedy, often questioned, mocked, and grappled with America's role in the Cold War.

text: Episodes were both plot- and character-driven, with several narrated by one of the show's characters as the contents of a letter home. The show's tone could move from silly to sobering from one episode to the next, with dramatic tension often occurring between the civilian draftees of 4077th – Hawkeye, Trapper John, and B.J. Hunnicutt, for example – who are forced to leave their homes to tend the wounded and dying of the war, and the "regular Army" characters, such as Margaret Houlihan and Colonel Potter, who tend to represent patriotism and duty (though Houlihan and Potter could also represent the other perspective at times). Other characters, such as Col. Blake, Maj. Winchester, and Cpl. Klinger, help demonstrate various American civilian attitudes toward army life, while guest characters played by such actors as Eldon Quick, Herb Voland, Mary Wickes, and Tim O'Connor also help further the show's discussion of America's place as Cold War warmaker and peacemaker.

text: Characters[edit]

text: Main cast[edit]

text: M*A*S*H maintained a relatively constant ensemble cast, with four characters – Hawkeye, Father Mulcahy, Margaret Houlihan, and Maxwell Klinger – on the show for all 11 seasons. Several other main characters departed or joined the program during its run, and numerous guest actors and recurring characters were used. The writers found creating so many names difficult, and used names from elsewhere; for example, characters on the seventh season were named after the 1978 Los Angeles Dodgers.[1]

text: Note: Character appearances include double-length episodes as two appearances, making 260 in total.

text:
Character

Actor/actress

Rank

Role

Appearances

Hawkeye Pierce

Alan Alda

Captain

Chief surgeon

251

Margaret "Hot Lips" Houlihan Penopscott

Loretta Swit

Major

Head nurse,temporary adjutant

243

Max Klinger(Recurring seasons 1–3, regular 4–11)

Jamie Farr

Corporal,later sergeant

Corpsman,later company clerk

219

Father John Patrick Francis Mulcahy(recurring seasons 1–4, regular 5–11)

George Morgan (pilot episode), replaced by William Christopher

First lieutenant,later captain

Chaplain

218

Trapper John McIntyre(seasons 1–3)

Wayne Rogers

Captain

Surgeon

72 + 1 uncredited voiceover ("Welcome to Korea")

Henry Blake(seasons 1–3)

McLean Stevenson

Lieutenant colonel

Commanding officer,surgeon

70

Frank Burns(seasons 1–5)

Larry Linville

Major,later lieutenant colonel (off-screen)

Surgeon, executive officer temporary commanding officer (following the discharge of Henry Blake)

118

Radar O'Reilly(seasons 1–8)

Gary Burghoff

Corporal (one episode as second lieutenant due to falsified promotion)

Company clerk,bugler

156

B. J. Hunnicutt(replaced Trapper;  seasons 4–11)

Mike Farrell

Captain

Surgeon

187

Sherman Potter(replaced Henry Blake;  Seasons 4–11)

Harry Morgan

Colonel

Commanding officer (after Lt. Col. Blake),surgeon

188

Charles Emerson Winchester III(replaced Frank Burns;  seasons 6–11)

David Ogden Stiers

Major

Surgeon, executive officer (after Major Burns)

137

text: Main character timeline[edit]

text: Cast pictures[edit]

text:
The cast of M*A*S*H from Season 2, 1974 (clockwise from left): Loretta Swit, Larry Linville, Wayne Rogers, Gary Burghoff, McLean Stevenson, and Alan Alda

The cast of M*A*S*H from Season 5, 1977 (clockwise from left): William Christopher, Gary Burghoff, David Ogden Stiers, Jamie Farr, Mike Farrell, Alan Alda, Harry Morgan, Loretta Swit.

The cast of M*A*S*H from season 8 onwards (clockwise from left): Mike Farrell, William Christopher, Jamie Farr, David Ogden Stiers, Loretta Swit, Alan Alda, and Harry Morgan

text: Production[edit]

text: Writing[edit]

text: As the series progressed, it made a significant shift from being primarily a comedy with dramatic undertones to a drama with comedic undertones. This was a result of changes in writing and production staff, rather than the cast defections of McLean Stevenson, Larry Linville, Wayne Rogers and Gary Burghoff. Series co-creator and joke writer Larry Gelbart departed after Season 4, the first featuring Mike Farrell and Harry Morgan. This resulted in Farrell and Morgan having only a single season reading scripts featuring Gelbart's masterful comic timing, which defined the feel and rhythm of Seasons 1–4 featuring predecessors Rogers and Stevenson, respectively. Larry Linville (the show's comic foil) and Executive Producer Gene Reynolds both departed at the conclusion of Season 5 in 1977, resulting in M*A*S*H being fully stripped of its original tight comedic foundation by the beginning of Season 6 — the debut of the Charles Winchester era.[2]

text: Whereas Gelbart and Reynolds were the comedic voice of M*A*S*H for the show's first five seasons (1972–1977), Alan Alda and newly promoted Executive Producer Burt Metcalfe became the new dramatic voice of M*A*S*H for Seasons 6–11. By the start of Season 8 (1979–1980), the writing staff had been completely overhauled, and with the departure of Gary Burghoff, M*A*S*H displayed a distinctively different feel, consciously moving between comedy and drama, unlike the seamless integration of its first five years.

text: The end of the Vietnam War in 1975 was a significant factor as to why storylines become less political in nature and more character driven. Several episodes also experimented with the sitcom format:

text:
"Point of View" – shown from the perspective of a soldier with a throat wound
"Dreams" – an idea of Alda's, where during a deluge of casualties, members of the 4077 take naps on a rotation basis, allowing the viewer to see the simultaneously lyrical and disturbing dreams
"A War For All Seasons" – features a storyline that takes place over the course of 1951
"Life Time" – a precursor to the American television series 24, it utilizes the real time method of narration[2]

text: Another change was the infusion of story lines based on actual events and medical developments that materialized during the Korean War. Considerable research was done by the producers, including interviews with actual MASH surgeons and personnel to develop story lines rooted in the war itself. Such early 1950s events as the McCarthy era, various sporting events, and the stardom of Marilyn Monroe were all incorporated into various episodes, a trend that continued until the end of the series.[2]

text: While the series remained popular through these changes, it eventually began to run out of creative steam. Korean War doctors regularly contacted producers with experiences that they thought might make for a good storyline, only to learn the idea had previously been used. Harry Morgan admitted that he felt "the cracks were starting to show" by season 9 (1980–1981).[2] Alda wished to make season 10 (1981-1982) M*A*S*H's last, but was persuaded by CBS to produce a slightly shortened 11th season, coupled with a farewell movie finale, because CBS refused to let the show go away so easily. In the end, season 11 had 15 episodes (although six had been filmed during season 10 and held over) and a 2-1/2 hour movie, which was treated as five episodes and was filmed before the nine remaining episodes. The final episode ever produced was the penultimate episode "As Time Goes By". The series finale movie, titled "Goodbye, Farewell and Amen", became the most-watched television broadcast in history, tallying a total of 125 million viewers.[2]

text: Set location[edit]

text: The 4077th consisted of two separate sets. An outdoor set in the mountains near Malibu, California (Calabasas, Los Angeles County, California) was used for most exterior and tent scenes for every season. This was the same set used to shoot the movie. The indoor set, on a sound stage at Fox Studios in Century City, was used for the indoor scenes for the run of the series. Later, after the indoor set was renovated to permit many of the "outdoor" scenes to be filmed there, both sets were used for exterior shooting as script requirements dictated (e.g., night scenes were far easier to film on the sound stage, but scenes at the chopper pad required using the ranch).

