document_title: And the Mountains Echoed

question_text: who is roshi in and the mountains echoed

text: And the Mountains Echoed

text: Composition and publication[edit]

text: Khaled Hosseini was born in Afghanistan but left the country in 1976 at the age of 11, eventually moving to the United States where he worked as a doctor. He wrote his first novel, The Kite Runner, in 2003 and became a full-time writer a year and a half later. He published his second book, A Thousand Splendid Suns, in 2007. Both novels were successful, and by the time of his third publication they had together sold over 38 million copies across 70 countries.[5]

text: Hosseini first began to consider the plot of And the Mountains Echoed during a 2007 trip to Afghanistan with the UN Refugee Agency. While there, he heard stories from several village elders about the deaths of young, impoverished children during the winters, which gave the foundation for the fundamental event of the novel: a parent's choice to sell a child to prevent this from occurring.[5] "The novel began very, very small, and it began with a single image in my head that I simply could not shed," he relayed. "It was the image of a man walking across the desert and he's pulling a little Radio Flyer red wagon, and in it there's a little girl about 3 years old, and there's a boy walking behind him, and these three people are walking across the desert."[6] Hosseini originally planned for it to be written in a linear fashion similar to his previous novels, but, during the writing process, it was expanded to cover a series of interconnected stories surrounding a large number of characters not directly related to each other. Comparing the process to a tree, he stated that story "just branched out" and "got bigger and bigger as it went along".[7]

text:
"Slowly, a family began to take shape in my mind-not unlike the many I had visited-one living in a remote village, forced to make a painful choice that most of us would find unbearable. At the heart of this family, I pictured a young brother and sister, who become the unwitting victims of their family's despair. The novel begins, then, with this single act of desperation, of sacrifice, an act that ruptures the family and ultimately becomes the tree trunk from which the novel's many branches spread out."

—Khaled Hosseini[5]

tag: div

text: As is his pattern, Hosseini drew on his early experiences in Afghanistan to create the foundation of the book.[7] He states that his travels to Afghanistan later in life also influenced his writing, albeit involuntarily. For example, during a 2009 visit he met two young sisters in a remote village outside Kabul. The older one, who he estimated to be around six years old, acted as a mother figure to the younger girl. Hosseini stated that their bond formed the foundation of the relationship between Abdullah and Pari in the novel.[8]

text: And the Mountains Echoed became the first to not deal directly with the Taliban, which featured prominently in both of his previous works. Though Hosseini did not consciously decide to avoid that topic, he stated that he was glad that he had moved away from it in order to keep the storyline fresh.[5] The characters' struggles were largely personal and unrelated to the political turmoil in Afghanistan. Hosseini added, "I hope a day will come when we write about Afghanistan, where we can speak about Afghanistan in a context outside of the wars and the struggles of the last 30 years. In some way I think this book is an attempt to do that."[6]

text: The title was derived from a line from "The Nurse's Song" by English poet William Blake: "And all the hills echoed".[2][9] In January 2013, Publishers Weekly announced the publication date as May 21 of that year, and Riverhead Books released a statement that the novel was about "how we love, how we take care of one another, and how the choices we make resonate through generations".[10] First printed in hardback, And the Mountains Echoed was priced at $28.95 in the United States and £14.99 in the United Kingdom.[11][12] Hosseini went on a five-week tour to 41 cities across America to promote the book.[7][13] In October 2013, plans were confirmed to translate And the Mountains Echoed into 40 languages, among them Icelandic and Malay.[4]

text: Plot[edit]

text: The novel opens in the year 1952. Saboor, an impoverished farmer from the fictional village of Shadbagh, decides to sell his three-year-old daughter Pari to a wealthy, childless couple in Kabul. The choice devastates his ten-year-old son, Abdullah, who raised Pari following their mother's death in childbirth.

text: Subsequent chapters expound on how the arrangement came to be: the children's stepmother, Parwana, grew up as the less-favored child to her beautiful twin sister Masooma. One day, in a flash of jealousy, she caused Masooma to suffer a debilitating injury that resulted in paraplegia. Parwana subsequently spent several years caring for her sister until the latter asked her to help her commit suicide and to then marry Saboor. Their older brother, Nabi, left to work for Mr. Wahdati, a wealthy man in Kabul, and became infatuated with his wife, Nila. After Nila expressed dismay about her inability to have children, Nabi arranged for Pari to be sold to the couple.

text: In the ensuing years, Abdullah leaves Afghanistan and Mr. Wahdati suffers a stroke, prompting Nila to take Pari and move to Paris, France. Nabi, while assuming the role of Wahdati's primary caregiver, finds a number of sketchbooks in Wahdati's closet filled with pictures of him drawn before the stroke. Unnerved by the discovery that Mr. Wahdati loves him, he resolves to leave but decides against it after he is unable to find someone suitable to take over for him. Nabi subsequently spends the next 50 years working for Mr. Wahdati. He develops a deep bond with his employer, and Nabi comes to the realization that his purpose is to take care of Mr. Wahdati. Later Mr. Wahdati's health deteriorates further, and Nabi helps him commit assisted suicide by kissing him on the lips and pressing a pillow over his face.

text: Wahdati's neighbors, meanwhile, move to the United States with their children after the Soviet invasion. Cousins Idris and Timur return to Afghanistan over two decades later in 2003 to reclaim their family's property. While there, Timur makes a great show of publicly distributing money to street beggars while Idris privately bonds with Roshi, an Afghan girl who suffers from a horrific injury and whose family was murdered by her uncle. Idris at first promises to arrange for Roshi to undergo the operations needed for her recovery but distances himself from her and Afghanistan on returning to the States. Several years later, Idris comes across Roshi signing copies of her bestselling memoir, which she has dedicated to her adoptive mother and Timur, who paid for her surgery.

text: Nila, now living in Paris, is unhappy for much of her life, taking up a number of lovers and beginning to refer to the plain and practical Pari as her "punishment". She commits suicide in 1974 after giving a detailed interview about her early life. Pari suspects that she is not Nila's biological daughter and plans a trip to Afghanistan to explore her heritage. However, she postpones it indefinitely after marrying and becoming pregnant. After having three children and being widowed at the age of 48, she receives a posthumous letter from Nabi in 2010 detailing the circumstances of her adoption by the Wahdatis.

text: Later chapters focus on Adel, a boy learning that his father is a war criminal and that his house is built on the land that previously belonged to Saboor, and Markos, a Greek aid worker in Afghanistan and acquaintance of Nabi. In the final chapter, narrated by Abdullah's daughter, Abdullah and Pari are reunited in California. However, he is suffering from Alzheimer's disease and is unable to remember her.

text: Characters[edit]

text:
"Is the quintessential Afghan woman Nila, the dramatic Kabul socialite turned Parisian poetess? Or is she the guilt wracked Parwana, who feels condemned to a life of grief for a single moment of jealousy? Or is she the war-maimed [Roshi], whose story is written into an archetypal tale of woe for mass consumption by American readers, where the guilt of the Afghan character melts indelibly with the guilt of the Western reader, accomplishing with grace the revelation of the complicated relationship between the two?"

