document_title: The Marriage of Figaro

question_text: where does the marriage of figaro take place

text: The Marriage of Figaro

text: Composition history[edit]

text: Beaumarchais's earlier play The Barber of Seville had already made a successful transition to opera in a version by Paisiello. Beaumarchais's Mariage de Figaro was at first banned in Vienna; the Emperor, Joseph II, stated that "since the piece contains much that is objectionable, I therefore expect that the Censor shall either reject it altogether, or at any rate have such alterations made in it that he shall be responsible for the performance of this play and for the impression it may make", after which the Austrian Censor duly forbade performing the German version of the play.[2][3] Mozart's librettist managed to get official approval for an operatic version which eventually achieved great success.

text: The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives.[4] Contrary to the popular myth, the libretto was approved by the Emperor before any music was written by Mozart.[5]

text: The Imperial Italian opera company paid Mozart 450 florins for the work;[6] this was three times his (low) yearly salary when he had worked as a court musician in Salzburg.[7] Da Ponte was paid 200 florins.[6]

text: Performance history[edit]

text: Figaro premiered at the Burgtheater in Vienna on 1 May 1786, with a cast listed in the "Roles" section below. Mozart himself directed the first two performances, conducting seated at the keyboard, the custom of the day. Later performances were conducted by Joseph Weigl.[8] The first production was given eight further performances, all in 1786.[9]

text: Although the total of nine performances was nothing like the frequency of performance of Mozart's later success, The Magic Flute, which for months was performed roughly every other day,[7] the premiere is generally judged to have been a success. The applause of the audience on the first night resulted in five numbers being encored, seven on 8 May.[10] Joseph II, who, in addition to his empire, was in charge of the Burgtheater,[11] was concerned by the length of the performance and directed his aide Count Rosenberg as follows:

text: To prevent the excessive duration of operas, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces, I deem the enclosed notice to the public (that no piece for more than a single voice is to be repeated) to be the most reasonable expedient. You will therefore cause some posters to this effect to be printed.[12]

text: The requested posters were printed up and posted in the Burgtheater in time for the third performance on 24 May.[13]

text: The newspaper Wiener Realzeitung carried a review of the opera in its issue of 11 July 1786. It alludes to interference probably produced by paid hecklers, but praises the work warmly:

text: Mozart's music was generally admired by connoisseurs already at the first performance, if I except only those whose self-love and conceit will not allow them to find merit in anything not written by themselves.

text: The public, however ... did not really know on the first day where it stood. It heard many a bravo from unbiassed connoisseurs, but obstreperous louts in the uppermost storey exerted their hired lungs with all their might to deafen singers and audience alike with their St! and Pst; and consequently opinions were divided at the end of the piece.

text: Apart from that, it is true that the first performance was none of the best, owing to the difficulties of the composition.

text: But now, after several performances, one would be subscribing either to the cabal or to tastelessness if one were to maintain that Herr Mozart's music is anything but a masterpiece of art.

text: The Hungarian poet Ferenc Kazinczy was in the audience for a May performance, and later remembered the powerful impression the work made on him:

text: [Nancy] Storace [see below], the beautiful singer, enchanted eye, ear, and soul. – Mozart directed the orchestra, playing his fortepiano; the joy which this music causes is so far removed from all sensuality that one cannot speak of it. Where could words be found that are worthy to describe such joy?[15]

text: Joseph Haydn appreciated the opera greatly, writing to a friend that he heard it in his dreams.[16] In summer 1790 Haydn attempted to produce the work with his own company at Eszterháza, but was prevented from doing so by the death of his patron, Nikolaus Esterházy.[17]

text: Other early performances[edit]

text: The Emperor requested a special performance at his palace theater in Laxenburg, which took place in June 1786.[18]

text: The opera was produced in Prague starting in December 1786 by the Pasquale Bondini company. This production was a tremendous success; the newspaper Prager Oberpostamtszeitung called the work "a masterpiece",[19] and said "no piece (for everyone here asserts) has ever caused such a sensation."[20] Local music lovers paid for Mozart to visit Prague and hear the production; he listened on 17 January 1787, and conducted it himself on the 22nd.[21] The success of the Prague production led to the commissioning of the next Mozart/Da Ponte opera, Don Giovanni, premiered in Prague in 1787; see Mozart and Prague.

text: The work was not performed in Vienna during 1787 or 1788, but starting in 1789 there was a revival production.[22] For this occasion Mozart replaced both arias of Susanna with new compositions, better suited to the voice of Adriana Ferrarese del Bene who took the role. For Deh vieni he wrote Al desio di chi t'adora – "[come and fly] To the desire of [the one] who adores you" (K. 577) in July 1789, and for Venite, inginocchiatevi he wrote Un moto di gioia – "A joyous emotion", (K. 579), probably in mid-1790.[23]

text: Roles[edit]

text: The voice types which appear in this table are those listed in the critical edition published in the Neue Mozart-Ausgabe.[24] In modern performance practice, Cherubino is usually assigned to a mezzo-soprano (sometimes also Marcellina), Count Almaviva to a baritone, and Figaro to a bass-baritone.[25]

text:
Role
Voice type
Premiere cast, 1 May 1786
(Conductor: W. A. Mozart)

Count Almaviva
bass
Stefano Mandini

Countess Rosina Almaviva
soprano
Luisa Laschi

Susanna, the countess's maid
soprano
Nancy Storace

Figaro, personal valet to the count
bass
Francesco Benucci

Cherubino, the Count's page
soprano (en travesti)
Dorotea Bussani

Marcellina, Doctor Bartolo's housekeeper
soprano
Maria Mandini

Bartolo, doctor from Seville, also a practicing lawyer
bass
Francesco Bussani

Basilio, music teacher
tenor
Michael Kelly

Don Curzio, judge
tenor
Michael Kelly

Barbarina, Antonio's daughter
soprano
Anna Gottlieb

Antonio, the Count's gardener, Susanna's uncle
bass
Francesco Bussani

Chorus of peasants, villagers, and servants

text: Synopsis[edit]

text: The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through Figaro's and Susanna's clever manipulations, the Count's love for his Countess is finally restored.

text: Overture[edit]

text:
Overture

Performed by Musopen Symphony (4:00)

Problems playing this file? See media help.

text: The overture is in the key of D major; the tempo marking is presto; i.e. very fast. The work is well known and often played independently as a concert piece.

text: Act 1[edit]

text: A partly furnished room, with a chair in the centre.

text: Figaro happily measures the space where the bridal bed will fit while Susanna tries on her wedding bonnet in front of a mirror (in the present day, a more traditional French floral wreath or a modern veil are often substituted, often in combination with a bonnet, so as to accommodate what Susanna happily describes as her wedding cappellino). (Duet: Cinque, dieci, venti – "Five, ten, twenty"). Figaro is quite pleased with their new room; Susanna far less so (Duettino: Se a caso madama la notte ti chiama – "If the Countess should call you during the night"). She is bothered by its proximity to the Count's chambers: it seems he has been making advances toward her and plans on exercising his droit du seigneur, the purported feudal right of a lord to bed a servant girl on her wedding night before her husband can sleep with her. The Count had the right abolished when he married Rosina, but he now wants to reinstate it. Figaro is livid and plans to outwit the Count (Cavatina: Se vuol ballare signor contino – "If you want to dance, sir count").

text: Figaro departs, and Dr. Bartolo arrives with Marcellina, his old housekeeper. Marcellina has hired Bartolo as legal counsel, since Figaro had once promised to marry her if he should default on a loan she had made to him, and she intends to enforce that promise. Bartolo, still irked at Figaro for having facilitated the union of the Count and Rosina (in The Barber of Seville), promises, in comical lawyer-speak, to help Marcellina (aria: La vendetta – "Vengeance").

text: Bartolo departs, Susanna returns, and Marcellina and Susanna share an exchange of very politely delivered sarcastic insults (duet: Via resti servita, madama brillante – "After you, brilliant madam"). Susanna triumphs in the exchange by congratulating her rival on her impressive age. The older woman departs in a fury.

text: Cherubino then arrives and, after describing his emerging infatuation with all women, particularly with his "beautiful godmother" the Countess (aria: Non so più cosa son – "I don't know anymore what I am"), asks for Susanna's aid with the Count. It seems the Count is angry with Cherubino's amorous ways, having discovered him with the gardener's daughter, Barbarina, and plans to punish him. Cherubino wants Susanna to ask the Countess to intercede on his behalf. When the Count appears, Cherubino hides behind a chair, not wanting to be seen alone with Susanna. The Count uses the opportunity of finding Susanna alone to step up his demands for favours from her, including financial inducements to sell herself to him. As Basilio, the music teacher, arrives, the Count, not wanting to be caught alone with Susanna, hides behind the chair. Cherubino leaves that hiding place just in time, and jumps onto the chair while Susanna scrambles to cover him with a dress.

text: When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place (terzetto: Cosa sento! – "What do I hear!"). He disparages the "absent" page's incessant flirting and describes how he caught him with Barbarina under the kitchen table. As he lifts the dress from the chair to illustrate how he lifted the tablecloth to expose Cherubino, he finds ... the self same Cherubino! The count is furious, but is reminded that the page overheard the Count's advances on Susanna, something that the Count wants to keep from the Countess. The young man is ultimately saved from punishment by the entrance of the peasants of the Count's estate, a preemptive attempt by Figaro to commit the Count to a formal gesture symbolizing his promise that Susanna would enter into the marriage unsullied. The Count evades Figaro's plan by postponing the gesture. The Count says that he forgives Cherubino, but he dispatches him to his own regiment in Seville for army duty, effective immediately. Figaro gives Cherubino mocking advice about his new, harsh, military life from which all luxury, and especially women, will be totally excluded (aria: Non più andrai – "No more gallivanting").[27]

text: Act 2[edit]

text: A handsome room with an alcove, a dressing room on the left, a door in the background (leading to the servants' quarters) and a window at the side.