text: Just as the series was wrapping production, a brush fire destroyed most of the outdoor set on October 9, 1982. The fire was written into the final episode as a forest fire caused by enemy incendiary bombs that forced the 4077th to bug out.

text: The Malibu location is today known as Malibu Creek State Park. Formerly called the Century Ranch and owned by 20th Century Fox Studios until the 1980s, the site today is returning to a natural state, and is marked by a rusted Jeep and an ambulance used in the show. Through the 1990s, the area was occasionally used for television commercial production.

text: On February 23, 2008, series stars Mike Farrell, Loretta Swit and William Christopher (along with producers Gene Reynolds and Burt Metcalfe and M*A*S*H director Charles S. Dubin) reunited at the set to celebrate its partial restoration. The rebuilt signpost is now displayed on weekends, along with tent markers and maps and photos of the set. The state park is open to the public. It was also the location where the film How Green Was My Valley (1941) and the Planet of the Apes television series (1974) were filmed, among other productions.

text: Smithsonian exhibit[edit]

text: The exhibit M*A*S*H: Binding Up the Wounds was at the National Museum of American History from July 30, 1983 through February 3, 1985.  The exhibit was extremely popular drawing more than 17,000 in a single week, a record for any Smithsonian display.[3]

text:
On exhibit were The Swamp and Operating Room sets, one of the show's 14 Emmy Awards, early drafts of the pilot script, costumes from the show and other memorabilia.  Sets were decorated with props from the show including the iconic signpost, Hawkeye's still and Major Winchester's Webcor tape recorder and phonograph. The exhibit also encouraged visitors to compare the show to real Mobile Army Surgical Hospitals of the Korean and the Vietnam Wars.
[4][5]

text: Radar's teddy bear, originally found at the ranch set, was never on display at the Smithsonian.  Following completion of production, the prop was kept by the show's set designer.  It was sold several times including to Burghoff himself.[6]  It was sold at auction on July 29, 2005 for $11,800, it sold again on March 27, 2015 for $14,307.50 after 19 bids.[7]

text: Content[edit]

text: M*A*S*H was one of the first network series to feature brief partial nudity (notably Gary Burghoff's buttocks in "The Sniper" and Hawkeye in one of the "Dear Dad" episodes). A different innovation was the show's producers' desire not to have a laugh track, contrary to the network's desire to have one. They compromised by omitting laughter in the scenes set in the operating room. The DVD releases of the series allow viewers to select an audio version with no laugh track.

text: In his blog, writer Ken Levine revealed that on one occasion, when the cast offered too many nitpicking "notes" on a script,  his writing partner and he changed the script to a "cold show" – one set during the frigid Korean winter. The cast then had to stand around barrel fires in parkas at the Malibu ranch when the temperatures neared 100 °F (38 °C). Levine says, "This happened maybe twice, and we never got a ticky-tack note again."[8]

text: Jackie Cooper wrote that Alan Alda, whom Cooper directed in several episodes during the first two seasons, concealed a lot of hostility beneath the surface, and the two of them barely spoke to each other by the time Cooper's tenure on the show ended.[9]

text: Vehicles[edit]

text: The helicopters used on the series were model H-13 Sioux (military designation and nickname of the Bell 47 civilian model). As in the film, some care seems to have been taken to use the correct model of the long-lived Bell 47 series. In the opening credits and many of the episodes, Korean War-vintage H-13Ds and Es (Bell 47D-1s) were used complete with period-correct external litters. A later (1954–73) 47G occasionally made an appearance. The helicopters are similar in appearance (with the later "G" models having larger two-piece fuel tanks, a slightly revised cabin, and other changes) with differences noticeable only to a serious helicopter fan. In the pilot episode, a later Bell 47J (production began in 1957) was shown flying Henry Blake to Seoul, en route to a meeting with General Hammond in Tokyo.[10] A Sud Aviation Allouette II helicopter was also shown transporting Henry Blake to the 4077th in the episode "Henry, Please Come Home".

text: The Jeeps used were 1953 military M38 or civil CJ2A Willys Jeeps and also World War II Ford GPWs and Willys MB's. Two episodes featured the M38A1 Jeep, one of which was stolen from a General by Radar and Hawkeye after their Jeep was stolen. Two of the ambulances were WC-54 Dodges and one was a WC-27. A WC-54 ambulance remains at the site and was burned in the Malibu fires on October 9, 1982, while a second WC-27 survives at a South El Monte museum without any markings. The bus used to transport the wounded was a 1954 Ford model. In the last season, an M43 ambulance from the Korean War era also was used in conjunction with the WC-54s and WC-27.

text:
Bell 47G helicopter in MASH colours.

Burned Dodge ambulance at Malibu Creek State Park

Burned Jeep (most likely a CJ-2A) at Malibu Creek State Park

text: Laugh track[edit]

text: Series creators Larry Gelbart and Gene Reynolds wanted M*A*S*H broadcast without a laugh track. Though CBS initially rejected the idea, a compromise was reached that allowed for omitting the laughter during operating room scenes if desired. "We told the network that under no circumstances would we ever can laughter during an OR scene when the doctors were working," said Gelbart in 1998. "It’s hard to imagine that 300 people were in there laughing at somebody’s guts being sewn up."[11]

text: Seasons 1–5 utilized a more invasive laugh track; a more subdued audience was employed for Seasons 6–11 when the series shifted from sitcom to comedy-drama with the departure of Gelbart and Reynolds. Several episodes ("O.R.", "The Bus", "Quo Vadis, Captain Chandler?", "The Interview", "Point of View" and "Dreams" among them) omitted the laugh track altogether; as did almost all of Season 11, including the 135-minute series finale, "Goodbye, Farewell and Amen".[12] The laugh track is also omitted from some international and syndicated airings of the show; on one occasion during an airing on BBC2, the laugh track was accidentally left on, and viewers expressed their displeasure, an apology from the network for the "technical difficulty" was later released, as during its original run on BBC2 in the UK, it was shown without the laugh track.  UK DVD critics speak poorly of the laugh track, stating "canned laughter is intrusive at the best of times, but with a programme like M*A*S*H, it's downright unbearable."[13]

text: On all released DVDs, both in Region 1 (including the US and Canada) and Region 2 (Europe, including the UK), an option is given to watch the show with or without the laugh track.[14][15]