—Rafia Zakaria, a director of Amnesty International USA[14]

text: Khaled Hosseini chose to tell the story in a "fragmented and fluid" form;[15] each of the nine chapters is told from a different character's perspective, and each narrative provides an interconnection with the others'. Los Angeles Times critic Wendy Smith compared this style to the classic One Thousand and One Nights.[15]

text:
Abdullah is an Afghan growing up in the fictional village of Shadbagh. After his father's choice to sell his younger sister to a couple in Kabul, he resolves to leave Afghanistan, travelling to Pakistan and eventually the United States. He opens an Afghan restaurant there and has a daughter, whom he names after his sister. Following his wife's death, Abdullah is diagnosed with Alzheimer's and is later unable to remember his sister after being reunited with her.
Pari is Abdullah's younger sister who, at the age of three, is sold by her father to the wealthy Wahdati couple in Kabul. She and Abdullah are portrayed as having an unusually close relationship during her early years, though she forgets him along with the rest of her biological family following her adoption. She spends her adolescence and adulthood in France following her adoptive father's stroke and eventually becomes aware of her history through a posthumous letter from her uncle Nabi, who had arranged for her to be sold as a child. When she is finally reunited with Abdullah, he is unable to remember her due to his Alzheimer's. "I could see that if the reunion were to occur, it would occur on these terms and it wouldn't be the reunion we'd expect and perhaps the one we want," Hosseini explained.[16]
Nila Wahdati is a young Afghan woman renowned for her sexually charged poetry who is married off to a wealthy Kabul businessman. According to Hosseini, many aspects of her character were derived from women he encountered during parties his parents hosted in Kabul in the 1970s, many of whom he recalls as "beautiful, very outspoken, temperamental...drinking freely, smoking".[16] At some point prior to the beginning of the story, she was apparently sterilized while undergoing treatment for an illness, leading her to buy Pari as an adopted daughter. Described as unusually beautiful and discontent, she later relocates to Paris following her husband's stroke and eventually commits suicide. Hosseini explained that he was unconcerned with making Nila likable—"I just wanted her to be real – full of anger and ambition and insight and frailty and narcissism."[16]
Parwana is the stepmother of Abdullah and Pari. She grew up in Shadbagh with her brother, Nabi, and twin sister, Masooma. Parwana is ill-favored for most of her life as opposed to the strikingly beautiful Masooma. This eventually results in what Rafia Zakaria describes as a "poignant tale of a plain twin whose single act of vengeance, of pushing her pretty sister off a swing results in a lifelong moral burden".[14] Masooma's accident leaves her paralyzed, leaving Parwana tortured by guilt and forced to care for her from then on.[14] After several years, Masooma persuades Parwana to leave her in the desert to die and marry Saboor, Abdullah and Pari's father.
Nabi is the older brother of Parwana and Masooma. Despite being "a character who slips beneath the notice of many of the novel's noisier characters",[17] he organizes the event that serves as the primary plot of the story: the adoption of Pari. After being hired as a chauffeur for the Wahdatis, he becomes infatuated with the childless Nila and arranges for Pari to be sold to her in hopes that she will become his lover.[17] After Nila's husband suffers a stroke and Nila leaves for Paris, he realizes that he had been foolish to think so and becomes the primary caregiver for his bedridden employer. He later develops a deep bond with Mr. Wahdati, and they become platonic lifelong partners.[17]
Amra Ademovic is a Bosnian nurse working in a hospital in Afghanistan after the fall of the Taliban. She cares for and later adopts Roshi, a critically wounded Afghan orphan. Amra, according to Hosseini, was created to represent the foreign aid workers serving in Afghanistan. While visiting the country in 2003, he had encountered a number of people who had left comfortable lifestyles to help provide relief aid, and he had wanted to pay tribute to them through the portrayal of Amra.[18] Hosseini described the character as one of his favorites[18] and said, "She has seen humanity at its worst, having worked in war zones most of her career, and yet she has retained great capacity for compassion and mercy. She is also very street smart, fiercely intelligent, and brutally honest."[9]
Idris is an Afghan-American doctor who left Afghanistan during the Soviet invasion. He later returns to Afghanistan, along with his narcissistic and childish cousin Timur, in 2003 to reclaim their family's land. While there, Idris meets Roshi and befriends her, moved by her tragic story. Hosseini stated that Idris' experience as an Afghan expatriate was partly based on his own. "He was a vehicle to describe what it's like to be an Afghan in exile, to return to see how divergent my experience was from other Afghans," Hosseini said.[18] Idris begins to set up plans to pay for her surgery in America, but upon returning home, he loses that drive. It is later revealed Timur pays for Roshi's surgery.
Markos Varvaris is a plastic surgeon from the Greek island of Tinos. His childhood best friend, Thalia, suffered from severe facial disfigurement after being attacked by a dog and undergoing a botched surgery. This motivated Markos to become a surgeon and work in various developing countries, including Afghanistan.
Adel is the son of a wealthy war criminal who has turned Shadbagh into "Shadbagh-e-Nau" or "New Shadbagh". Adel is raised in an isolated mansion with the belief that his father is a hero, witnessing him donate money and fund the building of schools. When he discovers the truth, he is deeply upset but aware of "[t]he part of him that over time would gradually, almost imperceptibly, accept this new identity that at present prickled like a wet wool sweater."[19]

text: Themes[edit]

text: Whereas The Kite Runner focused on the dynamic between fathers and sons, and Splendid Suns on that between mothers and daughters, this novel tells its story through the prism of sibling relationships — a theme refracted through the lives of several pairs of brothers and sisters.