text:
No. 11 Cavatina Porgi, amor

Provided by Musopen (3:36)

Problems playing this file? See media help.

text: The Countess laments her husband's infidelity (aria: Porgi, amor, qualche ristoro – "Grant, love, some comfort"). Susanna comes in to prepare the Countess for the day. She responds to the Countess's questions by telling her that the Count is not trying to seduce her; he is merely offering her a monetary contract in return for her affection. Figaro enters and explains his plan to distract the Count with anonymous letters warning him of adulterers. He has already sent one to the Count (via Basilio) that indicates that the Countess has a rendezvous of her own that evening. They hope that the Count will be too busy looking for imaginary adulterers to interfere with Figaro and Susanna's wedding. Figaro additionally advises the Countess to keep Cherubino around. She should dress him up as a girl and lure the Count into an illicit rendezvous where he can be caught red-handed. Figaro leaves.

text:
Voi che sapete cosa è amor

Performed in 1910 by Nellie Melba (3:24)

Problems playing this file? See media help.

text: Cherubino arrives, sent in by Figaro and eager to co-operate. Susanna urges him to sing the song he wrote for the Countess (aria: Voi che sapete che cosa è amor – "You ladies who know what love is, is it what I'm suffering from?"). After the song, the Countess, seeing Cherubino's military commission, notices that the Count was in such a hurry that he forgot to seal it with his signet ring (which would be necessary to make it an official document).

text: Susanna and the Countess then begin with their plan. Susanna takes off Cherubino´s cloak, and she begins to comb his hair and teach him to behave and walk like a woman (aria of Susanna: Venite, inginocchiatevi – “Come, kneel down before me”). Then she leaves the room through a door at the back to get the dress for Cherubino, taking his cloak with her.

text: While the Countess and Cherubino are waiting for Susanna to come back, they suddenly hear the Count arriving. Cherubino hides in the closet. The Count demands to be allowed into the room and the Countess reluctantly unlocks the door. The Count enters and hears a noise from the closet. He tries to open it, but it is locked. The Countess tells him it is only Susanna, trying on her wedding dress. At this moment, Susanna re-enters unobserved, quickly realizes what's going on, and hides behind a couch (Trio: Susanna, or via, sortite – "Susanna, come out!"). The Count shouts for her to identify herself by her voice, but the Countess orders her to be silent. Furious and suspicious, the Count leaves, with the Countess, in search of tools to force the closet door open. As they leave, he locks all the bedroom doors to prevent the intruder from escaping. Cherubino and Susanna emerge from their hiding places, and Cherubino escapes by jumping through the window into the garden. Susanna then takes his place in the closet, vowing to make the Count look foolish (duet: Aprite, presto, aprite – "Open the door, quickly!").

text: The Count and Countess return. The Countess, thinking herself trapped, desperately admits that Cherubino is hidden in the closet. The enraged Count draws his sword, promising to kill Cherubino on the spot, but when the door is opened, they both find to their astonishment only Susanna (Finale: Esci omai, garzon malnato – "Come out of there, you ill-born boy!"). The Count demands an explanation; the Countess tells him it is a practical joke, to test his trust in her. Shamed by his jealousy, the Count begs for forgiveness. When the Count presses about the anonymous letter, Susanna and the Countess reveal that the letter was written by Figaro, and then delivered by Basilio. Figaro then arrives and tries to start the wedding festivities, but the Count berates him with questions about the anonymous note. Just as the Count is starting to run out of questions, Antonio the gardener arrives, complaining that a man has jumped out of the window and broken his flowerpots. The Count immediately realizes that the jumping fugitive was Cherubino, but Figaro claims it was he himself who jumped out of the window, and claims to have injured his foot while landing. Figaro, Susanna, and the Countess attempt to discredit Antonio as a chronic drunkard whose constant inebriation makes him unreliable and prone to fantasy, but Antonio brings forward a paper which, he says, was dropped by the escaping man. The Count orders Figaro to prove he was the jumper by identifying the paper (which is, in fact, Cherubino's appointment to the army). Figaro is at a loss, but Susanna and the Countess manage to signal the correct answers, and Figaro identifies the document. His victory is, however, short-lived: Marcellina, Bartolo, and Basilio enter, bringing charges against Figaro and demanding that he honor his contract to marry Marcellina. The Count happily postpones the wedding in order to investigate the charge.

text: Act 3[edit]

text: A rich hall, with two thrones, prepared for the wedding ceremony.

text: The Count mulls over the confusing situation. At the urging of the Countess, Susanna enters and gives a false promise to meet the Count later that night in the garden (duet: Crudel! perchè finora – "Cruel girl, why did you make me wait so long"). As Susanna leaves, the Count overhears her telling Figaro that he has already won the case. Realizing that he is being tricked (recitative and aria: Hai già vinta la causa! ... Vedrò, mentr'io sospiro – "You've already won the case!" ... "Shall I, while sighing, see"), he resolves to punish Figaro by forcing him to marry Marcellina.

text: Figaro's hearing follows, and the Count's judgment is that Figaro must marry Marcellina. Figaro argues that he cannot get married without his parents' permission, and that he does not know who his parents are, because he was stolen from them when he was a baby. The ensuing discussion reveals that Figaro is Rafaello, the long-lost illegitimate son of Bartolo and Marcellina. A touching scene of reconciliation occurs. During the celebrations, Susanna enters with a payment to release Figaro from his debt to Marcellina. Seeing Figaro and Marcellina in celebration together, Susanna mistakenly believes that Figaro now prefers Marcellina to her. She has a tantrum and slaps Figaro's face. Marcellina explains, and Susanna, realizing her mistake, joins the celebration. Bartolo, overcome with emotion, agrees to marry Marcellina that evening in a double wedding (sextet: Riconosci in questo amplesso – "Recognize in this embrace").

text: All leave, before Barbarina, Antonio's daughter, invites Cherubino back to her house so they can disguise him as a girl. The Countess, alone, ponders the loss of her happiness (aria: Dove sono i bei momenti – "Where are they, the beautiful moments"). Meanwhile, Antonio informs the Count that Cherubino is not in Seville, but in fact at his house. Susanna enters and updates her mistress regarding the plan to trap the Count. The Countess dictates a love letter for Susanna to send to the Count, which suggests that he meet her (Susanna) that night, "under the pines". The letter instructs the Count to return the pin which fastens the letter (duet: Sull'aria...che soave zeffiretto – "On the breeze... What a gentle little zephyr").

text: A chorus of young peasants, among them Cherubino disguised as a girl, arrives to serenade the Countess. The Count arrives with Antonio and, discovering the page, is enraged. His anger is quickly dispelled by Barbarina, who publicly recalls that he had once offered to give her anything she wants, and asks for Cherubino's hand in marriage. Thoroughly embarrassed, the Count allows Cherubino to stay.

text: The act closes with the double wedding, during the course of which Susanna delivers her letter to the Count (Finale: Ecco la marcia – "Here is the procession"). Figaro watches the Count prick his finger on the pin, and laughs, unaware that the love-note is an invitation for the Count to tryst with Figaro's own bride Susanna. As the curtain drops, the two newlywed couples rejoice.

text: Act 4[edit]

text: The garden, with two pavilions. Night.

text: Following the directions in the letter, the Count has sent the pin back to Susanna, giving it to Barbarina. Unfortunately, Barbarina has lost it (aria: L'ho perduta, me meschina – "I have lost it, poor me"). Figaro and Marcellina see Barbarina, and Figaro asks her what she is doing. When he hears the pin is Susanna's, he is overcome with jealousy, especially as he recognises the pin to be the one that fastened the letter to the Count. Thinking that Susanna is meeting the Count behind his back, Figaro complains to his mother, and swears to be avenged on the Count and Susanna, and on all unfaithful wives. Marcellina urges caution, but Figaro will not listen. Figaro rushes off, and Marcellina resolves to inform Susanna of Figaro's intentions. Marcellina sings an aria lamenting that male and female wild beasts get along with each other, but rational humans can't (aria: Il capro e la capretta – "The billy-goat and the she-goat"). (This aria and Basilio's ensuing aria are usually omitted from performances due to their relative unimportance, both musically and dramatically; however, some recordings include them.)

text: Motivated by jealousy, Figaro tells Bartolo and Basilio to come to his aid when he gives the signal. Basilio comments on Figaro's foolishness and claims he was once as frivolous as Figaro was. He tells a tale of how he was given common sense by "Donna Flemma" ("Dame Prudence") and learned the importance of not crossing powerful people. (aria: In quegli anni – "In those years"). They exit, leaving Figaro alone. Figaro muses bitterly on the inconstancy of women (recitative and aria: Tutto è disposto ... Aprite un po' quegli occhi – "Everything is ready ... Open those eyes a little"). Susanna and the Countess arrive, each dressed in the other's clothes. Marcellina is with them, having informed Susanna of Figaro's suspicions and plans. After they discuss the plan, Marcellina and the Countess leave, and Susanna teases Figaro by singing a love song to her beloved within Figaro's hearing (aria: Deh vieni, non tardar – "Oh come, don't delay"). Figaro is hiding behind a bush and, thinking the song is for the Count, becomes increasingly jealous.