text: "They're a lie," said Gelbart in a 1992 interview. "You're telling an engineer when to push a button to produce a laugh from people who don't exist. It's just so dishonest. The biggest shows when we were on the air were All in the Family and The Mary Tyler Moore Show both of which were taped before a live studio audience where laughter made sense," continued Gelbart. "But our show was a film show – supposedly shot in the middle of Korea. So the question I always asked the network was, 'Who are these laughing people? Where did they come from?'" Gelbart persuaded CBS to test the show in private screenings with and without the laugh track. The results showed no measurable difference in the audience's enjoyment. "So you know what they said?" Gelbart said. "'Since there's no difference, let's leave it alone!' The people who defend laugh tracks have no sense of humor."[12] Gelbart summed up the situation by saying, "I always thought it cheapened the show. The network got their way. They were paying for dinner."[16]

text: Episodes[edit]

text: Episode list[edit]

text:
Jump up ^ The term "dramedy" (drama + comedy), although coined in 1978, was not in common usage until after M*A*S*H had gone off the air.

Jump up ^ Tied with The Waltons

^ Jump up to: a b Tied with Alice

Jump up ^ Tied with Magnum, P.I.

tag: ol

text: Final episode: "Goodbye, Farewell and Amen"[edit]

text: "Goodbye, Farewell and Amen" was the final episode of M*A*S*H. Special television sets were placed in PX parking lots, auditoriums, and dayrooms of the US Army in Korea so that military personnel could watch that episode, in spite of 14 hours' time-zone difference with the East Coast of the US. The episode aired on February 28, 1983, and was 2½ hours long. The episode got a Nielsen rating of 60.2 and 77 share[18] and according to a New York Times article from 1983, the final episode of M*A*S*H had 125 million viewers.[19]

text: When the M*A*S*H finale aired in 1983, 83.3 million homes in the United States had televisions, compared to almost 115 million in February 2010.[20]

text: "Goodbye, Farewell and Amen" broke the record for the highest percentage of homes with television sets to watch a television series. Stories persist that the episode was seen by so many people that the New York City Sanitation/Public Works Department reported the plumbing systems broke down in some parts of the city from so many New Yorkers waiting until the end to use the toilet. Articles copied into Alan Alda's book The Last Days of M*A*S*H include interviews with New York City Sanitation workers citing the spike in water use on that night. According to the interviews at 11:03 pm, EST New York City public works noted the highest water usage at one given time in the City's history. They attributed this to the fact that in the three minutes after the finale ended, around 77% of the people of New York City flushed their toilets.[21] These stories have all since been identified as part of an urban legend dating back to the days of the Amos and Andy radio program in the 1930s.[22]

text: The finale was referenced in a passage from Stephen Chbosky's coming-of-age novel The Perks of Being a Wallflower, in which the main character and his family watch the finale together.[23]

text: International broadcast[edit]

text:
Australia - Network Ten (1973–1998), Seven Network (1999–2011), One (2011–2017), 7TWO (2018–)
UK - BBC Two - (1984-1995)
Ireland - RTÉ2 - (1985-1996)

text: And many more international broadcasts.

text: Reception[edit]

text: Ratings and recognition[edit]

text: The series premiered in the US on September 17, 1972, and ended on February 28, 1983, with the finale, showcased as a television film, titled "Goodbye, Farewell and Amen", becoming the most-watched and highest-rated single television episode in US television history at the time, with a record-breaking 125 million viewers (60.2 rating and 77 share),[24] according to the New York Times.[19] It had struggled in its first season and was at risk of being cancelled.[25] Season two of M*A*S*H placed it in a better time slot (airing after the popular All in the Family); the show became one of the top 10 programs of the year and stayed in the top 20 programs for the rest of its run.[25] It is still broadcast in syndication on various television stations. The series, which depicted events occurring during a three-year war, spanned 256 episodes and lasted 11 seasons.  The Korean War lasted 1,128 days, meaning each episode of the series would have averaged almost four and a half days of real time. Many of the stories in the early seasons are based on tales told by real MASH surgeons who were interviewed by the production team. Like the movie, the series was as much an allegory about the Vietnam War (still in progress when the show began) as it was about the Korean War.[26]

text: The episodes "Abyssinia, Henry" and "The Interview" were ranked number 20 and number 80, respectively, on TV Guide's 100 Greatest Episodes of All Time in 1997.[27] In 2002, M*A*S*H was ranked number 25 on TV Guide's 50 Greatest TV Shows of All Time.[28] In 2013, the Writers Guild of America ranked it as the fifth-best written TV series ever[29] and TV Guide ranked it as the eighth-greatest show of all time.[30] In 2016, Rolling Stone ranked it as the sixteenth-greatest TV show.[31]

text: Season ratings[edit]

text:
Season

Ep #

Time slot (ET)

Season Premiere

Season Finale

Nielsen Ratings

Rank

Viewers(in millions)

Rating

1

1972–73

24

Sunday at 8:00 pm

September 17, 1972

March 25, 1973

#46[32]

N/A

17.4

2

1973–74

24

Saturday at 8:30 pm

September 15, 1973

March 2, 1974

#4[33]

17.02[33]

25.7

3

1974–75

24

Tuesday at 8:30 pm

September 10, 1974

March 18, 1975

#5[34]

18.76[34]

27.4

4

1975–76

25

Friday at 8:00 pm (Episode 1)Friday at 8:30 pm (Episodes 2–13)Tuesday at 9:00 pm (Episodes 14–25)

September 12, 1975

February 24, 1976

#15[35]

15.93[35]

22.9

5

1976–77

25

Tuesday at 9:00 pm (Episodes 1, 3–25)Tuesday at 9:30 pm (Episode 2)

September 21, 1976

March 15, 1977

#4[36]

18.44[36]

25.9

6

1977–78

25

Tuesday at 9:00 pm (Episodes 1, 3–19)Tuesday at 9:30 pm (Episode 2)Monday at 9:00 pm (Episodes 20–25)

September 20, 1977

March 27, 1978

#9[37]

16.91[37]

23.2

7

1978–79

26

Monday at 9:00 pm (Episodes 1–4, 6–26)Monday at 9:30 pm (Episode 5)

September 18, 1978

March 12, 1979

#7[38]

18.92[38]

25.4

8

1979–80

25

Monday at 9:00 pm

September 17, 1979

March 24, 1980

#5[39]

19.30[39]

25.3

9

1980–81

20

November 17, 1980

May 4, 1981

#4[40]

20.53[40]

25.7

10

1981–82

22

Monday at 9:00 pm (Episodes 1, 3–22)Monday at 9:30 pm (Episode 2)

October 26, 1981

April 12, 1982

#9[41]

18.17[41]

22.3

11

1982–83

16

Monday at 9:00 pm (Episodes 1–15)Monday at 8:30 pm (Episode 16)

October 25, 1982

February 28, 1983

#3[42]