text: Khaled Hosseini considers pain, love, and familial love to be the primary themes of And the Mountains Echoed. The separation of the two siblings, Abdullah and Pari, is "the heart of the book".[6] Both subsequently become "victims of the passage of time": Abdullah, who is older and remembers Pari, agonizes over her loss for most of his life, while Pari is younger and able to forget her brother after losing him. However, towards the end of the book, Pari is informed that she was adopted and that she has a brother, Abdullah; she locates him in the United States only to discover that he is suffering from Alzheimer's disease and has forgotten her. Hosseini stated, "The question is raised a number of times about whether memory is a blessing — something that safeguards in all the things that are dear to you — or is memory a curse — something that makes you relive the most painful parts of your life, the toil, the struggle, the sorrows."[6] Thus, the combination of these events make And the Mountains Echoed "kind of like a fairytale turned on its head".[16]

text: I think at the core, all three of my books have been love stories — and they haven't been traditional love stories in the sense that a romantic love story between a man and a woman, you know, they've been stories of love between characters where you would not expect love to be found. So it is always these intense relationships that form under unexpected circumstances.[6]

text: Rafia Zakaria, a director for Amnesty International USA, wrote that the themes of guilt and gratitude also feature prominently. She used the backstory of Parwana, Abdullah and Pari's stepmother, and her sister Masooma as an example: "We find a poignant tale of a plain twin whose single act of vengeance, of pushing her pretty sister off a swing results in a lifelong moral burden. The sister, who was to be married to a man both sisters love, becomes an invalid for life, and both serve the sentence, the healthy one tending to the other and wrecked within by the knowledge that she was the cause of their collective misfortune."[14] She stated the theme of dependence also extended to the story of Nabi, the brother of Parwana who arranges the selling of Pari and who is later left as the sole caretaker of his paralyzed employer.[14]

text: Critical reviews[edit]

text:
"It's hard to do justice to a novel this rich in a short review. There are a dozen things I still want to say — about the rhyming pairs of characters, the echoing situations, the varied takes on honesty, loneliness, beauty and poverty, the transformation of emotions into physical ailments. Instead, I'll just add this: Send Hosseini up the bestseller list again."

—Marcela Valdes of The Washington Post[21]

text: Three million copies of And the Mountains Echoed were sold within five months of its publication.[4] In general, the novel was received well, with Los Angeles Times critic Wendy Smith finding it "painfully sad but also radiant with love".[15] Fran Hawthorne of The National described the book as "masterful storytelling" and a "haunting portrayal of war-ravaged Afghanistan and insight into the life of Afghan expatriates".[22] Susan Balee from Philly.com wrote that it "[captures] at the personal level the history of his war-torn homeland: Fierce loyalties alternate with bloody betrayals".[23] The Guardian's Philip Hensher gave a more mediocre review and said, "I enjoyed this novel in a very undemanding sort of way. The shifts of viewpoint would be ambitious if the novel had any interest in varieties of psychology. But it serves its purpose in providing amusement for two and a half hours; a day after finishing it, I had forgotten everything about it."[24]

text: Reviewers agreed that Hosseini's succeeded in making his characters complex. Alexander Linklater from The Guardian wrote, "From the moment the realisation dawns that Saboor is going to give Pari to the wife of a wealthy man in Kabul, Hosseini saturates the various layers and characters of his novel with a yearning for the moment that brother and sister will reunite."[25] Soniah Kamal of Atlanta Arts was particularly favorable towards Amra, the Bosnian aid worker who cares for and adopts Roshi, as she "stuns with her hope in humanity no matter what callousness she has witnessed".[26] USA Today critic Kevin Nance found the story of Abdullah and Pari "devastating" but thought the large cast of characters, "including some introduced fairly late in the proceedings, when the reader just wants to return to the core cast", was excessive.[27]

text: The structure of the book drew mixed reactions, with Toronto Star's Kim Hughs describing it as "the novel's most defining feature and its most exasperating conceit". She believed that Pari was meant to be the protagonist of the story but that the shifting focus on the numerous other personalities left her "barely [squeaking] through the clutter".[28] The Independent's Arifa Akbar stated, "The changing points of view and leaps in time can confuse and confine, leaving characters clearly defined but lacking depth. Decades gallop by and it is as if the story of these interconnected, cross -generational lives will simply go on echoing the original crime of Abdullah and Pari's separation."[29] Michiko Kakutani from The New York Times thought the novella-like storytelling was handled well and wrote, "Khaled Hosseini's new novel, And the Mountains Echoed, may have the most awkward title in his body of work, but it's his most assured and emotionally gripping story yet, more fluent and ambitious than The Kite Runner (2003), more narratively complex than A Thousand Splendid Suns (2007)."[20] Kamal agreed, saying that the structure was "exquisitely crafted".[26] Scoop Empire's Sherine El Banhawy added that the focus on multiple characters allowed to readers to gain a better understanding of the diversities of Afghan culture.[30]


document_title: M&M's World

question_text: m&m world london features the world’s largest

question_tokens: m&m world london features the world 's largest

root

text: M&M's World

text: Las Vegas location[edit]

text: The first location opened on the Las Vegas Strip in 1997, in the Showcase Mall next to the MGM Grand.[3][4] The four-story[5] M&M's World includes a gift shop on the first floor. The shop leads to a 3D movie theater that shows the short subject I Lost My M In Vegas. Also on display are M&M's in nearly every color, and a replica of the No. 18 M&M's race car that is driven in the NASCAR Monster Energy Cup Series. M&M's clothing is sold on the second floor and on the stairs that go up to the second floor are pictures showing how the M&M's characters have evolved over the years painted on the wall.

tag: p

text: The Las Vegas location received eight million visitors in 2007.[1]

text: As of July 2013, M&Ms purchased in the store are $12.99 per pound.

text: New York City location[edit]

text: The New York City store is within a 24,000-square-foot (2,200 m2), three-level glass box, in Times Square. It includes a 50-foot (15 m)-wide, two-story-high, "wall of chocolate", made up of 72 continuous candy-filled tubes.

text: M&M's World in Times Square is New York City's largest candy store, and offers merchandise such as themed clothing, dishware, watches, and piggy banks. Before it opened in 2006, nearly 13,000 people lined up for the 198 jobs, which were in demand because of a more generous health benefit package than is usually offered for an entry-level retail job in New York.[6]

text: Orlando location[edit]

text: Located in The Florida Mall, the 17,500-square-foot[3] Orlando store was named "international store of the year" for 2005 by the Institute of Store Planners and VM+SD magazine (which covers store design and visual merchandising).[7]

text: London location[edit]

text: On 13 June 2011, M&M's World store in London opened to the public, in Leicester Square. The site was formerly occupied by the Swiss Centre.[8][9]

text: It is the world's largest candy store, at 35,000 sq ft (3,250 sq metres).[10] The retail space was built as part of Westminster City Council's regeneration of the local area, to create a "world class destination", based on the similar remodelling of Times Square New York.[11]

text: Henderson location[edit]

text: Mars Incorporated has a store close to its Ethel M Chocolate Factory in Henderson, Nevada. It is situated near to the plant's Ethel M Botanical Cactus Garden, which is one of the world's largest collections of its kind, and is based on the naturalistic English landscape garden model.[12]


document_title: Glossolalia

question_text: when did speaking in tongues start in america

text: Glossolalia

text: Etymology[edit]

text: "Glossolalia" is from the Greek word γλωσσολαλία, itself a compound of the words γλῶσσα (glossa), meaning "tongue" or "language"[3] and λαλέω (laleō), "to speak, talk, chat, prattle, or to make a sound".[4] The Greek expression (in various forms) appears in the New Testament in the books of Acts and First Corinthians. In Acts 2, the followers of Christ receive the Holy Spirit and speak in the languages of at least fifteen countries or ethnic groups.