text: The Countess arrives in Susanna's dress. Cherubino shows up and starts teasing "Susanna" (really the Countess), endangering the plan. (Finale: Pian pianin le andrò più presso - "Softly, softly I'll approach her") Fortunately, the Count gets rid of him by striking out in the dark. His punch actually ends up hitting Figaro, but the point is made and Cherubino runs off.

text: The Count now begins making earnest love to "Susanna" (really the Countess), and gives her a jeweled ring. They go offstage together, where the Countess dodges him, hiding in the dark. Onstage, meanwhile, the real Susanna enters, wearing the Countess' clothes. Figaro mistakes her for the real Countess, and starts to tell her of the Count's intentions, but he suddenly recognizes his bride in disguise. He plays along with the joke by pretending to be in love with "my lady", and inviting her to make love right then and there. Susanna, fooled, loses her temper and slaps him many times. Figaro finally lets on that he has recognized Susanna's voice, and they make peace, resolving to conclude the comedy together (Pace, pace, mio dolce tesoro - "Peace, peace, my sweet treasure").

text: The Count, unable to find "Susanna", enters frustrated. Figaro gets his attention by loudly declaring his love for "the Countess" (really Susanna). The enraged Count calls for his people and for weapons: his servant is seducing his wife. (Ultima Scena: Gente, gente, all'armi, all'armi – "Gentlemen, to arms!") Bartolo, Basilio and Antonio enter with torches as, one by one, the Count drags out Cherubino, Barbarina, Marcellina and the "Countess" from behind the pavilion.

text: All beg him to forgive Figaro and the "Countess", but he loudly refuses, repeating "no" at the top of his voice, until finally the real Countess re-enters and reveals her true identity. The Count, seeing the ring he had given her, realizes that the supposed Susanna he was trying to seduce was actually his wife. Ashamed and remorseful, he kneels and pleads for forgiveness himself (Contessa perdono! – "Countess, forgive me!"). The Countess, more kind than he (Più docile io sono – "I am more mild"), forgives her husband and all are contented. The opera ends in universal celebration.

text: Instrumentation[edit]

text: The Marriage of Figaro is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings; the recitativi are accompanied by a keyboard instrument, usually a fortepiano or a harpsichord, often joined by a cello. The instrumentation of the recitativi is not given in the score, so it is up to the conductor and the performers. A typical performance usually lasts around 3 hours.

text: Frequently omitted numbers[edit]

text: Two arias from Act 4 are often omitted: one in which Marcellina regrets that people (unlike animals) abuse their mates ("Il capro e la capretta"), and one in which Don Basilio tells how he saved himself from several dangers in his youth, by using the skin of an ass for shelter and camouflage ("In quegli anni").[28]

text: Mozart wrote two replacement arias for Susanna when the role was taken over by Adriana Ferrarese in the 1789 revival. The replacement arias, "Un moto di gioia" (replacing "Venite, inginocchiatevi" in Act 2) and "Al desio di chi t'adora" (replacing "Deh vieni, non tardar" in Act 4), in which the two clarinets are replaced with basset horns, are normally not used in modern performances. A notable exception was a series of performances at the Metropolitan Opera in 1998 with Cecilia Bartoli as Susanna.[29]

text: Critical discussion[edit]

text: Lorenzo Da Ponte wrote a preface to the first published version of the libretto, in which he boldly claimed that he and Mozart had created a new form of music drama:

text: In spite ... of every effort ... to be brief, the opera will not be one of the shortest to have appeared on our stage, for which we hope sufficient excuse will be found in the variety of threads from which the action of this play [i.e. Beaumarchais's] is woven, the vastness and grandeur of the same, the multiplicity of the musical numbers that had to be made in order not to leave the actors too long unemployed, to diminish the vexation and monotony of long recitatives, and to express with varied colours the various emotions that occur, but above all in our desire to offer as it were a new kind of spectacle to a public of so refined a taste and understanding.[30]

text: Charles Rosen (in The Classical Style) proposes to take Da Ponte's words quite seriously, noting the "richness of the ensemble writing",[31] which carries forward the action in a far more dramatic way than recitatives would. Rosen also suggests that the musical language of the classical style was adapted by Mozart to convey the drama: many sections of the opera musically resemble sonata form; by movement through a sequence of keys, they build up and resolve musical tension, providing a natural musical reflection of the drama. As Rosen writes:

text: The synthesis of accelerating complexity and symmetrical resolution which was at the heart of Mozart's style enabled him to find a musical equivalent for the great stage works which were his dramatic models. The Marriage of Figaro in Mozart's version is the dramatic equal, and in many respects the superior, of Beaumarchais's work.[32]

text: This is demonstrated in the closing numbers of all four acts: as the drama escalates, Mozart eschews recitativi altogether and opts for increasingly sophisticated writing, bringing his characters on stage, revelling in a complex weave of solo and ensemble singing in multiple combinations, and climaxing in seven- and eight-voice tutti for acts 2 and 4.

text: Mozart cleverly uses the sound of two horns playing together to represent cuckoldry, in the act 4 aria "Aprite un po' quegli occhi".[33] Verdi later used the same device in Ford's aria in Falstaff.[34][35]

text: Johannes Brahms said "In my opinion, each number in Figaro is a miracle; it is totally beyond me how anyone could create anything so perfect; nothing like it was ever done again, not even by Beethoven."[36]

text: Other uses of the melodies[edit]

text: A musical phrase from the act 1 trio of The Marriage of Figaro (where Basilio sings Così fan tutte le belle) was later reused, by Mozart, in the overture to his opera Così fan tutte.[37] Mozart also quotes Figaro's aria Non più andrai in the second act of his opera Don Giovanni; it is also used as a military march. Further, Mozart used it in 1791 in his Five Contredanses, K. 609, No. 1. Mozart reused the music of the Agnus Dei of his earlier Krönungsmesse (Coronation Mass) for the Countess' Dove sono, in C major instead of the original F major.[38] Mozart also reused the motif that begins his early bassoon concerto in another aria sung by the Countess, Porgi, amor.[citation needed] Franz Liszt quoted the opera in his Fantasy on Themes from Mozart's Marriage of Figaro and Don Giovanni.

text: In 1819, Henry R. Bishop wrote an adaptation of the opera in English, translating from Beaumarchais's play and re-using some of Mozart's music, while adding some of his own.[39]

text: In his 1991 opera, The Ghosts of Versailles, which includes elements of Beaumarchais's third Figaro play (La Mère coupable) and in which the main characters of The Marriage of Figaro also appear, John Corigliano quotes Mozart's opera, especially the overture, several times.

text: Recordings[edit]


document_title: Indian units of measurement

question_text: 1 ser is equal to how many grams in india

root

text: Indian units of measurement

text: Current conversion standard[edit]

text: In 1956, for metric conversion, the Government of India defined the Standards of Weights and Measures Act (No. 89 of 1956, amended 1960, 1964) as follows:

tag: p

text:
Indian System
British / troy System
Metric System

1 Tolä
≈ 0.375 t oz
11.664 g

1 Sèr (80 Tolä)
2.5 t lb ≈ 2.057 lb ≈ 2 lb 1 oz
0.93310 kg

1 Maund (40 Sèr)
100 troy lb
37.324 kg

tag: table

text: The current definitions as per the UN are:

text:
Indian System
Metric System

1 Tolä
11.664 g

1 Sèr (80 Tolä)
933.10 g

1 Maund (40 Sèr)
37.324 kg

text: Pre-Akbar system[edit]

text: These are the weights and measures popular in North India before the adoption of the metric system. There were different systems in Bengal, the Presidency of Madras, and Bombay. The following nomenclature was prevalent in North India till the metric system came in:-

text: 4 Chawal (grain of rice) = 1 Dhan (weight of one wheat berry)

text: 4 Dhan = 1 Ratti (Ratti is the seed of the 'Abrus precatorius'. It is a red seed with a black spot at one end. Abul Fazl refers to it as 'Surkh' in Ain-i-Akbari.).

text: 8 Ratti = 1 Masha

text: 12 Masha (96 Ratti) = 1 bhari

text: 24 Ratti (96 Dhan) = 1 Tak

text: Conversion

text: 1 Bhari = 11.66375 gram

text: 3.75 Troy ounce = 10 bhari

text: Weight of 64 Dhan (Wheat berries) = Weight of 45 Jau (Barley corns)

text: Weight of 1 Barley corn = 64.79891 milligrams

text: Commodity Weight System

text: 1 bhari = 4 Siki 1 Kancha = 5 Siki 1 Chhatank = 4 Kancha 1 Chattank = 5 bhari 1 Adh-pav = 2 Chhatank = 1/8 Seer 1 Pav = 2 Adh-pav = ¼ Seer (Pav means ¼) 1 Adher = 2 Pav = ½ Seer

text: In Hindi ½ Seer = Adha (½) Seer, or Adher 1 Ser = 2 Adher = 4 Pav = 16 Chattank = 80 Tola = 933.1 grams 1 Savaser = 1 Ser + 1 Pav (1¼ Seer) 1 Savasher weighed 100 Imperial rupees

text: In Hindi 1¼ Seer = Sava (1¼) Seer, or Savaser 1 Dhaser = 2 Savaser = 2½ Seer

text: In Hindi 2½ Seer = Dhai (2½) Seer, or Dhaser 1 Paseri = 2 Adisari = 5 Seer

text: In Hindi 5 Seer = Panch (5) Seer, or Paseri for short 1 Daseri = 2 Pasri = 10 Seer

text: In Hindi 10 Seer = Das (10) Seer, or Daseri for short 1 Maund = 4 Daseri = 8 Pasri = 40 Seer

text: Rice and Grains Volume Measures

text: Grains were not weighed. Special hour-glass shaped measure were used to determine the volume.