18.82[42]

22.6

text: Awards[edit]

text: M*A*S*H was nominated for over 100 Emmy Awards during its 11-year run, winning 14:

text:
1974 – Outstanding Comedy Series – M*A*S*H; Larry Gelbart, Gene Reynolds (Producers)
1974 – Best Lead Actor in a Comedy Series – Alan Alda
1974 – Best Directing in Comedy – Jackie Cooper: "Carry On, Hawkeye"
1974 – Actor of the Year, Series – Alan Alda
1975 – Outstanding Directing in a Comedy Series – Gene Reynolds: "O.R."
1976 – Outstanding Film Editing for Entertainment Programming – Fred W. Berger and Stanford Tischler: "Welcome to Korea"
1976 – Outstanding Directing in a Comedy Series – Gene Reynolds: "Welcome to Korea"
1977 – Outstanding Directing in a Comedy Series – Alan Alda: "Dear Sigmund"
1977 – Outstanding Supporting Actor in a Comedy Series – Gary Burghoff
1979 – Outstanding Writing in a Comedy-Variety or Music Series – Alan Alda: "Inga"
1980 – Outstanding Supporting Actress in a Comedy or Variety or Music Series – Loretta Swit
1980 – Outstanding Supporting Actor in a Comedy or Variety or Music Series – Harry Morgan
1982 – Outstanding Lead Actor in a Comedy Series – Alan Alda
1982 – Outstanding Supporting Actress in a Comedy or Variety or Music Series – Loretta Swit

text: The show won the Golden Globe Award for Best Television Series (Musical or Comedy) in 1981. Alan Alda won the Golden Globe for Best Actor in a Television Series (Musical or Comedy) six times: in 1975, 1976, 1980, 1981, 1982, and 1983. McLean Stevenson won the award for Best Supporting Actor in a Television Series in 1974.

text: The series earned the Directors Guild of America Award for Outstanding Directorial Achievement in a Comedy Series seven times: 1973 (Gene Reynolds), 1974 (Reynolds), 1975 (Hy Averbeck), 1976 (Averbeck), 1977 (Alan Alda), 1982 (Alda), 1983 (Alda).

text: The show was honored with a Peabody Award in 1975 "for the depth of its humor and the manner in which comedy is used to lift the spirit and, as well, to offer a profound statement on the nature of war." M*A*S*H was cited as "an example of television of high purpose that reveals in universal terms a time and place with such affecting clarity."[43]

text: Writers for the show received several Humanitas Prize nominations, with Larry Gelbart winning in 1976, Alan Alda winning in 1980, and the team of David Pollock and Elias Davis winning twice in 1982 and 1983.

text: The series received 28 Writers Guild of America Award nominations – 26 for Episodic Comedy and two for Episodic Drama. Seven episodes won for Episodic Comedy in 1973, 1975, 1976, 1977, 1979, 1980, and 1981.

text: Home media[edit]

text: 20th Century Fox Home Entertainment has released all 11 seasons of M*A*S*H on DVD in Region 1 and Region 2.

text:
DVD title

Ep No.

Release dates

Region 1

Region 2

M*A*S*H Season 1

24

January 8, 2002

May 19, 2003

M*A*S*H Season 2

24

July 23, 2002

October 13, 2003

M*A*S*H Season 3

24

February 18, 2003

March 15, 2004

M*A*S*H Seasons 1–3

72

N/A

October 31, 2005

M*A*S*H Season 4

24

July 15, 2003

June 14, 2004

M*A*S*H Seasons 1–4

96

December 2, 2003

N/A

M*A*S*H Season 5

24

December 9, 2003

January 17, 2005

M*A*S*H Season 6

24

June 8, 2004

March 28, 2005

M*A*S*H Season 7

25

December 7, 2004

May 30, 2005

M*A*S*H Season 8

25

May 24, 2005

August 15, 2005

M*A*S*H Season 9

20

December 6, 2005

January 9, 2006

M*A*S*H Seasons 1–9

214

December 6, 2005

N/A

M*A*S*H Season 10

22

May 23, 2006

April 17, 2006

M*A*S*H Season 11

16

November 7, 2006

May 29, 2006

Martinis and Medicine Collection(Complete Series, including the Original Movie)

256

November 7, 2006

October 30, 2006

Goodbye, Farewell, and Amen Collector's Edition

1

May 15, 2007

N/A

text: In January 2015, it was announced that the first five seasons of M*A*S*H would be available on Netflix's instant streaming service beginning February 1, 2015. This marked the first time the series was made available on an internet platform. As of July 1, 2015, all 11 seasons were available; syndicated versions of hour-long episodes were utilized for streaming, splitting these shows into two parts.[44] In contrast to the DVD sets, the Netflix streams did not have an option for disabling the laugh track on the soundtrack. On April 1, 2016, M*A*S*H was removed from Netflix due to its contract to stream the series expiring.[45]

text: In November 2016, SundanceTV announced it will begin airing M*A*S*H and several other classic TV shows. M*A*S*H can be seen on Mondays at 6 am – 1 pm weekly, starting on November 14 with seven hours with the first 14 episodes from Season 1.[46]

text: As of 2016, M*A*S*H episodes air on the MeTV television network.[47]

text: In July 2017, it was announced that Hulu had acquired online streaming rights for the entire run of M*A*S*H along with several other 20th Century Fox-owned TV programs.[48]

text: Spinoffs and specials[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2013) (Learn how and when to remove this template message)

text: The short-lived spin-off AfterMASH (1983–85) inherited the parent show's Monday night time slot and featured several of its characters reunited in a Midwestern hospital after the war. The more successful Trapper John, M.D. (1979–86) took place nearly three decades after the events of M*A*S*H and depicted Trapper John McIntyre as chief of surgery at a San Francisco hospital; its producers argued successfully in court that it was based on the earlier movie rather than the TV series.[49] In an unpurchased television pilot, W*A*L*T*E*R (1984), Walter "Radar" O'Reilly joins the St. Louis police force after his farm fails following his return to the US.

text: Making M*A*S*H, a documentary special narrated by Mary Tyler Moore that takes viewers behind the production of the season 8 episodes "Old Soldiers" and "Lend a Hand", was produced for PBS in 1981. The special was later included in the syndicated rerun package, with new narration by producer Michael Hirsch.[50]

text: Two retrospective specials were produced to commemorate the show's 20th and 30th anniversaries. Memories of M*A*S*H, hosted by Shelley Long and featuring clips from the series and interviews with cast members, was aired by CBS on November 25, 1991. A 30th Anniversary Reunion special, in which the surviving cast members and producers gathered to reminisce, aired on the Fox network on May 17, 2002. The two-hour broadcast was hosted by Mike Farrell, who also got to interact with the actor he replaced, Wayne Rogers; previously filmed interviews with McLean Stevenson and Larry Linville (who had died in 1996 and 2000, respectively) were also featured. The two specials are included as bonuses on the Collector's Edition DVD of "Goodbye, Farewell, and Amen". Also included is "M*A*S*H: Television's Serious Sitcom", a 2002 episode of the A&E cable channel's Biography program that detailed the show's history.