text: The exact phrase "speaking in tongues" has been used at least since the translation of the New Testament into Middle English in the Wycliffe Bible in the 14th century.[5] Frederic Farrar first used the word "glossolalia" in 1879.[6]

text: Linguistics[edit]

text: In 1972, William J. Samarin, a linguist from the University of Toronto, published a thorough assessment of Pentecostal glossolalia that became a classic work on its linguistic characteristics.[7] His assessment was based on a large sample of glossolalia recorded in public and private Christian meetings in Italy, The Netherlands, Jamaica, Canada and the US over the course of five years; his wide range included the Puerto Ricans of the Bronx, the Snake Handlers of the Appalachians and the Spiritual Christians from Russia in Los Angeles (Pryguny, Dukhizhizniki).

text: Samarin found that glossolalic speech does resemble human language in some respects. The speaker uses accent, rhythm, intonation and pauses to break up the speech into distinct units. Each unit is itself made up of syllables, the syllables being formed from consonants and vowels taken from a language known to the speaker:

text: It is verbal behaviour that consists of using a certain number of consonants and vowels[...]in a limited number of syllables that in turn are organized into larger units that are taken apart and rearranged pseudogrammatically[...]with variations in pitch, volume, speed and intensity.[8]

text: [Glossolalia] consists of strings of syllables, made up of sounds taken from all those that the speaker knows, put together more or less haphazardly but emerging nevertheless as word-like and sentence-like units because of realistic, language-like rhythm and melody.[9]

text: That the sounds are taken from the set of sounds already known to the speaker is confirmed by others. Felicitas Goodman, a psychological anthropologist and linguist, also found that the speech of glossolalists reflected the patterns of speech of the speaker's native language.[10] These findings were confirmed by Kavan (2004).[11]

text: Samarin found that the resemblance to human language was merely on the surface and so concluded that glossolalia is "only a facade of language".[12] He reached this conclusion because the syllable string did not form words, the stream of speech was not internally organized, and – most importantly of all – there was no systematic relationship between units of speech and concepts. Humans use language to communicate but glossolalia does not. Therefore, he concluded that glossolalia is not "a specimen of human language because it is neither internally organized nor systematically related to the world man perceives".[12] On the basis of his linguistic analysis, Samarin defined Pentecostal glossolalia as "meaningless but phonologically structured human utterance, believed by the speaker to be a real language but bearing no systematic resemblance to any natural language, living or dead".[13]

text: Practitioners of glossolalia may disagree with linguistic researchers and claim that they are speaking human languages (xenoglossia). Felicitas Goodman studied a number of Pentecostal communities in the United States, the Caribbean and Mexico; these included English-, Spanish- and Mayan-speaking groups. She compared what she found with recordings of non-Christian rituals from Africa, Borneo, Indonesia and Japan. She took into account both the segmental structure (such as sounds, syllables, phrases) and the supra-segmental elements (rhythm, accent, intonation) and concluded that there was no distinction between what was practised by the Pentecostal Protestants and the followers of other religions.[14]

text: History[edit]

text: Classical antiquity[edit]

text: It was a commonplace idea within the Greco-Roman world that divine beings spoke languages different from human languages, and historians of religion have identified references to esoteric speech in Greco-Roman literature that resemble glossolalia, sometimes explained as angelic or divine language. An example is the account in the Testament of Job where the daughters of Job were given sashes enabling them to speak and sing in angelic languages.[15]

text: According to Dale B. Martin, glossolalia accorded high status in the ancient world due to its association with the divine. Alexander of Abonoteichus may have exhibited glossolalia during his episodes of prophetic ecstasy.[16] Neoplatonist philosopher Iamblichus linked glossolalia to prophecy, writing that prophecy was divine spirit possession that "emits words which are not understood by those that utter them; for they pronounce them, as it is said, with an insane mouth (mainomenό stomati) and are wholly subservient, and entirely yield themselves to the energy of the predominating God."[17]

text: As part of his attack on early Christianity, the Greek philosopher Celsus may include an account of Christian glossolalia. Celsus describes prophecies made by several Christians in Palestine and Phoenicia of which he writes, "Having brandished these threats they then go on to add incomprehensible, incoherent, and utterly obscure utterances, the meaning of which no intelligent person could discover: for they are meaningless and nonsensical, and give a chance for any fool or sorcerer to take the words in whatever sense he likes."[16]

text: References to speaking in tongues by the Church fathers are rare. Except for Irenaeus' 2nd-century reference to many in the church speaking all kinds of languages "through the Spirit", and Tertullian's reference in 207 AD to the spiritual gift of interpretation of tongues being encountered in his day, there are no other known first-hand accounts of glossolalia, and very few second-hand accounts among their writings.[18]

text: 400 to 1900[edit]

text: 5th century St. Patrick of Ireland (c. 387–493), in The Confession of St. Patrick, records hearing a strange language being prayed by the Holy Spirit in a dream. St. Patrick says in his book:

tag: ul

text: And another night – God knows, I do not, whether within me or beside me – most words which I heard and could not understand, except at the end of the speech it was represented thus: 'He who gave his life for you, he it is who speaks within you.' And thus I awoke, joyful.[19]

text: And on a second occasion I saw Him praying within me, and I was as it were, inside my own body, and I heard Him above me – that is, above my inner self. He was praying powerfully with sighs. And in the course of this I was astonished and wondering, and I pondered who it could be who was praying within me. But at the end of the prayer it was revealed to me that it was the Spirit. And so I awoke and remembered the Apostle's words: "Likewise the Spirit helps us in our weakness; for we know not how to pray as we ought. But the Spirit Himself intercedes for us with sighs too deep for utterance [Romans 8:26]." And again: "The Lord our advocate intercedes for us [Romans 8:27].[19]