text: Smallest unit = 1 Nilve

text: 2 Nilve = 1 Kolve

text: 2 Kolve = 1 Chipte (about quarter litre)

text: 2 Chipte = 1 Mapte (about half litre)

text: 2 Mapte = 1 Ser (about one litre)

text: Liquid Volume Measures

text: These were hour glass shaped measure used for Milk, Ghee, Oils. The bottom was round like an inverted dome, the top was like flared rim. This shape helped in pouring the liquids.

text: 4 Chhatank = 1 Pav

text: 4 Pav = 1 Seer

text: 40 Seer = 1 Maund

text: Length Measure

text: Measure of length is Gaz. To interpret Gaz, depends on what you are measuring and where you are. Bengal: 36", Bombay: 27", Madras: 33", Government Average: 33". The hand measurements were used.

text: Anguli (width of 3 fingers) = 1 Girah

text: 8 Girah = 1 Hath (elbow to the end of the middle finger, approximately 18" )

text: 5 5/6 Hath = One Kathi

text: 20 Kathi = One Pand

text: 20 Pand = One Begah

text: 2 Hath = 1 Gaz

text: 3 Gaz = Two Karam

text: 3 Karams = 1 Kan

text: 3 Square Kans = 1 Marla

text: 20 Marlas = 1 Kanal

text: 8 Kanals = 1 Ghamaon

text: 9 Kanals 12 Marlas = 1 Acre

text: 4 Kanals = 1 Begah

text: Akbar weights and measures[edit]

text: Akbar standardised weights and measurements using a barley corn (Jau). For weights, he used the weight of a Jau, while the width of a Jau set the standard for length.

text: 1. Length: Ilahi Gaz (33" to 34"); 1 Gaz = 16 Grehs; 1 Greh = 2 pais

text: At the time of Shah Jahan there existed three different Gaz:[1]

text: a) Shahi gaz = 101.6 cm; b) Shahijahani or Lashkari = 95.85 cm; c) Aleppo gaz = 67.73 cm

text: 2. Commodity weight: Ser = 637.74 grams

text: 3. Commodity Spices: The Dam was a copper coin used as a weight as well as currency. 1 Dam = 20 grams

text: 4. Gold and Expensive Spices: Misqal = 6.22 grams

text: Weights before 1833[edit]

text: 8 rattīs = 1 māshā (= 0.9071856 gram)

text: 12 māshās = 1 tolā (= 10.886227 gram)

text: 80 tolas = 1 ser (= 870.89816 gram)

text: 40 sers = 1 maund (= 34.835926 kilogram)

text: 1 rattī = 1.75 grains (= 0.11339825 gram) (1 grain = 0.064799 gram)

text: From 1833 the rupee and tolā weight was fixed at 180 grains, i.e. 11.66382 grams. Hence the weight of 1 maund increased to 37.324224 kilogram. .[2] Traditionally one maund represented the weight unit for goods which could be carried over some distance by porters or pack animals.

text: British system[edit]

text: Weight Gold

text:
British used weight of wheat berries as a standard to make currency coins. British chose Barley corn to weigh gold same as Akbar.
One Troy ounce = 480 Barley corn
1 Troy Ounce = 120 carat
1 Troy pound = 12 Troy ounce

text: In 1878, the Troy Pound was abolished.

text: Conversions

text:
Weight of 1 Barley corn = 64.79891 milligram
Weight of 1 Wheat berry = 45.561732 milligram
One Troy Ounce = 31.1034768 gram
64 Wheat berries = 45 Barley corns
3.75 Troy ounce = 10 Tola

text: Commodity weight

text:
20 CWT = 1 Ton avoirdupois = 40 Bushel = 160 Stones
4 Stones = 1 Bushel = 56 Pound
1 hundredweight (cwt) = 112 Pound = 2 Bushel + 8 Stones
14 Pounds avoirdupois = 1 Stone avoirdupois
16 Ounces avoirdupois = 1 Pound avoirdupois

text: Conversion

text:
1 Ounce avoirdupois = 28.349523 gram approx.
1 Pound avoirdupois = 453.59237 gram
1 Ton avoirdupois = 2240 pounds avoirdupois
Weight of 1 Barley corn = 64.79891 milligram
One Troy Ounce = 31.1034768 gram
3.75 Troy ounce = 10 Tola

text: Length

text: In 1950s, Miles and Furlongs were common markers on the roads in India.

text:
Minimum length = 1 Inch
No-one can say how it evolved. Yinch was the thickness of the thumb, not quite one inch.
12 Inches = 1 Foot
3 Feet = 1 Yard
660 Feet = 1 Furlong
5,280 Feet = 1 Mile
1,760 Yards = 1 Mile
1 Mile = 8 Furlongs
22 Yards = 1 Chain
1 Acre = (1 Chain) × (1 Furlong)

text: 1 Canal mile = 5000 imperial feet on canals shown by stone marker each 5000 feet and also on British maps at 1:63360 scale

text: and later Pakistan maps at 1:50000 scale. Personally seen on the Punjab but assumed to be used in the whole of India.

text: Conversion

text:
1 Inch = Span of 6 Barley corns side by side by thickness, although barleycorns are not a reliable standard of measurement.
1 Inch = 2.54 centimetres
1 Foot = 30.48 cm
1 Yard = 0.914 metre
1 Mile = 1.61 Kilometre


document_title: Dragon Ball Xenoverse 2

question_text: when does dragon ball xenoverse 2 take place

text: Dragon Ball Xenoverse 2

text: Gameplay[edit]

text: The game is very similar to its predecessor in terms of gameplay, it is mostly set in a series of 3D battle arenas mostly modeled after notable locations in the Dragon Ball universe, with the central hub being an expanded version of Toki-Toki City, called Conton City. As reported by the creators of the Game, Conton City is seven times larger than Toki-Toki City. Players are able to freely traverse this new hub world, and in some areas are even capable of flying around, however this feature will not be available from start, instead being unlocked. Players will also be able to travel to other hubs such as the Namekian Village and Frieza's ship. Some skills will have to be learned through masters, like the previous game. However, some masters will be found exclusively in these extra hubs. Xenoverse 2 is the fourth Dragon Ball video game to feature character customization. Players are able to choose from the five races of the first game: Humans, Saiyans, Majins, Namekians and Frieza's race. The game also features race-specific quests, minigames and transformations (the latter of which was only available to Saiyans in the first game, via the Super Saiyan forms). Players also have a much greater role in the story, as some decisions will have to be made by them. Multiplayer servers are now able to hold up to 300 players at once. The game also has a training mode called Training School. The player can use different kinds of ki blasts (Power, Homing, Rush, Paralyze and Bomb), and the ki blast type depends on the player's race or Super Soul. Another interesting element in the game is that players will be able to transfer their previous data from Dragon Ball XV 2's predecessor, Dragon Ball Xenoverse. This results in the game's details changing in a way that so players will be able to see the character known as the Toki Toki City's "Hero" in the middle of the square. Players also have the choice not to do this, which results as the default character being the "Hero".

text: Plot[edit]

text: Two years after the events of the first game, the protagonist receives a special mission from Elder Kai, which involves correcting history after it has changed. On the way there, they meet the Supreme Kai of Time, a deity who watches over time, and her bird, TokiToki. After meeting Elder Kai, they are granted their first mission, which is to correct Goku's battle with Raditz after he's been enhanced by dark magic. Meanwhile, Towa and Mira, the people who've caused history to change, have gathered allies, Turles, Lord Slug and a mysterious Masked Saiyan, later revealed to by Goku's father Bardock, from different parts of the timeline.

text: During the Attack of the Saiyans Saga, Turles attempts to intercept Goku to prevent him from assisting the Z Fighters against Nappa and Vegeta, only to be stopped by the combined forces of the Time Patroller and Goku. During the battle, Trunks and his partner, the protagonist from the first Xenoverse game, try to capture Turles, but he escapes before the Time Patroller can stop him. The protagonist then returns to the Time Nest after defeating Great Ape Nappa and Great Ape Vegeta, and correcting history. There, they are introduced to Trunks and his partner, and it is announced that TokiToki is laying an egg, which gives birth to another universe. During the Namek Saga, the Time Patroller helps Gohan and Krillin from escaping from Dodoria and Zarbon. After the battle Lord Slug appears and fights you. After the battle, the Time Patroller returns to the Time Nest only find out that Captain Ginyu had switched bodies with Vegeta instead of Goku. The Time Patroller and Trunks attempts to fix this but in doing so, Ginyu switches bodies with Trunks. After the mishap, Ginyu finally switches bodies with Goku. (As part of the original timeline). After fighting the Ginyu possessed Goku, Ginyu returns to his body and attempts to switch bodies with the Time Patroller but Goku throws a Namekian frog in the beam, causing Ginyu to be a frog. The Time Patroller then must help Nail fight Frieza in order for Gohan and Krillin to obtain the secret password. Frieza beats Nail and flies off to stop the Z Fighters. Turles and Slug then arrive, having gathered all the Dragon Balls each wanted to use them for their own goals. Trunks and the Time Patroller defeats both Turles and Slug. The Time Patroller then must help Gohan and the others defeat Frieza (who has already transformed into his final form). Frieza defeats Vegeta and the others while the Time Patroller fights until Goku arrives and defeats him with the Spirit Bomb. Frieza survives and critically injures Piccolo and obliterates Krillin, causing Goku to transform into a Super Saiyan. The Time Patroller and Goku fight Frieza, and the planet is destroyed by Frieza. During the battle, Cooler arrives to help Frieza due to a distortion in time by Towa. The player defeats Cooler, and returns to the Time Nest to leave Goku to fight Frieza, thus restoring the timeline.