text: In the late 1980s, the cast had a partial reunion in a series of commercials for IBM personal computers. All of the front-billed regulars (with the exceptions of Farrell, Stiers, and Stevenson) appeared in the spots over time.


document_title: The Merchant of Venice

question_text: who gets married in the merchant of venice

root

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

tag: ul

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.

tag: p

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]


document_title: Division of Korea

question_text: what did north korea do to south korea

question_tokens: what did north korea do to south korea

text: Division of Korea

text: Historical background[edit]

text: Korea under Japanese rule (1910–1945)[edit]

text: When the Russo-Japanese War ended in 1905 Korea became a nominal protectorate of, and was annexed in 1910 by, Japan. The Korean king Gojong was removed. In the following decades, nationalist and radical groups emerged, mostly in exile, to struggle for independence. Divergent in their outlooks and approaches, these groups failed to unite in one national movement.[1][2] The Korean Provisional Government in China failed to obtain widespread recognition.[3]

text: End of World War II[edit]

text: In November 1943, Franklin Roosevelt, Winston Churchill and Chiang Kai-shek met at the Cairo Conference to discuss what should happen to Japan's colonies, and agreed that Japan should lose all the territories it had conquered by force. In the declaration after this conference, Korea was mentioned for the first time. The three powers declared that they were, "mindful of the enslavement of the people of Korea, ... determined that in due course Korea shall become free and independent."[4][5]

text: At the Tehran Conference in November 1943 and the Yalta Conference in February 1945, the Soviet Union promised to join its allies in the Pacific War in two to three months after victory in Europe. On August 8, 1945, three months to the day after the end of hostilities in Europe, and two days after the atomic bomb was dropped on Hiroshima, the Soviet Union declared war on Japan.[6] Soviet troops advanced rapidly, and the US government became anxious that they would occupy the whole of Korea. On August 10, 1945 two young officers – Dean Rusk and Charles Bonesteel – were assigned to define an American occupation zone. Working on extremely short notice and completely unprepared, they used a National Geographic map to decide on the 38th parallel. They chose it because it divided the country approximately in half but would place the capital Seoul under American control. No experts on Korea were consulted. The two men were unaware that forty years before, Japan and pre-revolutionary Russia had discussed sharing Korea along the same parallel. Rusk later said that had he known, he "almost surely" would have chosen a different line.[7][8] The division placed sixteen million Koreans in the American zone and nine million in the Soviet zone.[9] To the surprise of the Americans, the Soviet Union immediately accepted the division. The agreement was incorporated into General Order No. 1 (approved on 17 August 1945) for the surrender of Japan.[10]

text: Soviet forces began amphibious landings in Korea by August 14 and rapidly took over the north-east of the country, and on August 16 they landed at Wonsan.[11] On August 24, the Red Army reached Pyongyang.[10]

text: General Abe Nobuyuki, the last Japanese Governor-General of Korea, had established contact with a number of influential Koreans since the beginning of August 1945 to prepare the hand-over of power. Throughout August, Koreans organized people's committee branches for the "Committee for the Preparation of Korean Independence" (CPKI, 조선건국준비위원회), headed by Lyuh Woon-hyung, a left-wing politician. On September 6, 1945, a congress of representatives was convened in Seoul and founded the short-lived People's Republic of Korea.[12][13]

text: Post-World War II[edit]

text: In December 1945, at the Moscow Conference, the Allies agreed that the Soviet Union, the US, the Republic of China, and Britain would take part in a trusteeship over Korea for up to five years in the lead-up to independence. Many Koreans demanded independence immediately; however, the Korean Communist Party, which was closely aligned with the Soviet Communist party, supported the trusteeship.[14][15] The US President Franklin Roosevelt had initiated the idea of the trusteeship for Korea in 1943.[16]

text: A Soviet-US Joint Commission met in 1946 and 1947 to work towards a unified administration, but failed to make progress due to increasing Cold War antagonism and to Korean opposition to the trusteeship.[17] Meanwhile, the division between the two zones deepened. The difference in policy between the occupying powers led to a polarization of politics, and a transfer of population between North and South.[18] In May 1946 it was made illegal to cross the 38th parallel without a permit.[19]

text: US occupation of South Korea[edit]

text: With the American government fearing Soviet expansion, and the Japanese authorities in Korea warning of a power vacuum, the embarkation date of the US occupation force was brought forward three times.[3]

text: On September 7, 1945, General Douglas MacArthur announced that Lieutenant General John R. Hodge was to administer Korean affairs, and Hodge landed in Incheon with his troops the next day. The Provisional Government of the Republic of Korea, which had operated from China, sent a delegation with three interpreters to Hodge, but he refused to meet with them.[20] Likewise, Hodge refused to recognize the newly formed People's Republic of Korea and its People's Committees, and outlawed it on 12 December.[21]

text: In September 1946, thousands of laborers and peasants rose up against the military government. This uprising was quickly defeated, and failed to prevent scheduled October elections for the South Korean Interim Legislative Assembly.

text: The ardent anti-communist Syngman Rhee, who had been the first president of the Provisional Government and later worked as a pro-Korean lobbyist in the US, became the most prominent politician in the South. On July 19, 1947, Lyuh Woon-hyung, the last senior politician committed to left-right dialogue, was assassinated by a right-winger.[22]

text: The government conducted a number of military campaigns against left-wing insurgents. Over the course of the next few years, between 30,000[23] and 100,000 people were killed.[24]

text: Soviet occupation of North Korea[edit]

text: When Soviet troops entered Pyongyang, they found a local branch of the Committee for the Preparation of Korean Independence operating under the leadership of veteran nationalist Cho Man-sik.[25] The Soviet Army allowed these "People's Committees" (which were friendly to the Soviet Union) to function. Colonel-General Terentii Shtykov set up the Soviet Civil Administration, taking control of the committees and placing communists in key positions.

text: In February 1946 a provisional government called the Provisional People's Committee was formed under Kim Il-sung, who had spent the last years of the war training with Soviet troops in Manchuria. Conflicts and power struggles ensued at the top levels of government in Pyongyang as different aspirants maneuvered to gain positions of power in the new government. In March 1946 the provisional government instituted a sweeping land-reform program: land belonging to Japanese and collaborator landowners was divided and redistributed to poor farmers.[26] Organizing the many poor civilians and agricultural laborers under the people's committees, a nationwide mass campaign broke the control of the old landed classes. Landlords were allowed to keep only the same amount of land as poor civilians who had once rented their land, thereby making for a far more equal distribution of land. The North Korean land reform was achieved in a less violent way than in China or in Vietnam. Official American sources stated: "From all accounts, the former village leaders were eliminated as a political force without resort to bloodshed, but extreme care was taken to preclude their return to power."[27] The farmers responded positively; many collaborators and former landowners fled to the south, where some of them obtained positions in the new South Korean government. According to the U.S. military government, 400,000 northern Koreans went south as refugees.[28]

text: Key industries were nationalized. The economic situation was nearly as difficult in the north as it was in the south, as the Japanese had concentrated agriculture in the south and heavy industry in the north.