text:
12th century – Bernard of Clairvaux, commenting on Mark 16:17 ("they will speak in new tongues"), asked: "For who is there that seems to have these signs of the faith, without which no one, according to this Scripture, shall be saved?"[20] He explained that these signs were no longer present because there were greater miracles – the transformed lives of believers.[21]
12th century – Hildegard of Bingen is reputed to have spoken and sung in tongues. Her spiritual songs were referred to by contemporaries as "concerts in the Spirit."[citation needed]
1265 – Thomas Aquinas wrote about the gift of tongues in the New Testament, which he understood to be an ability to speak every language, given for the purposes of missionary work. He explained that Christ did not have this gift because his mission was to the Jews, "nor does each one of the faithful now speak save in one tongue"; for "no one speaks in the tongues of all nations, because the Church herself already speaks the languages of all nations".[22]
15th century – The Moravians are referred to by detractors as having spoken in tongues. John Roche, a contemporary critic, claimed that the Moravians "commonly broke into some disconnected Jargon, which they often passed upon the vulgar, 'as the exuberant and resistless Evacuations of the Spirit'".[23]
17th century – The French Prophets: The Camisards also spoke sometimes in languages that were unknown: "Several persons of both Sexes," James Du Bois of Montpellier recalled, "I have heard in their Extasies pronounce certain words, which seem'd to the Standers-by, to be some Foreign Language." These utterances were sometimes accompanied by the gift of interpretation exercised, in Du Bois' experience, by the same person who had spoken in tongues.[24][25]
17th century – Early Quakers, such as Edward Burrough, make mention of tongues speaking in their meetings: "We spoke with new tongues, as the Lord gave us utterance, and His Spirit led us".[26]
1817 – In Germany, Gustav von Below, an aristocratic officer of the Prussian Guard, and his brothers, founded a charismatic movement based on their estates in Pomerania, which may have included speaking in tongues.[citation needed]
19th century – Edward Irving and the Catholic Apostolic Church. Edward Irving, a minister in the Church of Scotland, writes of a woman who would "speak at great length, and with superhuman strength, in an unknown tongue, to the great astonishment of all who heard, and to her own great edification and enjoyment in God".[27] Irving further stated that "tongues are a great instrument for personal edification, however mysterious it may seem to us."[28]
19th century – The history of the Church of Jesus Christ of Latter-day Saints (LDS Church), contains extensive references to the phenomenon of speaking in tongues by Brigham Young, Joseph Smith and many others.[29][30] Sidney Rigdon had disagreements with Alexander Campbell regarding speaking in tongues, and later joined the Church of Jesus Christ of Latter-day Saints. Speaking in tongues was recorded in contemporary sources, both hostile and sympathetic to Mormonism, by at least 1830.[31] The practice was soon widespread amongst Mormons, with many rank and file church members believing they were speaking the language of Adam; some of the hostility towards Mormons stemmed from those of other faiths regarding speaking in tongues unfavorably, especially when practiced by children.[31] At the 1836 dedication of the Kirtland Temple the dedicatory prayer asked that God grant them the gift of tongues and at the end of the service Brigham Young spoke in tongues, another elder interpreted it and then gave his own exhortation in tongues. Many other worship experiences in the Kirtland Temple prior to and after the dedication included references to people speaking and interpreting tongues. In describing the beliefs of the church in the Wentworth letter (1842), Joseph Smith identified a belief of the "gift of tongues" and "interpretation of tongues". The practice of glossolalia by the Latter-day Saints was widespread but after an initial burst of enthusiastic growth circa 1830–34, seems to have been somewhat more restrained than in many other contemporary religious movements.[31] Young, Smith, and numerous other early leaders frequently cautioned against the public exercise of glossolalia unless there was someone who could exercise the corresponding spiritual gift of interpretation of tongues, so that listeners could be edified by what had been said. Although the Latter-day Saints believe that speaking in tongues and the interpretation of tongues are alive and well in the Church, modern Mormons are much more likely to point to the way in which LDS missionaries are trained and learn foreign languages quickly, and are able to communicate rapidly on their missions, as evidence of the manifestation of this gift. This interpretation stems from a 1900 General Conference sermon by Joseph F. Smith which discouraged glossolalia; subsequent leaders echoed this recommendation for about a decade afterwards and subsequently the practice had largely died out amongst Mormons by the 1930s and '40s.[31] The visitor to 21st Century LDS church services will never hear spontaneous, incomprehensible glossolalia as one might overhear at a Pentecostal service.

text: 20th century[edit]

text: During the 20th century, glossolalia primarily became associated with Pentecostalism and the later charismatic movement. The holiness preachers Charles Parham and William Seymour are credited as co-founders of the movement. It was Parham who formulated the doctrine of "initial evidence". After studying the Bible, Parham came to the conclusion that speaking in tongues was the Bible evidence that one had received the baptism with the Holy Spirit.

text: In 1900, Parham opened Bethel Bible College in Topeka, Kansas, America, where he taught initial evidence. During a service on 1 January 1901, a student named Agnes Ozman asked for prayer and the laying on of hands to specifically ask God to fill her with the Holy Spirit. She became the first of many students to experience glossolalia, coincidentally in the first hours of the 20th century. Parham followed within the next few days. Parham called his new movement the Apostolic Faith. In 1905, he moved to Houston and opened a Bible school there. One of his students was William Seymour, an African-American preacher. In 1906, Seymour traveled to Los Angeles where his preaching ignited the Azusa Street Revival. This revival is considered the birth of the global Pentecostal movement. Witnesses at the Azusa Street Revival wrote of seeing fire resting on the heads of participants, miraculous healings in the meetings, and incidents of speaking in tongues being understood by native speakers of the language.[citation needed] According to the first issue of William Seymour's newsletter, "The Apostolic Faith", from 1906:

text: A Mohammedan, a Soudanese by birth, a [m]an who is an interpreter and speaks six[t]een languages, came into the meetings at Azusa Street and the Lord gave him messages which none but himself could understand. He identified, interpreted and wrote [a] number of the languages.[32]

text: Parham and his early followers believed that speaking in tongues was xenoglossia, and some followers traveled to foreign countries and tried to use the gift to share the Gospel with non-English-speaking people. From the time of the Azusa Street revival and among early participants in the Pentecostal movement, there were many accounts of individuals hearing their own languages spoken 'in tongues'. It is likely that the majority of Pentecostals and Charismatics still consider speaking in tongues to primarily be human languages. [33] In the years following the Azusa Street revival Pentecostals who went to the mission field found that they were unable to speak in the language of the local inhabitants at will when they spoke in tongues in strange lands. [34] But Pentecostals and Charismatics have reported many cases of 'speaking in tongues' that were identified as human languages since [35].

text: The revival at Azusa Street lasted until around 1915. From it grew many new Pentecostal churches as people visited the services in Los Angeles and took their newfound beliefs to communities around the United States and abroad. During the 20th century, glossolalia became an important part of the identity of these religious groups. During the 1960s, the charismatic movement within the mainline Protestant churches and among charismatic Roman Catholics adopted some Pentecostal beliefs, and the practice of glossolalia spread to other Christian denominations. The discussion regarding tongues has permeated many branches of the Protestantism, particularly since the widespread Charismatic Movement in the 1960s. Many books have been published either defending[36] or attacking[37] the practice.

text: Christianity[edit]

text: Theological explanations[edit]

text: In Christianity, a supernatural explanation for glossolalia is advocated by some and rejected by others.

text:
Glossolalists could, apart from those practicing glossolalia, also mean all those Christians who believe that the Pentecostal/charismatic glossolalia practiced today is the "speaking in tongues" described in the New Testament. They believe that it is a miraculous charism or spiritual gift. Glossolalists claim that these tongues can be both real, unlearned languages (i.e., xenoglossia)[38][39] as well as a "language of the spirit", a "heavenly language", or perhaps the language of angels.[40]
Cessationists believe that all the miraculous gifts of the Holy Spirit ceased to occur early in Christian history, and therefore that the speaking in tongues practised today is simply the utterance of meaningless syllables. It is neither xenoglossia nor miraculous, but rather learned behavior, possibly self-induced. These believe that what the New Testament described as "speaking in tongues" was xenoglossia, a miraculous spiritual gift through which the speaker could communicate in natural languages not previously studied.