text: Meanwhile, Trunks and his partner fight Mira. Mira escapes and Trunks's partner chases after him. Soon after the Time Patroller travels to the Cell Saga in order to restore the timeline to its original flow of history. During the battle, Towa causes another distortion which causes the Metal Coolers to arrive at the Cell Games. With help from Trunks, the Time Patroller destroyes the Metal Coolers. The Time Patroller then helps Gohan defeat Cell. Soon after, the Time Patroller goes to fix the distortion in time in which Future Gohan is killed by the Androids. Android 16 is activated and is defeated by Gohan and the Time Patroller. Android 17 and 18 arrive and have Gohan in the defensive, causing Trunks to intervene and help Gohan and the Time Patroller fight. Afterwards, Trunks tries to help Gohan defeat the Androids once and for all, but is stopped by the Time Patroller due to the Supreme Kai of Time stating that history would be changed. Because of this history, Trunks must take a break from time patrolling. The Time Patroller then travels to the Majin Buu era to fix the distortion in which Majin Vegeta sacrificed himself to defeat Majin Buu. Broly arrives, consumed by Towa's dark energy and attempts to kill Vegeta and Buu, but is stopped by the Time Patroller. Vegeta sacrifices himself to destroy Majin Buu, restoring the current flow of history. The Time Patroller then goes to the timeline where Goku and Vegeta defeat Kid Buu, learning that the Masked Sayain is there collecting energy from the fighters. The Time Patroller chases after him and teleports to the era where Beerus and Goku are fighting. The Time Patroller defeats the Sayian, breaking his mask and revealing himself to be Bardock. Mira arrives and engages in battle with the Time Patroller. Beerus interrupts the battle with the intention to destroy Mira, Goku, the Time Patroller, and Earth. The Surpreme Kai of Time tries to calm Beerus down with her pudding, but the horrible taste drives Beerus into a fit of rage, and he is subdued by Whis and the Time Patroller. Soon after, the Time Patroller travels to the Golden Frieza Saga, in which Frieza has been resurrected and wants revenge on Goku. During the battle, Cooler shows up again, consumed by dark energy and Frieza is consumed as well while in his Golden Form. Towa hacks into the Time Nest and tricks Beerus and Whis into leaving the battle, which allows Frieza to destroy the universe. Whis is able to rewind time and the Time Patroller, along with Goku and Vegeta, kill Cooler and Frieza.

text: Later, Beerus and Whis train the Time Patroller preparing him for the final battle with Towa and Mira. Trunks and the Time Patroller go to an unidentfied timeline and battle the mind controlled Bardock. Mira arrives and battles the two, and Bardock is knocked back to his senses. He drags Mira into a time rift and both are supposedly disappeared. Towa then arrives and reveals that she has taken control of Trunks's partner. The Time Patroller and Trunks battle the two and retrieve the mask which Trunks's partner was wearing. Trunks's partner then vanishes from existence, leaving Trunks and the Time Patroller with no memory of him. The scrolls then pick up another distortion in time, causing Trunks to remember his partner and realizes that Towa went back in time to prevent Trunks from summoning him. The Time Patroller fixes this distortion and Trunks's partner is revived. Towa arrives at the Time Nest, and steals TokiToki's egg. Mira returns(it is hinted that he defeated Bardock) and easily disposes of Trunks and his partner. The Time Patroller confronts Mira, who has become more powerful, finally gaining a fighting spirit because of his battle with Bardock. Towa realizes this and learns that Mira could destroy the entire history of the universe. She helps the Time Patroller defeat Mira. When she suggests to fix Mira's power core, he turns on her and absorbs her and the egg, gaining incredible power. Goku arrives and turns Super Saiyan Blue and helps the Time Patroller finally destroy Mira. With the universe saved, the Dragon Balls are used to summon a big feast for all of Conton City. The game ends with Goku suggesting that the Time Patroller and the Time Patroller from the first game fight each other to see who is stronger.

text: Development[edit]

text: The game was originally teased by Bandai Namco Entertainment on May 16, 2016, as a new "Dragon Ball project", with it being announced on May 17, 2016.[2][3] A Bandai Namco spokesperson confirmed that the game would be released on the PlayStation 4 in Japan, and for PlayStation 4, Xbox One, and Windows in North America and Europe.[8] Bandai Namco announced at E3 2016 that the game would run at a frame rate of 60 frames per second on all three platforms, would have a hub city that is seven times larger than its predecessor, and would also feature a new transportation system.[9]

text: An open and closed beta for Xenoverse 2 was announced by Bandai Namco.[10] Both the open and closed beta were available on PlayStation 4 only.[11] The closed beta began on October 8 and ended on October 10, and the open beta began on October 14 and ended on October 17.[11]

text: The Collector's Edition of the game includes the game disc, a soundtrack CD, a collector's box, an exclusive steelbook case, a Time Patroller's Guide artbook (which includes an exclusive manga based on the game),[12] and a statue of Super Saiyan Goku. It is available for Xbox One and PlayStation 4.[13]

text: A Nintendo Switch port was revealed on January 12, 2017 in the Nintendo Switch's "Software Line-Up" Video.[7]

text: Characters and stages[edit]

text: The game includes all the in-game and DLC content from Dragon Ball Xenoverse plus a portion of the remaining characters from Dragon Ball Z like Dodoria, Zarbon, and Android 16, but leaving other ones like Dr. Gero and Babidi. Notable was the addition of movies/OVAs characters like Lord Slug, Cooler or Turles and the stage Tree of Might, due to the theory these characters aren't canon. In total, the game has 126 characters, including newcomers from Dragon Ball Super like the universe 6 mercenary Hit, Future Trunks and Goku Black, the last one as a pre-order bonus character, while as in-game on Nintendo Switch. There is currently 102 playable characters.

text: Downloadable content[edit]

text: A total of six downloadable content packs were released. Each pack includes at least two characters, new moves, skills, parallel quests and other elements for the created characters.

text:
DLC Pack 1: Adds the characters Frost and Cabba from Dragon Ball Super.[14]
DLC Pack 2: Adds the characters Vados and Champa, the "Universe 6 Saga" for the story mode and the stage "Nameless Planet", all from Dragon Ball Super.
DLC Pack 3: Adds the characters Goku Black (SSJ Rosé) and Zamasu from Dragon Ball Super and Bojack from the movie Bojack Unbound.[15]
DLC Pack 4: Adds the characters Fused Zamasu and Vegito Blue, the "Future Trunks Saga" for the story mode and the stage "Future Earth", all from Dragon Ball Super.[16]
DLC Pack 5: Adds the characters Super Buu (Gohan absorbed), and Dabura from the Buu saga, and Tapion and Android 13 from the DBZ movies Wrath of the Dragon and Super Android 13.
DLC Pack 6: Adds the characters Ultra Instinct Goku, Jiren and Android 17 from Dragon Ball Super, Fu, and a new story mode.

tag: ul

text: Reception[edit]

text:
Dragon Ball Xenoverse 2

Aggregate scores

Aggregator
Score

GameRankings
PS4: 72%[17]

Metacritic
PS4: 72/100[18]

Review scores

Publication
Score

IGN
7.5/10[19]

Hardcore Gamer
[20]

GameSpot
7/10[21]

Game Informer
7/10[22]

Games Mojo
[23]

Trusted Reviews
[24]

Playstation Universe
7/10[25]

text: Dragon Ball Xenoverse 2 has shipped 1.4 million copies worldwide.[26] As of November 27, 2016, the PS4 version has sold 87,105 copies in Japan.[27] The Nintendo Switch version debuted at number three on the Japanese sales charts, with 24,045 copies sold[28] and later sold 500,000 copies worldwide, by 2018.[29]

text: Dragon Ball Xenoverse 2 received positive reviews. Critics praised the game's anime visual style, sound, and fighting gameplay but criticized the controls, repetitive nature and overall similarity to the previous installment. Aggregating review websites GameRankings and Metacritic gave the game 72% based on 57 reviews[18] and 72/100 based on 27 reviews.[17]

text: IGN awarded it a score of 7.5 out of 10, saying "Dragon Ball Xenoverse 2 is an ambitious, if rough-edged experience, with deceptively deep RPG and brawling elements."[30] Hardcore Gamer awarded it 3 out of 5, calling "a minimal improvement over its predecessor while sharing a lot of the same issues, but there’s just something so endearing about how it all came together."[31]

text: Heidi Kemps of GameSpot awarded the game a 7 out of 10, praising the combat and fan service while criticizing the combat for being repetitive and the missions with a non-combat focus as "generally poor".[32] Kyle Hilliard of Game Informer also awarded it a 7 out of 10, praising the addition of Conton City but criticized the combat system for being almost identical to the first Xenoverse game and the soundtrack as "consistently awful".[33]

text: Ashley Fonte from Games Mojo awarded it 4.3 out of 5 stars stating that "Dragon Ball Xenoverse 2 is an exciting anime game with a unique and ambitious concept that is familiar to the fans of the Dragon Ball Z series and will give them an enjoyable playing experience."[23] Alastair Stevensons score of 3.5/5 on Trusted Reviews said that "Combat is fun if you know how Dragon Ball works, but newbies will struggle to get their bearings, as Xenoverse 2’s tuition system is, at best, hit-and-miss".[24] "Smoother combat and great multiplayer options make Xenoverse 2 worth a play for fans of the series" was Benjamin Shillabeer-Hall's conclusion on PlayStation Universe with a score of 7/10.[25]