text: Soviet forces departed in 1948.[29]

text: UN intervention and the formation of separate governments[edit]

text: With the failure of the Joint Commission to make progress, the US brought the problem before the United Nations in September 1947. The Soviet Union opposed UN involvement. At that time, the US had more influence over the UN than the USSR.[30] The UN passed a resolution on November 14, 1947, declaring that free elections should be held, foreign troops should be withdrawn, and a UN commission for Korea, the United Nations Temporary Commission on Korea (UNTCOK), should be created. The Soviet Union boycotted the voting and did not consider the resolution to be binding, arguing that the UN could not guarantee fair elections. In the absence of Soviet co-operation, it was decided to hold UN-supervised elections in the south only.[31][32] Some UNTCOK delegates felt that the conditions in the south gave unfair advantage to right-wing candidates, but they were overruled.[33]

text: The decision to proceed with separate elections was unpopular among many Koreans, who rightly saw it as a prelude to a permanent division of the country. General strikes in protest against the decision began in February 1948.[19] In April, Jeju islanders rose up against the looming division of the country. South Korean troops were sent to repress the rebellion. Tens of thousands of islanders were killed and by one estimate, 70% of the villages were burned by the South Korean troops.[34] The uprising flared up again with the outbreak of the Korean War.[35]

text: In April 1948, a conference of organizations from the north and the south met in Pyongyang, but the conference produced no results. The southern politicians Kim Koo and Kim Kyu-sik attended the conference and boycotted the elections in the south, as did other politicians and parties.[36][37] Kim Koo was assassinated the following year.[38]

text: On May 10, 1948 the south held a general election. On August 15, the "Republic of Korea" formally took over power from the U.S. military, with Syngman Rhee as the first president. In the North, the "Democratic People's Republic of Korea" was declared on September 9, with Kim Il-sung as prime minister.

text: On December 12, 1948, the United Nations General Assembly accepted the report of UNTCOK and declared the Republic of Korea to be the "only lawful government in Korea".[39]

text: Unrest continued in the South. In October 1948, the Yeosu–Suncheon Rebellion took place, in which some regiments rejected the suppression of the Jeju uprising and rebelled against the government.[40] In 1949, the Syngman Rhee government established the Bodo League in order to keep an eye on its political opponents. The majority of the Bodo League's members were innocent farmers and civilians who were forced into membership.[41] The registered members or their families were executed at the beginning of the Korean War. On December 24, 1949, South Korean Army massacred Mungyeong citizens who were suspected communist sympathizers or their family and affixed blame to communists.[42]

text: Korean War[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2017) (Learn how and when to remove this template message)

tag: table

text: This division of Korea, after more than a millennium of being unified, was seen as controversial and temporary by both regimes. From 1948 until the start of the civil war on June 25, 1950, the armed forces of each side engaged in a series of bloody conflicts along the border. In 1950, these conflicts escalated dramatically when North Korean forces invaded South Korea, triggering the Korean War. The North overran much of the South until pushed back by a US-led United Nations intervention. The UN forces then occupied most of the North, until Chinese forces intervened and restored communist control of the North.

text: The Korean Armistice Agreement was signed after three years of war. The two sides agreed to create a four-kilometer-wide buffer zone between the states, known as the Korean Demilitarized Zone (DMZ). This new border, reflecting the territory held by each side at the end of the war, crossed the 38th parallel diagonally.

text: Geneva Conference and NNSC[edit]

text: As dictated by the terms of the Korean Armistice, a Geneva Conference was held in 1954 on the Korean question. Despite efforts by many of the nations involved, the conference ended without a declaration for a unified Korea.

text: The Armistice established a Neutral Nations Supervisory Commission (NNSC) which was tasked to monitor the Armistice. Since 1953, members of the Swiss[43] and Swedish[44] Armed Forces have been members of the NNSC stationed near the DMZ.

text: Post-armistice relations[edit]

text: Since the war, Korea has remained divided along the DMZ. North and South have remained in a state of conflict, with the opposing regimes both claiming to be the legitimate government of the whole country. Sporadic negotiations have failed to produce lasting progress towards reunification.[45]


document_title: Reducing sugar

question_text: what functional group in glucose has reducing properties

text: Reducing sugar

text: Terminology[edit]

text: Oxidation-reduction[edit]

text: A reducing sugar is one that reduces another compound and is itself oxidized; that is, the carbonyl carbon of the sugar is oxidized to a carboxyl group.[2]

text: Aldoses and ketoses[edit]

text: A sugar is classified as a reducing sugar only if it has an open-chain form with an aldehyde group or a free hemiacetal group.[3] Monosaccharides which contain an aldehyde group are known as aldoses, and those with a ketone group are known as ketoses. The aldehyde can be oxidized via a redox reaction in which another compound is reduced. Thus, a reducing sugar is one that reduces certain chemicals. Sugars with ketone groups in their open chain form are capable of isomerizing via a series of tautomeric shifts to produce an aldehyde group in solution. Therefore, ketone-bearing sugars like fructose are considered reducing sugars but it is the isomer containing an aldehyde group which is reducing since ketones cannot be oxidized without decomposition of the sugar. This type of isomerization is catalyzed by the base present in solutions which test for the presence of aldehydes. Aldoses or aldehyde-bearing sugars are reducing also because during oxidation of aldoses, there are certain oxidizing agents that are reduced.[3]

text: Reducing end[edit]

text: The reducing end of a disaccharide is the monosaccharide with a free anomeric carbon that is not involved in a glycosidic bond and is thus capable of converting to the open-chain form. Recall that disaccharides consist of two monosaccharides and may be either reducing or nonreducing. However, even a reducing disaccharide will only have one reducing end, as disaccharides are held together by glycosidic bonds, which consist of at least one anomeric carbon. With one anomeric carbon unable to convert to the open-chain form, only the free anomeric carbon is available to reduce another compound. A nonreducing disaccharide has both anomeric carbons tied up in the glycosidic bond.[4]

text: Similarly, reducing polysaccharides have only one reducing end, assuming that there is no branching.

text: Examples[edit]

text: All monosaccharides are reducing sugars because all monosaccharides have an aldehyde group (if they are aldoses) or can tautomerize in solution to form an aldehyde group (if they are ketoses).[5] This includes common monosaccharides like galactose, glucose, glyceraldehyde, fructose, ribose, and xylose.

text: Many disaccharides, like cellobiose, lactose and maltose, also have a reducing form, as one of the two units may have an open-chain form with an aldehyde group.[6] However, sucrose and trehalose, in which the anomeric carbons of the two units are linked together, are nonreducing disaccharides since neither of the rings is capable of opening.[5]

text: In glucose polymers such as starch and starch-derivatives like glucose syrup, maltodextrin and dextrin the macromolecule begins with a reducing sugar, a free aldehyde. More hydrolyzed starch contains more reducing sugars. The percentage of reducing sugars present in these starch derivatives is called dextrose equivalent (DE).