text: Proponents of each viewpoint use the biblical writings and historical arguments to support their positions.

text: Biblical practice[edit]

text: There are five places in the New Testament where speaking in tongues is referred to explicitly:

text:
Mark 16:17, which records the instructions of Christ to the apostles, including his description that "they will speak with new tongues" as a sign that would follow "them that believe" in him.
Acts 2, which describes an occurrence of speaking in tongues in Jerusalem at Pentecost, though with various interpretations. Specifically, "every man heard them speak in his own language" and wondered "how hear we every man in our own tongue, wherein we were born?"
Acts 10:46, when the household of Cornelius in Caesarea spoke in tongues, and those present compared it to the speaking in tongues that occurred at Pentecost.
Acts 19:6, when a group of approximately a dozen men spoke in tongues in Ephesus as they received the Holy Spirit while the apostle Paul laid his hands upon them.
1 Cor 12, 13, 14, where Paul discusses speaking in "various kinds of tongues" as part of his wider discussion of the gifts of the Spirit; his remarks shed some light on his own speaking in tongues as well as how the gift of speaking in tongues was to be used in the church.

text: Other verses by inference may be considered to refer to "speaking in tongues", such as Isaiah 28:11, Romans 8:26 and Jude 20.

text: The biblical account of Pentecost in the second chapter of the book of Acts describes the sound of a mighty rushing wind and "divided tongues like fire" coming to rest on the apostles. The text further describes that "they were all filled with the Holy Spirit, and began to speak in other languages". It goes on to say in verses 5-11 that when the Apostles spoke, each person in attendance "heard their own language being spoken". Therefore, the gift of speaking in tongues refers to the Apostles' speaking languages that the people listening heard as "them telling in our own tongues the mighty works of God". Glossolalists and cessationists both recognize this as xenoglossia, a miraculous ability that marked their baptism in the Holy Spirit. Something similar (although perhaps not xenoglossia) took place on at least two subsequent occasions, in Caesarea and Ephesus.

text: Glossolalists and cessationists generally agree that the primary purpose of the gift of speaking in tongues was to mark the Holy Spirit being poured out. At Pentecost the Apostle Peter declared that this gift, which was making some in the audience ridicule the disciples as drunks, was the fulfilment of the prophecy of Joel which described that God would pour out his Spirit on all flesh (Acts 2:17).[39]

text: Despite these commonalities, there are significant variations in interpretation.

text:
Universal. The traditional Pentecostal view is that every Christian should expect to be baptized in the Holy Spirit, the distinctive mark of which is glossolalia.[41] While most Protestants agree that baptism in the Holy Spirit is integral to being a Christian, others[42] believe that it is not separable from conversion and no longer marked by glossolalia. Pentecostals appeal to the declaration of the Apostle Peter at Pentecost, that "the gift of the Holy Spirit" was "for you and for your children and for all who are far off" (Acts 2:38–39). Cessationists reply that the gift of speaking in tongues was never for all (1 Cor 12:30). In response to those who say that the Baptism in the Holy Spirit is not a separate experience from conversion, Pentecostals appeal to the question asked by the Apostle Paul to the Ephesian believers "Have ye received the Holy Ghost since ye believed?" (Acts 19:2).
One gift. Different aspects of speaking in tongues appear in Acts and 1 Corinthians, such that the Assemblies of God declare that the gift in Acts "is the same in essence as the gift of tongues" in 1 Corinthians "but different in purpose and use".[41] They distinguish between (private) speech in tongues when receiving the gift of the Spirit, and (public) speech in tongues for the benefit of the church. Others assert that the gift in Acts was "not a different phenomenon" but the same gift being displayed under varying circumstances.[43] The same description – "speaking in tongues" – is used in both Acts and 1 Corinthians, and in both cases the speech is in an unlearned language.
Direction. The New Testament describes tongues largely as speech addressed to God, but also as something that can potentially be interpreted into human language, thereby "edifying the hearers" (1 Cor 14:5,13). At Pentecost and Caesarea the speakers were praising God (Acts 2:11; 10:46). Paul referred to praying, singing praise, and giving thanks in tongues (1 Cor 14:14–17), as well as to the interpretation of tongues (1 Cor 14:5), and instructed those speaking in tongues to pray for the ability to interpret their tongues so others could understand them (1 Cor 14:13). While some limit speaking in tongues to speech addressed to God – "prayer or praise",[38] others claim that speech in tongues is revelation from God to the church, and when interpreted into human language by those embued with the gift of interpretation of tongues for the benefit of others present, may be considered equivalent to prophecy.[44]
Music. Musical interludes of glossolalia are sometimes described as singing in the Spirit. Some hold that singing in the Spirit is identified with singing in tongues in 1 Corinthians 14:13–19,[45] which they hold to be "spiritual or spirited singing", as opposed to "communicative or impactive singing" which Paul refers to as "singing with the understanding".[46]
Sign for unbelievers (1 Cor 14:22). Some assume that tongues are "a sign for unbelievers that they might believe",[47] and so advocate it as a means of evangelism. Others point out that Paul quotes Isaiah to show that "when God speaks to people in language they cannot understand, it is quite evidently a sign of God's judgment"; so if unbelievers are baffled by a church service they cannot understand because tongues are spoken without being interpreted, that is a "sign of God's attitude", "a sign of judgment".[48] Some identify the tongues in Acts 2 as the primary example of tongues as signs for unbelievers
Comprehension. Some say that speech in tongues was "not understood by the speaker".[38] Others assert that "the tongues-speaker normally understood his own foreign-language message".[49] This last comment seems to have been made by someone confusing the "gift of tongues" with the "gift of the interpretation of tongues, which is specified as a different gift in the New Testament, but one that can be given to a person who also has the gift of tongues. In that case, a person understands a message in tongues that he has previously spoken in an unknown language."[this quote needs a citation]

text: Pentecostal and charismatic practice[edit]

text:
Part of a series on

Pentecostalism

Background[show]

Christianity
Protestantism
The Reformation
Methodist revivals
Restorationism
Holiness movement

Early history[show]

Bethel Bible College
1904–1905 Welsh Revival
Azusa Street Revival
Charles Fox Parham
William J. Seymour

Key beliefs[show]

Baptism with the Holy Spirit
Finished Work
Latter rain
Spiritual gifts

Speaking in tongues
Prophecy
Divine healing

Visions

Key people[show]