text: Notes[edit]

text: Jump up ^ Ported to PC by QLoc

tag: ol


document_title: Social space

question_text: what is a common element of postmodern place

text: Social space

text: As metaphor[edit]

text: As metaphor, 'social space contributes a relational rather than an abstract dimension...has received a large variety of attributes, interpretations, and metaphors'.[5] Such 'social space...i[s] an intricate space of obligations, duties, entitlements, prohibitions, debts, affections, insults, allies, contracts, enemies, infatuations, compromises, mutual love, legitimate expectations, and collective ideals'.[6]

text: For Lefebvre, 'the family, the school, the workplace, the church, and so on - each possesses an "appropriate" space...for a use specified within the social division of labor'.[7] Within such social spaces 'a system of "adapted" expectations and responses - rarely articulated as such because they seem obvious - acquire a quasi-natural self-evidence in everyday life and common sense': thus everybody consensually 'knows what he is talking about when he refers to the town hall, the post office, the police station, the grocery store, the bus and the train, train stations, and bistros' - all underlying aspects of 'a social space as such. an (artificial) edifice of hierarchically ordered institutions, of laws and conventions'.[8]

text: Morphology[edit]

text: Defining a stratified morphology as a series of 'discrete units embedded within one another in a definite order', one can see that a distinct 'morphology exists in social space - from the "room" or hut to the house and the building; from the building to the group of houses, to the village and the neighbourhood; from the neighbourhood to the city, the region, the nation, and the State...continent [&] planet'.[9]

text: The interaction of different levels may be symbiotic or it may be conflictual: as a Michigan cabinet member put it to two Southern colleagues shortly before the American Civil War, '"I see how it is; you are a Virginian and you are a South Carolinian; I am not a Michigander, I am an American"'.[10]

text: For the individual, as well as the social institution, different levels of social space come to the fore at different times. To a Britisher, for example, '"we" sometimes narrows to southern England, sometimes broadens to refer to "Britain and America" or "Europe" or "the west"'.[11] In precisely the same way, 'a resident of Rome may define himself with varying degrees of intensity as a Roman, an Italian, a Catholic, a Christian, a European, a Westerner'[12] - a sequence of stratified social spaces.

text: Pre/postmodern space[edit]

text: 'In premodern societies, space and place largely coincided....Modernity increasingly tears space away from place'.[13] Whereas in the premodern 'every thing has its assigned place in social space',[14] postmodernists would proudly proclaim that 'we need to substitute for the magisterial space of the past...a less upright, less Euclidean space where no one would ever be in his final place '.[15]

text: The way 'migration, seen as a metaphor, is everywhere' in postmodernity - 'we are migrants and perhaps hybrids, in but not of any situation in which we find ourselves'[16] - is rooted in the postmodern forms of production of social space.

text: Lefebvre considered globalization as the creation, and superimposition on nature, of 'worldwide-social space...with strong points (the centers) and weaker and dominated bases (the peripheries)'.[17]

text: The insanity of place[edit]

text: Education, formal and informal, might be described as in large part a process whereby the new recruit to the human race 'must learn to represent the many dimensions of the local social space...through the veil of degraded inputs, chronic ambiguity, and the occasional deliberate deception'.[18] Faced with such intricacies, R. D. Laing concluded that 'it is just as well that man is a social animal, since the sheer complexity and contradiction of the social field in which he has to live is so formidable'.[19]

text: The madman, by contrast, is not 'someone to be counted on to know his place': in many ways, 'mental symptoms are wilful situational improprieties'.[20] Whereas in 'public and semi-public places - streets, shops, neighbourhoods, public transportation, and the like -...a fine mesh of obligations obtains which ensures the orderly traffic and co-mingling of participants...many classic symptoms of psychosis are precise and pointed violations of these territorial arrangements'.[21]

text: Lacan considered that 'it would be worthwhile mapping the places in social space that our culture has assigned to these [psychotic] subjects', and saw their difficulties as in part 'the effects of the breakdown produced by the symbolic discordances that characterize the complex structures of civilization':[22] what Goffman termed '"The Insanity of Place"'.[23]

text: Cultural examples[edit]

text:
In Pride and Prejudice, Darcy is initially riven with 'uncertainty as to whether he can bring himself to cross the great social space which, as he sees it (he is still proud), separates Elizabeth from himself'.[24]
In 'postmodern art...a cubist painting presents multiple perspectives simultaneously,fracturing "space" and literally requiring any single spectator to be in several different places at once...this postmodern crisis of subjectivity'.[25]
'Lefebvre suggests that art may come to be defined "less as a code of space than as a code of representational spaces"'[26] - 'the space of representations and the representation of space...a mental space '[7] which both reflects and interacts with social space.


document_title: Jenny Humphrey

question_text: when does jenny come back in gossip girl

text: Jenny Humphrey

text: Novel series[edit]

text: Gossip Girl[edit]

text: Jennifer Humphrey is the daughter of Rufus Humphrey, an editor for beat poets who has never been published himself, and Jeanette Humphrey, who ran off with a European aristocrat. She has an older brother, Dan Humphrey, who is an aspiring writer. Jenny is a student at the Constance Billard School for Girls, a small, elite, all-girls school located on the Upper East Side, which Serena van der Woodsen and Blair Waldorf also attend. In the book series, Jenny Humphrey is described as a short, well endowed brunette while the television show depicts her as tall, skinny and blonde.

text: In the Gossip Girl prequel It Had To Be You, Jenny is noted for having a rather flat chest until she begins taking breast enlargement supplements, which turns out are the cause of her double D cup size.

text: The It Girl[edit]

text: Jenny is the protagonist in the book series, The It Girl, which shows her new life, after she gets expelled from Constance Billard, and starts at Waverly Academy in upstate New York. In The It Girl, Jenny tries to reinvent herself as a "popular and sophisticated city girl" and leave behind the person she was at Constance. When Jenny arrives at Waverly, she finds the students even more attractive, athletic, and intimidating than she imagined. Jenny then meets her two new exceptionally beautiful and popular Junior year roommates: lithe and blonde Southern girl Callie Vernon, and red-headed, green eyed, and sophisticated New Jerseyan Brett Messerschmidt. She quickly learns that she has replaced their old best friend: extremely attractive and notorious Tinsley Carmichael. Jenny can't help but feel that sleeping in such a lucky bed must rub off.

text: TV series[edit]

text: Season 1[edit]

text: Jenny Humphrey is introduced in Season one. She is a pretty, blonde freshman at Constance Billard.[2] Desperately trying to fit in with Blair's clique, Blair makes fitting in difficult for her as she subjects Jenny to the rules of high school hierarchy. A possible friendship ends when Blair discovers Nate's lingering feelings for Serena and Jenny's interest in Nate that entails further cruelty on Jenny. However, when Blair's affair with Chuck Bass is exposed, Nate approaches Jenny and rumors of Blair's affair is made public. Blair's friends shun her for her hypocrisy and establish Jenny as the new Queen Bee of Constance Billard.[3] Despite being one of the school it-girls, she is driven to prove herself, but her low self-confidence that stems from not having the same privileged financial status as the other girls, provokes her to sell her sewing machine and barter an expensive dress she stole from one of her friends. When Blair throws her a surprise birthday party, the other girls discover that Jenny stole the dress, bringing Blair's scheme full circle. Jenny retaliates by bringing Nate with her to Blair's victory party and persuades the girls to her side.[4] Jenny and Blair then struggle for the position of Queen Bee. When Jenny thinks she's found true love with Asher Hornsby, their romance is short-lived when she discovers that he is gay. He convinces her to say that she lost her virginity to him in order to put the rumors of him being gay to rest, and as long as she pretends it's true, he'll give her privileges that Upper East Side can offer. However, Blair and Eric out Asher at his own party, and Jenny confesses that she lied about having sex with him. Blair's clique abandons her once again, and she later finds Blair to tell her that she's won as it's "not worth it".[5] In the season finale, Jenny receives an internship at Blair's mother Eleanor's company.

text: Season 2[edit]

text: At the beginning of season two, Jenny spends her summer working hard as a new intern for Eleanor Waldorf designs. She apologizes to Eric for her behavior the previous season. He forgives her and invites her to the White Party in the Hamptons where he introduces her to Tinsley Mortimer and where she proves her worth to one of Eleanor's supervisors.[6]

text: Eleanor fires Jenny after a critical remark on one of her dresses, but during a citywide blackout, Eleanor realizes her talent and hires Jenny. After constant harassment by Blair’s minions, Jenny decides to skip school to pursue a future in fashion.