text: Glycogen is a highly branched polymer of glucose that serves as the main form of carbohydrate storage in animals. It is a reducing sugar with only one reducing end; no matter how large the glycogen molecule is or how many branches it has, each branch ends in a nonreducing sugar residue. When glycogen is broken down to be used as an energy source, glucose units are removed one at a time from the nonreducing ends by enzymes.[2]

text: Characterization[edit]

text: Several qualitative tests are used to detect the presence of reducing sugars. Two of them use solutions of copper(II) ions: Benedict's reagent (Cu2+ in aqueous sodium citrate) and Fehling's solution (Cu2+ in aqueous sodium tartrate).[7] The reducing sugar reduces the copper(II) ions in these test solutions to copper(I), which then forms a brick red copper(I) oxide precipitate. Reducing sugars can also be detected with the addition of Tollen's reagent, which consist of silver ions (Ag+) in aqueous ammonia.[7] When Tollen's reagent is added to an aldehyde, it precipitates silver metal, often forming a silver mirror on clean glassware.[3]

text: 3,5-dinitrosalicylic acid is another test reagent, one that allows quantitative detection. It reacts with a reducing sugar to form 3-amino-5-nitrosalicylic acid, which can be measured by spectrophotometry to determine the amount of reducing sugar that was present.[8]

text: Sugars having acetal or ketal linkages are not reducing sugars, as they do not have free aldehyde chains. They therefore do not react with any of the reducing-sugar test solutions. However, a non-reducing sugar can be hydrolyzed using dilute hydrochloric acid. After hydrolysis and neutralization of the acid, the product may be a reducing sugar that gives normal reactions with the test solutions.

text: All carbohydrates respond positively to Molisch's reagent but the test has a faster rate when it comes to monosaccharides.

text: Importance in medicine[edit]

text: Fehling's solution was used for many years as a diagnostic test for diabetes, a disease in which blood glucose levels are dangerously elevated by a failure to produce enough insulin (Type 1 diabetes) or by an inability to respond to insulin (Type 2 diabetes). By measuring the amount of oxidizing agent (in this case, Fehling's solution) reduced by glucose, it is possible to determine the concentration of glucose in the blood or in the urine. This then enables the right amount of insulin to be injected to bring blood glucose levels back into the normal range.[2]

text: Importance in food chemistry[edit]

text: Maillard reaction[edit]

text: The carbonyl groups of reducing sugars react with the amino groups of amino acids in the Maillard reaction, a complex series of reactions that occurs when cooking food.[9] Maillard reaction products (MRPs) are diverse; some are beneficial to human health, while others are toxic. However, the overall effect of the Maillard reaction is to decrease the nutritional value of food.[10] One example of a toxic product of the Mailard reaction is acrylamide, a neurotoxin and possible carcinogen that is formed from free asparagine and reducing sugars when cooking starchy foods at high temperatures (above 120°C).[11]

text: Food quality[edit]

text: The level of reducing sugars in wine, juice, and sugarcane are indicative of the quality of these food products, and monitoring the levels of reducing sugars during food production has improved market quality. The conventional method for doing so is the Lane-Eynon method, which involves titrating the reducing sugar with copper(II) in Fehling's solution in the presence of methylene blue, a common redox indicator. However, it is inaccurate, expensive, and sensitive to impurities.[12]


document_title: List of The Thundermans characters

question_text: what is billy's real name from the thundermans

question_tokens: what is billy 's real name from the thundermans

text: List of The Thundermans characters

text: Main[edit]

text: Phoebe Thunderman[edit]

text: Phoebe Thunderman (Kira Kosarin) is a superheroine twin to Max and older sister to Billy, Nora, and Chloe. Her superhero alias is Thunder Girl. She is very responsible, a straight A student, and tries to play by the "no powers" rule. She has telekinesis, freeze breath, and heat breath. In "Thundersense", Phoebe develops a new ability called Thundersense, which warns her if she and others are in danger. Since the beginning of season 3, Phoebe has been training to become a superhero and officially became the superhero, Thunder Girl in the special "Thundermans: Secret Revealed". However, in "Come What Mayhem," during an attempt to stop one of Max's former pranks from going off, Phoebe accidentally absorbed Dark Mayhem's powers and turned evil. At the beginning of the series, Phoebe is 14 years old.[1]

text: Max Thunderman[edit]

text: Max Thunderman (portrayed by Jack Griffo) is also one of the main characters. He is the antagonist-turned-anti-hero, being the twin brother Phoebe and older brother to Billy, Nora, and Chloe. Despite being raised within a family of superheroes, Max originally aspired to become supervillain for the first three seasons. In the Season 3 finale, he finally had a change of heart and made a life-changing decision to abandon the dark side and become a fighter for justice, using his powers and high-tech gadgets for the greater good. The fourth and final season focuses on Max readjusting to his new daily life as a superhero instead of an evil-doer, as he tackles challenges working with Phoebe in Z-Force training, which jeopardizes his friendship with Dr. Colosso. His basement bedroom serves as his secret lair, filled with high-tech gadgets and posters of The Villain League (especially Dark Mayhem). As of the fourth and final season, his lair now has posters of the Z-Force, and other superhero posters. His lair is accessible through a slide leading to his bed underneath a tea table next to the couch in the living room and it is also where he keeps his best friend and mentor, Dr. Colosso, a supervillain Thunder Man turned into a rabbit. Max has the same superpowers as Phoebe: telekinesis, ice breath, and heat breath. , and like his twin sister, he is 14 at the beginning of the series.[1]

text: Nora Thunderman[edit]

text: Nora Thunderman (Addison Riecke) is the second youngest of the Thunderman family and a mischievous little sister to Phoebe, Max, and Billy and older sister to Chloe. Her superpower is laser vision. She can easily recruit Billy into any scheme of hers, as she scares him a bit.

text: Billy Thunderman[edit]

text: Billy Thunderman (Diego Velazquez) is the third-born Thunderman child. He is an energetic little brother to Phoebe and Max and older brother to Nora and Chloe. His superpower is super-speed. In one episode, it was revealed that Barb gave birth to Billy in the air while her husband was transporting her to a hospital, implying that Billy likely hit his head after birth, which is probably why he is sometimes unintelligent.

text: Hank Thunderman[edit]

text: Hank Thunderman (Chris Tallman) is the husband to Barb and father to Phoebe, Max, Billy, Nora, and Chloe. His superhero alias is Thunder Man. His superpowers are super-strength and flight. Hank has now half-unwillingly retired as a superhero in order to give his kids a stable and normal home. He still uses his powers to fly to places around the world.