Asa A. Allen
Yiye Ávila
Joseph Ayo Babalola
William M. Branham
David Yonggi Cho
Jack Coe
Margaret Court
Lucy F. Farrow
Benny Hinn
Rex Humbard
George Jeffreys
Kathryn Kuhlman
Gerald Archie Mangun
Charles Harrison Mason
Aimee Semple McPherson
Charles Fox Parham
David du Plessis
Oral Roberts
William J. Seymour
Smith Wigglesworth
Maria Woodworth-Etter
Pat Robertson
Bishop Ida Robinson
Category:Pentecostals

Major denominations[show]

Apostolic Church
Assemblies of God
Church of God in Christ
Church of God (Cleveland, Tennessee)
International Church of the Foursquare Gospel
International Pentecostal Holiness Church
United Pentecostal Church International

Related movements[show]

Charismatic Movement
Evangelicalism
Oneness Pentecostalism

v
t
e

tag: table

text: Because Pentecostal and charismatic beliefs are not monolithic, there is not complete theological agreement on speaking in tongues. Generally, however, it is agreed that speaking in tongues is a spiritual gift that can be manifested as either a human language or a heavenly supernatural language in three ways[citation needed]:

text:
The "sign of tongues" refers to xenoglossia, wherein one speaks an actual language he has never learnt.
The "gift of tongues" refers to a glossolalic utterance spoken by an individual and addressed to a congregation of, typically, other believers.
Lastly, "praying in the spirit" is typically used to refer to glossolalia as part of personal prayer.[citation needed]

tag: ol

text: Many Pentecostals and charismatics adhere to Paul's words in 1 Corinthians 14 which established guidelines on the public use of glossolalia in the church at Corinth.[citation needed]

text: The gift of tongues is often referred to as a "message in tongues".[citation needed] This use of glossolalia requires an interpretation so that the gathered congregation can understand the message. This is accomplished by the interpretation of tongues, another spiritual gift. There are two schools of thought concerning the nature of a message in tongues:

text:
One school of thought believes it is always directed to God as prayer, praise, or thanksgiving but is spoken in for the hearing and edification of the congregation.
The other school of thought believes that a message in tongues can be a prophetic utterance inspired by the Holy Spirit.[citation needed] In this case, the speaker delivers a message to the congregation on behalf of God.

text: In addition to praying in the Spirit, many Pentecostal and charismatic churches practice what is known as singing in the Spirit. The Apostle "Paul’s definition of spiritual songs – is singing in the Spirit which is singing in tongues (1 Corinthians 14:15). Paul made it clear that praying in the Spirit was praying in tongues because it was in direct contrast to praying with the understanding or the language that could not be understood in the context of human languages (1 Corinthians 14:14, 16–18)"[50]

text: Non-Christian practice[edit]

text: Other religious groups have been observed to practice some form of theopneustic glossolalia. It is perhaps most commonly in Paganism, Shamanism, and other mediumistic religious practices.[51] In Japan, the God Light Association believed that glossolalia could cause adherents to recall past lives.[52]

text: Glossolalia has even been postulated as an explanation for the Voynich manuscript.[53]

text: In the 19th century, Spiritism was developed by the work of Allan Kardec, and the phenomenon was seen as one of the self-evident manifestations of spirits. Spiritists argued that some cases were actually cases of xenoglossia.

text: Glossolalia has also been observed in the Voodoo religion of Haiti,[54][unreliable source?] as well as in the Hindu Gurus and Muslim Fakirs of India.[citation needed]

text: Medical research[edit]

text: Neuroimaging of brain activity during glossolalia does not show activity in the language areas of the brain.[55][56]


question_text: who dies in harry potter order of the phoenix

text: Plot[edit]

text: During another summer with his Aunt Petunia and Uncle Vernon, Harry Potter and Dudley are attacked by Dementors. After using magic to save Dudley and himself, Harry is expelled from Hogwarts, but the decision is later reversed after a hearing at the Ministry of Magic. Harry is whisked off by a group of wizards (including the real Mad-Eye Moody, Professor Lupin, and several new faces, including Nymphadora Tonks, a bubbly young witch who is a Metamorphmagus [a wizard who can change his/her appearance without a potion or spell], and Kingsley Shacklebolt, a senior Auror with egalitarian views) to Number 12, Grimmauld Place, the childhood home of his godfather, Sirius Black. The building also serves as the headquarters of the Order of the Phoenix, of which Mr. and Mrs. Weasley and Sirius are also members. Ron Weasley and Hermione Granger explain that the Order of the Phoenix is a secret organisation led by Hogwarts headmaster Albus Dumbledore, dedicated to fighting Lord Voldemort and his followers, the Death Eaters. From the members of the Order, Harry and the others learn that Voldemort is seeking an object that he did not have prior to his first defeat, and assume this object to be a weapon of some sort. Harry learns that the Ministry of Magic, led by Cornelius Fudge, is refusing to acknowledge Voldemort's return because of the panic and chaos that doing so would cause, and has been running a smear campaign against him and Dumbledore.

text: At Hogwarts, Harry learns that Dolores Umbridge, a senior employee in the Ministry of Magic, will be the new Defence Against the Dark Arts teacher. Umbridge and Harry clash, as she, like Fudge, refuses to believe that Voldemort has returned. She punishes Harry for his rebellious outbursts by having him write "I must not tell lies" with a cursed quill that carves the phrase into his skin. She also refuses to teach her students how to perform defensive spells, prompting Harry, Ron and Hermione to form their own Defence Against the Dark Arts group (with students from Gryffindor, Ravenclaw and Hufflepuff), which they call Dumbledore's Army. Many students sign up, including Neville Longbottom, Fred and George Weasley, Ginny Weasley and Luna Lovegood. Struggling to find a place to practise, Dobby the house elf tells him about the Room of Requirement and its uses. The club meet there to learn and practise defensive spells under Harry's instruction.

text: Meanwhile, Rubeus Hagrid has not yet returned from the secret mission given to him by Dumbledore at the end of the previous book, and is absent for the first part of the school year. Upon his return, Harry, Ron, and Hermione learn that his mission, which was mostly unsuccessful, was to seek out the last giants to stop them from joining Lord Voldemort. Professor Umbridge has been steadily amassing more and more power and influence at the school, and as she begins regularly inspecting Hagrid's Care of Magical Creatures lessons, it is clear that she intends to get rid of him.

text: One night, Harry has a vision through the eyes of Voldemort's snake Nagini, possessed by Voldemort, attacking Ron's father Arthur Weasley. Harry informs Professor McGonagall and Dumbledore, and Mr. Weasley is rescued. Dumbledore arranges for Harry to take Occlumency lessons with Professor Snape to protect his mind against further invasions by Voldemort.