text: When Blair and Serena have another fight concerning Serena's growing popularity, Jenny is dragged into their fight during Eleanor's fashion show and is subject to Blair's torture when she changes the seating arrangement that Blair had initially planned. Blair informs Rufus that Jenny has been skipping school and he confronts her. Blair attempts to sabotage Jenny’s work in the show but Jenny improvises, proposing that Serena and the socialites walk the runway. In an effort to ruin Serena, Blair switches the final dress with one that Jenny made, drawing Eleanor's ire. Despite this, the dress is a huge hit with the audience and the fashion show is a big success. Jenny realizes Blair's frustrations regarding her friendship with Serena, commenting that they have worked hard for what they’ve wanted and Serena just glides through. Eleanor later praises Jenny Humphrey for her work.[7]

text: Rufus eventually agrees to Jenny being home schooled after seeing how committed and good at her job she is. At work, Jenny befriends a model named Agnes Andrews (Willa Holland), who convinces her to start her own fashion line. Realizing that working for Eleanor won't help her develop as a designer and that Eleanor herself has begun to take advantage of Jenny's talents in fashion, Jenny leaves.[8] Jenny also begins a short relationship with Nate when they share a passionate kiss after he rescues her from being taken advantage of by an older photographer. Jenny and Rufus argue over her quitting Eleanor’s and Jenny moves out of the Humphrey’s apartment and moves in with Agnes, who suggests that they plan a guerrilla fashion show at the charity gala honoring Lily and Bart.[9] The show is a big success but Vanessa witnesses her kissing Nate thereby straining their friendship and Rufus tries to get her arrested but was stopped by Lily. Due to Agnes' fiery temper and their growing disagreements over the clothing line, the pair have trouble closing a business deal. Jenny steals Agnes’ contact list, attempting to make a deal by herself. Upon learning of Jenny’s betrayal, Agnes burns all of her dresses and kicks her out of her apartment, leaving her with nothing.[10]

text: Upon learning that she is too young to start her own business, she attempts to file for emancipation but Rufus refuses. On Thanksgiving, Lily finds the papers after discovering that Jenny has been hiding in their apartment with Eric, and warns Rufus. Rufus and Jenny reconcile their relationship, after a little persuasion from Eleanor and she returns home.[11] During the Snowflake Ball, Jenny learns that Vanessa and Nate are back together even though Vanessa was aware of Nate's feelings for her. Nate breaks up with her after she helps to humiliate Vanessa at the ball. Jenny returns to Constance and is forced to contend with Blair’s minions.

text: During the season finale and Serena’s hunt for Gossip Girl, Jenny decides to compete to be the next Queen Bee after Blair leaves. She almost drops out, but Blair gives her a touching speech about keeping her eye on the prize. In the end Blair chooses Jenny and crowns her queen of Constance.[12]

text: Season 3[edit]

text: After Jenny fails to bring about egalitarianism at Constance, she resolves to rule as Queen Bee with her own group of minions.[13] With her new position and wealth, Jenny’s social climbing persona resurfaces and she begins to erase her former Brooklyn self, throwing away her homemade clothes and sewing machine. Worried that Jenny is turning into another regular Queen Bee, Eric and Jonathon attempt an intervention but as a result are humiliated by Jenny and her clique.[14] Eric teams up with Blair to take down Jenny at the Cotillion Ball by sabotaging her escort. The plan backfires however and Jenny instead secures none other than Nate to escort her, winning her the respect of the other Queens at every other prep school on the Upper East Side. As a consequence of Eric’s scheming, Jonathan breaks up with him and a rift emerges in Jenny and Eric’s relationship.[15]

text: Chuck introduces her to Damien Dalgaard, son of the Belgian ambassador who works as a drug dealer to make his own money.[16] Jenny liking his wild lifestyle, eventually strikes up a relationship with him and aids him in supplying drugs to his customers while sharing in some of the profit, even stealing some of Lily’s “headache pills”.[17] Eventually Lily and Rufus find out about the drugs, which Damien covers up with a story about his father.[18] Against Rufus’s will, Jenny continues her relationship with Damien who seems interested in taking it further. Jenny, who is a virgin, backs out at the last minute causing Damien to break up with her, leaving her to face her family.[19]

text: On Rufus’ suggestion, Eleanor reemploys Jenny to help out with her upcoming fashion show. Jenny is happy to be back, but is shocked to learn that one of the models she’ll be working with is her old friend Agnes, who, after the show finishes, takes revenge on Jenny by drugging her and leaving her in a bar to be taken advantage of. Jenny is rescued by Nate, however before anything happens to her. Because of this though, Jenny’s feeling towards Nate reawakens and she aspires to win him over.[20] She tries to kiss him but he resists her advances because he sees her only as a friend and because he is dating Serena. Jenny attempts to sabotage Serena and Nate’s relationship by lying to Serena and implying to Nate that she is having an affair with Carter Baizen. Jenny’s attempts fail, and her relationship with both is left tenuous after Nate kicks her out of his apartment.

text: At a gala event where Serena’s recently returned father William Van Der Woodsen is making a speech, a former client of Damien’s approaches Jenny, angrily telling her the drugs she sold her (Lily’s cancer medication, as was recently revealed) gave her a yeast infection. Rufus overhears this and grounds Jenny to the Humphrey apartment in Brooklyn.[21] During her punishment, Jenny researches Lily’s medicine and informs Chuck via telephone that there is something very wrong about the medication that Serena’s father is prescribing her. It is discovered that, William has lied to Lily about her condition and has been giving her drugs that in fact make her sick in a plot to win her back off Rufus. Seeing an opportunity to break up Rufus and Lily and return her family to the way it was before, Jenny attempts to sabotage Blair, Chuck, and Nate’s plan to unveil William’s deception. When William is about to be held accountable, she quickly runs to William and warns him, telling him that the police will be coming to get him, and urges him to escape. Back at the van der Woodsen penthouse she reveals that it was she who warned Dr. van der Woodsen and that she wishes her family can go back to normal stating "When I lived in Brooklyn, I may have had to ride the subway to school, and make my own clothes, but at least our family was happy". Rufus says that the only thing that needs to return to normal is Jenny. Eric is hurt by Jenny's attempt to leave the family, and says that if she wants out, no one is forcing her to stay.[22]

text: Jenny hits rock bottom after sending a picture of Dan and Serena in bed together to Gossip Girl, jeopardizing Dan and Nate’s friendship, Dan and Vanessa's relationship, and breaking up Nate and Serena’s relationship. Blair confronts Jenny telling her that “Nate loves Serena, Dan loves Vanessa -god knows why-, and Chuck loves me. But you Jenny? No one loves you, except your daddy. And after what you pulled yesterday, who knows if that's even true anymore?”[23] Emotionally distressed, Jenny goes to Nate’s apartment but instead finds Chuck devastated over his break-up with Blair and in her state of vulnerability, Jenny loses her virginity to Chuck. However, afterwards, Blair arrives willing to take Chuck back and Jenny sneaks out. She breaks down in tears to Eric, telling him that everyone hates her and that she slept with Chuck. Eric tells Dan, who confronts Chuck just as he is about to propose to Blair. Jenny, in tears, leaves with Rufus and Lily. A week later, she says her goodbyes to her family and leaves to finish out high school with her mother in Hudson.[24]

text: Season 4[edit]

text: Jenny has been living in Hudson with her mother since May due to the troubles that occurred in "Last Tango, Then Paris", where she caused an uproar with Serena and Dan when she sent a picture of the two of them in bed together, which led to the breakup of both Dan and Vanessa & Serena and Nate. As she was upset, she later went to Chuck’s apartment and slept with Chuck, which led to Blair breaking up with Chuck and banishing Jenny from New York City.

text: Jenny returns in episode "Easy J". Blair finds Jenny preparing for an interview with Tim Gunn, and grants her with a special day pass. However, when Chuck steals Jenny's portfolio, she is forced to visit The Empire Hotel where Blair had forbidden her to go. This results in Blair and Jenny scheming against each other, and Jenny eventually telling Gossip Girl that she lost her Virginity to Chuck, not Damien Dalgaard. While Jenny is left feeling victorious, a defeated Blair blames Chuck. Jenny ultimately realises the damage of her return and decides to leave for good, telling Blair and Chuck that their vindictive games against each other will soon destroy them both.

text: In "Juliet doesn't live here anymore" Juliet and Vanessa skype Jenny asking for help to take down Serena. Jenny knows that she doesn't want to go back to her old tricks but also feels like Serena is the one to blame for everything that happened last year and how she can never take blame for anything, so, she agrees to help with the scheme.

text: Jenny later becomes involved in a scheme with Juliet Sharp and Vanessa in order to bring down Serena and turn everyone against her. But when Serena ends up in the hospital after being drugged by Juliet, Jenny tells Juliet that she is going to come clean with everyone about their scheme, but Juliet warns her that she will be going down alone. When Jenny appears at the hospital, Vanessa has already pinned the entire scheme on her and unable to defend herself, she leaves, showing up at Blair's later that night, telling her that Juliet was behind everything and that she and Vanessa were merely accomplices. To prove her story, she hands Blair Juliet's masquerade mask and has temporarily earned Blair's forgiveness. After confessing to Blair, she says that she would love to help her take down Juliet, but she should instead return to Hudson, rather than become involved in another scheme.

text: Season 5[edit]

text: In the premiere episode of season five, "Yes, Then Zero," it is revealed by Rufus that Jenny moved to London to attend Central Saint Martins.

text: Season 6[edit]

text: In the final episode of the series, it is revealed that Jenny knew that her brother, Dan Humphrey, was the mysterious blogger behind Gossip Girl. She returns to the Upper East Side, appearing in the five-year time jump for her brother's wedding to Serena van der Woodsen. Jenny works as a designer for Blair's fashion empire, implying that they have gotten over their past animosity. Together they create their own clothing line called "J for Waldorf".