text: Barb Thunderman[edit]

text: Barb Thunderman (Rosa Blasi) is the wife to Hank and mother to Phoebe, Max, Billy, Nora, and Chloe. Her superhero alias is Electress. Barb's superpower is controlling electricity and lightning. Unlike her husband, she is completely okay with leaving her superheroine life behind. Barb does, however, agree with Hank that Max is going through a supervillain "phase" that needs to end quickly.

text: Chloe Thunderman[edit]

text: Chloe Thunderman (Maya Le Clark) is the youngest Thunderman child and baby sister to Phoebe, Max, Billy, and Nora. Barb gave birth to her in "A Hero Is Born". Chloe's babyhood superpower was making bubbles, and her permanent superpower is teleportation.

text: While Chloe was a recurring character in season three, she was promoted to the main cast in season 4.

text: Recurring[edit]

text: Cherry[edit]

text: Cherry Seinfeld[2] (Audrey Whitby) is Phoebe's best friend who is bubbly, tech-savvy and dimwitted. She was originally unaware of the family's superpowers, learning about them in "A Hero Is Born".

text: Dr. Colosso[edit]

text: Dr. Colosso (voiced by Dana Snyder) is one of the world's greatest villains of the Villain League and Hank's former nemesis until Hank transformed him into a rabbit while still Thunder Man. He is kept in Max's bedroom. It is shown that Dr. Colosso likes Max very much. In "A Hero Is Born", Dr. Colosso was temporarily turned back to his human form so he could go get an award which was actually a plot by fellow villains King Crab, Lady Web, and Scalestro to get him kicked out due to being inactive in villainy. Though the three Villain League members were unaware about him having been trapped in rabbit form all this time. Other times when Dr. Colosso was turned human was when Phoebe had him pose as her uncle on family game night and when he stole the animalizer in a plot to disrupt Hank and Barb's wedding vow renewal similar to when he disrupted their first wedding.

text: His puppet is performed by Stephen, Edward, & Charles Chiodo where they were later assisted by Kevin Carlson.

text: Cousin Blobbin[edit]

text: Cousin Blobbin (Harvey Guillen) is the sidekick of Barb's deceased millionaire Uncle Wilfred, who operated as the All American Blob, and the cousin of the Thunderman children. In his will, Wilfred left his enormous fortune and mansion for Blobbin. Blobbin is very sensitive, but at the same time is extremely devoted to family and usually helps the Thundermans in whatever way he can.

text: Mrs. Wong[edit]

text: Mrs. Wong (Helen Hong) is the aunt of Darcy and the owner of a pizza restaurant who is never nice to anyone, especially to the Thundermans. In her debut, Phoebe and Max take up jobs in her restaurant, but end up getting fired after they inadvertently destroy her kitchen, thus igniting her contempt for the twins and their family. In "Thundermans: Secret Revealed", she exposes the Thundermans to the people in Hiddenville upon figuring out. It is revealed in this episode that her first name is 'Olympia'. In "Thundermans: Banished", her pizza restaurant is accidentally destroyed by Phoebe and Max's attempts to stop an explosion causing Super President Kickbutt to relocate the Thundermans to Antarctica and reassign their post to Falcon Man's family. She later rebuilt it only for Candi Falconman to crash through her roof. She is among the Hiddenville residents to be fooled by Super President Kickbutt's fake power-removal on the Thundermans.

text: Oyster[edit]

text: Oyster (Tanner Stine) is a guitarist boy who is in Max's new band as of "Pheebs Will Rock You". Phoebe initially had a crush on him until she learned that he is somewhat crazy.

text: Gideon[edit]

text: Gideon (Kenny Ridwan) is a boy in Max's band. He has feelings toward Max's mom, which leaves everyone grossed out, and later begins to develop feelings toward Phoebe.

text: Wolfgang[edit]

text: Wolfgang (Jake Borelli) is a drum player of Max's band.

text: Madison[edit]

text: Madison (Brooke Sorenson) is a cheerleader at Hiddenville High. She is the head of the cheerleading squad and often calls for cheer chats with the other cheerleaders.

text: Sarah[edit]

text: Sarah (Keely Marshall) is a girl who also has an obsessive crush on Max.

text: Principal Bradford[edit]

text: Principal Tad Bradford[3] (Jeff Meacham) is Hiddenville High's principal. He is shown to hate his job, have a sad life, and dislike the Thunderman family because of Max's pranks.

text: In "21 Dump Street," it is revealed that Principal Bradford lives at school where he has a reclining bed behind some lockers. It's also revealed that he hasn't gotten over his first break-up, which is the reason for his sad and depressing life.

text: Maddy[edit]

text: Maddy (Gabrielle Elyse) is a member of Madison's cheerleading squad who is one of Phoebe's friends.

text: Link[edit]

text: Link Evilman (Barrett Carnahan) is Phoebe's boyfriend who is the son of Hank's former supervillain nemesis, Evilman. Eventually their relationship ends when Link begins to use his powers as a hero but ends up assigned in Hong Kong by the Hero League. His superpower is elasticity.

text: Super President Kickbutt[edit]

text: Super President Kickbutt (Daniele Gaither) is the president of the Hero League. She alerts the Thundermans of any supervillains in the area and also presents superheroes that graduated from the Hero League Academy their capes.

text: Dark Mayhem[edit]

text: Dark Mayhem (performed by Omid Zader, voiced by Jamieson Price) is a full-costumed and the world's dangerous villain who is an elite member of the Villain League. Dark Mayhem was responsible for the origin of Evilman. Max idolized him up to "Thundermans: Secrets Revealed" where he, Fairy Pinch-ess, Strongdor, and Son of Scalestro plan to have Max use a special orb to drain Thundergirl's powers. He was defeated by Phoebe and Max, who drained Dark Mayhem of his powers, and thrown in prison.

text: In "Thunder in Paradise," Dark Mayhem is shown incarcerated in Metroburg Superjail with Strongdor as his cellmate much to Dark Mayhem's annoyance. Phoebe visits Dark Mayhem to consult him into getting rid of his abilities after the incident in "Come What Mayhem." Dark Mayhem tells her that she can't and to embrace him to take over the world while directing her to where they can find his former robot sidekick Destructo. Phoebe states that she will be more evil than him. After Phoebe is freed from Dark Mayhem's powers, Hank throws Destructo's head which lands in Dark Mayhem's cell at the time he was playing checkers with Strongdor. Dark Mayhem then grunts in dismay as Destructo's head and Strongdor argue over who gets the top bunk.

text: Allison[edit]

text: Allison (Ryan Newman) is Hiddenville High's do-gooder who invests in every single social cause. She is Max's girlfriend. In "21 Dump Street," Allison breaks up with Max.

text: Grandma Wong[edit]

text: A former owner of ",Splat burger" and Mrs Wongs Grandmother. She is no kinder then Mrs Wong and is in love with general Bradford.

text: General Bradford[edit]

text: A former general of Hiddenville he is as much of a jerk as principal Bradford and is in love with Grandma Wong