text: Reception[edit]

text: Rumors have been made throughout Gossip Girl's first few seasons that Jenny would be given her own spin-off, in line with the character leaving for boarding school just like the novels. News later confirmed that producers did not pick up the spin-off.[25]

text: Jenny's character further gained prominence during the show's third season. Enid Portugez of the LA Times praised Jenny's fashionable skills, stating that "Jenny capped off the drama by showing us she's becoming extremely adept at becoming a drug dealer. Her brilliant idea to sew pills into jacket paillettes could have easily won her a "Project Runway" challenge! Despite the illegality of it all, it was nice to see Jenny put her wit and wiles to use..." [26] Following the dramatic events during the third season finale, Michael Ausiello praised both Leighton Meester and Taylor Momsen's performance.[27] L.J. Gibbs, from TV Fanatic, gave the episode a 3.5 rating star out of 5, and said that he felt that Chuck being shot at the end of the episode was a very "cheap move by the writers", and that the storyline involving Chuck and Jenny having sex was very "unlikely".[28] Mark O. Estes, from TV Overmind, had also praised Taylor Momsen's performance in the episode and said that he "wish that Jenny had of gotten her own spin-off", and questions that if her send-off in this episode means that the show's writers have a "Katherine Heigl" situation on their hands".[29] However, Jenny was included in TV Guide's list of The Most Loathed TV Characters.[30]

text: When asked during a Vanity Fair interview if "real" girls could afford the looks from the show, costume designers Eric Daman and Meredith Markworth-Pollack commented on Jenny's style and stated "Of course! Have fun with it like Jenny Humphrey does, and listen to your fashion sense. Go to a vintage or thrift store and have it tailored so it looks like Marc Jacobs [...] but it’s all about individuality." [31]


document_title: Rolls-Royce Wraith (2013)

question_text: when did the rolls royce wraith come out

text: Rolls-Royce Wraith (2013)

text: Initial release[edit]

text: Wraith (2013–)[edit]

text: The vehicle was announced in January 2013[2] and unveiled at the 2013 Geneva Motor Show.[3][4][5][6] Deliveries began from the fourth quarter of 2013.

text: Wraith Suhail Collection (2014–)[edit]

text: It is a version of Wraith with moonstone pearl body colour, Suhail star emblem at Turchese Blue coachline, Crem é Light leather upholstery with Turchese accents, a Navy Blue instrument panel top and carpets, Suhail star emblems at the marquetry on the Ash Burr wood fascia, a Starlight Headliner, Bespoke clock colour-matched to the interior depicts the Suhail Ursa Minor and Major constellation on the clock face.[7]

text: Wraith 'Inspired By Film' (2015)[edit]

text: Wraith 'Inspired By Film' (魅影"鎏金岁月"特别版车型) is the 1st Wraith 'Inspired by ...' car with Silver and Jubilee Silver body colours, solid-silver hand-cast Spirit of Ecstasy ornament, Anthracite leather interior accented with Casden Tan.

text: The vehicle was unveiled in 2015 New York Auto Show,[8][9] followed by 2015 Shanghai motor Show,[10] 2015 Pebble Beach Concours d'Elegance.[11]

text: Wraith 'Inspired By Fashion' (2015–)[edit]

text: It is the second Wraith 'Inspired by ...' car with Andalusian White and Arctic White body colours, a choice of Jasmine, Tailored Purple or Mugello Red accent colours; Arctic White and Black interior color scheme, two-tone steering wheel, lining of the front and rear door pockets with fine silk upholstery and Spirit of Ecstasy, colourful welting on the door panel, lacquered wood dashboard.

text: The vehicle was unveiled in New York's PRATT Institute,[12] followed by 2015 Pebble Beach Concours d'Elegance.[11]

text: Wraith 'Inspired By Music' (2015)[edit]

text: It is the Third Wraith 'Inspired by ...' car with Lyrical Copper body colour, contemporary copper theme in the interior cabin, book-matched copper finish at fascia and the clock's radial lines on the outer bezel, 1300W 18-channel Bespoke Audio system. [13]

text: The vehicle was unveiled in 2015 Pebble Beach Concours d'Elegance,[11] followed by Auto China 2016.[14]

text: Wraith – History of Rugby (2015)[edit]

text: It is a version of Wraith with English White body colour, deep green coachline with an English rose motif in red, 21-inch five twin-spoke alloy wheels, headrest with an embroidered red rose, Hotspur Red dashboard accent panel, Hotspur Red seat and door piping, Piano Black veneer at dashboard and centre panel, centre panel with English rose inlay, Seashell interior colour contrasted with Navy Blue.[15]

text: Rolls-Royce Enthusiasts' Club Wraith (2015)[edit]

text: It is a version of Wraith with Midnight Sapphire and Silver body colours, Navy Blue interior colour, contrasting Arctic leather upholstery, Macassar Ebony veneer, a Starlight Headliner, an uplit Spirit of Ecstasy, night-vision, parking cameras, Satellite Aided Transmission.

text: The vehicle was unveiled in 2015 Lancaster Insurance Classic Motor Show.[16]

text: Wraith Black Badge (2016–)[edit]

text: It is a version of Wraith with Spirit of Ecstasy in high-gloss black vamp, Double R badges inverted to become silver on black and black starlight headliner, darkened chrome trims (front grille surround, boot lid finisher, lower air inlet finisher and exhaust pipes), 'Unlimited' infinity logo embroidered on the upholstery, 21-inch Carbon Alloy Composite Wheels, increased engine torque to 870 N·m (642 lb·ft)@1700–4500 rpm, tweaked air suspension and upgraded gearbox, Black Badge Black body colour, interior in Black and Mugello Red contrast leather, facia in aluminium-threaded carbon fibre composite surfacing.

text: The vehicle was unveiled in 2016 Goodwood Festival of Speed.[17]

text: Wraith Porto Cervo (2016)[edit]

text: It is a version of Wraith with two-tone silver exterior, Spirit of Ecstasy ornament with soft illumination, blue, purple, slate and black interior; ostrich leather upholstery.

text: The vehicle was unveiled in Rolls-Royce Summer Studio in Sardinia.[18]

text: Engines[edit]

text:
Petrol engines[19][20]

[hide]Model
Years
Type/code
Power/rpm, Torque/rpm

Wraith
2013–
6,592 cc (402.3 cu in) V12 twin turbo (N74B66)
632 PS (465 kW; 623 hp)@5600, 800 N·m (590 lb·ft)@1500–5500

Wraith Black Badge
2016–
6,592 cc (402.3 cu in) V12 twin turbo (N74B66TÜ?)
632 PS (465 kW; 623 hp)@5600, 870 N·m (642 lb·ft)@1700–4500

text: Transmissions[edit]

text:
Petrol engines

[hide]Model
Years
Type/code

Wraith
2013–
8-speed automatic (ZF 8HP90)

Wraith Black Badge
2016–
8-speed automatic (ZF 8HP95)

text: Marketing[edit]

text: Wraith Luggage Collection, conceived by Rolls-Royce Bespoke Designer Michael Bryden and designed in the Rolls-Royce Bespoke Design Studio led by Director of Design Giles Taylor, went on sale as of 2016 at Rolls-Royce Dealerships.[21][22][23]


document_title: Jai Jawan Jai Kisan

question_text: who give the slogan jai jawan jai kisan

question_tokens: who give the slogan jai jawan jai kisan

text: Jai Jawan Jai Kisan

text: Jai Jawan Jai Kisan ("English: Hail the Soldier, Hail the Farmer") was a slogan of the second Prime Minister of India Lal Bahadur Shastri in 1965 at a public gathering at Ramlila Maidan, Delhi.[1][2]

text: Soon after Shastri took over the prime ministership of India after Nehru's death, India was attacked by Pakistan. At the same time there was scarcity of food grains in the country. Shastri gave the slogan Jai Jawan Jai Kisan to enthuse the soldiers to defend India and simultaneously cheering farmers to do their best to increase the production of food grains to reduce dependence on import. It became a very popular slogan.[1][3]

text: In popular culture[edit]

text: After the Pokaran tests in 1998, [Atal Bihari Vajpayee] added Jai Vigyan (Hail Science) to the slogan to underline the importance of knowledge in India's progress.[4]

text: During the acceptance speech of Sunil Bharti Mittal delivered at Teen Murti Bhavan on 15 December 2009 after receiving the 10th Lal Bahadur Shastri National Award from the President of India, the Director of the Lal Bahadur Shastri Institute of Management, Delhi, Dr Kailash Chandra Mishra, restated the slogan as

text: Jai Jawan! Jai Kissan! Jai Vigyan! Jai Vidwan!

text: Jai Vidwan means "hail the learned" to signify knowledge working as the driver of India's current significant economic growth.

text: The Ministry of Information and Broadcasting (India) commemorated Shastri on his 48th martyr's day:

text: Former Prime Minister Lal Bahadur Shastri was one of those great Indians who has left an indelible impression on our collective life. Shri Lal Bahadur Shastri's contribution to our public life were unique in that they were made in the closest proximity to the life of the common man in India. Shri Lal Bahadur Shastri was looked upon by Indians as one of their own, one who shared their ideals, hopes and aspirations. His achievements were looked upon not as the isolated achievements of an individual but of our society collectively.

text: Under his leadership India faced and repulsed the Pakistani invasion of 1965. It is not only a matter of pride for the Indian Army but also for every citizen of the country. Shri Lal Bahadur Shastri's slogan Jai Jawan Jai Kisan reverberates even today through the length and breadth of the country. Underlying this is the inner-most sentiments 'Jai Hindustan'. The war of 1965 was fought and won for our self-respect and our national prestige. For using our Defence Forces with such admirable skill, the nation remains beholden to Shri Lal Bahadur Shastri. He will be remembered for all times to come for his large heartedness and public service.[5]

text: In 2015, a film based on Shastri's life was released which was named after this slogan.