text: Umbridge finally sacks Professor Trelawney, the Divination teacher; However, she is outraged when Professor Dumbledore undermines her power by allowing Trelawney to continue living at the school, and hires Firenze, a centaur, to take her place, in spite of Umbridge's prejudice against part-humans. Soon after, Umbridge is given a tip-off about Dumbledore's Army by Marietta Edgecombe, who in doing so unwittingly activates a curse set by Hermione which disfigures her face. Despite Dobby's warning, the gang are caught and get into trouble with Fudge. When Dumbledore takes responsibility for the illegal organisation, he is forced to leave the school and go into hiding. Dolores Umbridge becomes headmistress, and Fred and George cause pandemonium around the school in revenge.

text: During one Occlumency lesson, Snape is called away and Harry, left alone, looks into Snape's Pensieve, viewing a memory of his time as a student at Hogwarts. Harry is shocked to witness his father, James Potter, and Sirius bullying and humiliating Snape. Snape catches Harry and, enraged, refuses to continue the lessons. Distraught at this revelation of his father's character, Harry talks to Sirius and Lupin by using Floo powder through the fireplace in Umbridge's own office and learns more about his parents and their background. After helping Harry break into Umbridge's office, Fred and George then leave Hogwarts to start a joke-shop in Diagon Alley.

text: Suspecting that he will be next teacher to be sacked by Umbridge, Hagrid confesses to Harry, Ron and Hermione that he has brought his giant half-brother, Grawp, to Hogwarts, and hidden him in the Forbidden Forest, with the intention of eventually introducing him to human society. Hagrid asks the three of them to look after Grawp if he himself must leave the school. Sure enough, Umbridge leads a party of Aurors to attack Hagrid in his house one night. Hagrid overpowers them and flees the school; McGonagall, trying to disrupt the violence, is badly injured and is put in St. Mungo's Hospital.

text: On the last day of O.W.L. tests, Harry has a vision of Sirius being tortured by Voldemort in the Department of Mysteries. He tries again to illegally use Umbridge's office fireplace to communicate with the Order of the Phoenix's headquarters to make sure the vision was genuine, and is told by Kreacher the house-elf that Sirius is indeed at the Ministry, before Umbridge catches Harry and his friends in the act. Snape is summoned to provide Veritaserum in order to question Harry, but he claims to have no further stocks of the potion left. Remembering that Snape is also a member of the Order of the Phoenix, Harry gives him a cryptic warning about Sirius's fate, but Snape claims to have not understood it.

text: Umbridge decides to use the illegal Cruciatus Curse on Harry to interrogate him on Sirius's whereabouts. She also reveals she herself ordered the Dementor attack on him, intending to have him either silenced or discredited. Hermione intervenes and in order to create a distraction, convinces Umbridge that they are hiding a weapon of Dumbledore's in the Forbidden Forest. Harry and Hermione lead her into an area of the forest inhabited by centaurs, where Umbridge provokes them into taking her captive. The centaurs are furious upon learning that Hermione used them to do her bidding and turn on the pair, but Grawp arrives and clashes with the centaurs, allowing Harry and Hermione to escape.

text: Luna, Ron, Ginny, and Neville join them in the forest and all six fly to the Ministry on thestrals, expecting to find and rescue Sirius. Once in the Department of Mysteries, Harry realises that his vision was falsely planted by Voldemort; however, he finds a glass sphere that bears his and the Dark Lord's names. Death Eaters led by Lucius Malfoy attack in order to capture the sphere, which is a recording of a prophecy concerning Harry and Lord Voldemort, which is revealed to be the object Voldemort has been trying to obtain for the whole year, the Dark Lord believing that there was something he missed when he first heard the prophecy. Lucius explains that only the subjects of the prophecies, in this case Harry or Voldemort, can safely remove them from the shelves. During a heated fight Neville accidentally kicks and smashes the prophecy. Harry and his friends, soon joined by members of the Order, enter a battle with the Death Eaters, during which Bellatrix Lestrange kills Sirius and Voldemort himself arrives to kill Harry, but Dumbledore rescues him and climatically fights the Dark Lord to a stalemate. In the midst of the duel, Voldemort unsuccessfully tries to possess Harry in an attempt to get Dumbledore to kill the boy, then escapes just as Cornelius Fudge appears, finally faced with first-hand evidence that Voldemort has truly returned.

text: In his office, Dumbledore explains that Snape had understood Harry's cryptic warning, and had subsequently contacted Sirius, learning that he was still at Grimmauld Place. After Harry failed to return from the Forbidden Forest, Snape deduced where he had gone and alerted the Order of the Phoenix, allowing them to save Harry and his friends. It is revealed that during the Christmas holidays, Kreacher had interpreted a command of Sirius's as an order to leave the house, and went to Narcissa Malfoy, the wife of Lucius, and told them about Harry and Sirius's close relationship; Voldemort subsequently realised that he could lure Harry to the Department of Mysteries by tricking him into thinking that Sirius was in danger there.

text: Dumbledore then explains the prophecy: Before Harry was born, Professor Trelawney predicted that a boy with the power to defeat Voldemort would be born, would be marked as an equal by Voldemort and have powers unknown to him, and that one of the pair must kill the other, for "neither can live while the other survives". Voldemort learnt of the first part of the prophecy, and subsequently tried to murder Harry in the belief that he could prevent it from coming true, unaware that he would grant Harry power by doing so. Dumbledore tells Harry that he must stay with the Dursleys for one last summer because by taking Harry into her home, his Aunt Petunia, Lily's sister, seals the protection that Harry's mother afforded him when she died; as long as he is there, he is safe from Voldemort and his followers.

text: Harry comes to terms with the responsibility of the prophecy, but mourns for the loss of his godfather. Luna comforts him, telling him about her and her father's belief in heaven. Harry then finds an old hand-held mirror in his dormitory that was a gift from Sirius. He realises that Sirius would not want him to be depressed on the matter, and resolves to continue fighting Voldemort.

text: Publication and release[edit]

text: Potter fans waited three years between the releases of the fourth and fifth books.[2][3] Before the release of the fifth book, 200 million copies of the first four books had already been sold and translated into 55 languages in 200 countries.[4] As the series was already a global phenomenon, the book forged new pre-order records, with thousands of people queuing outside book stores on 20 June 2003 to secure their copy at midnight.[4] Despite the security, thousands of copies were stolen from an Earlestown, Merseyside warehouse on 15 June 2003.[5]

text: Critical response[edit]

text: Harry Potter and the Order of the Phoenix was met with mostly positive reviews, and received several awards. The book was cited as an American Library Association Best Book for Young Adults and as an American Library Association Notable Book, both in 2004.[6][7] It also received the Oppenheim Toy Portfolio 2004 Gold Medal along with several other awards.[8]

text: The novel was also well received by critics. Rowling was praised for her imagination by USA Today writer Deirdre Donahue.[9] Most of the negative reviewers were concerned with the violence contained in the novel and with morality issues occurring throughout the book.[10]

text: The New York Times writer John Leonard praised the novel, saying "The Order of the Phoenix starts slow, gathers speed and then skateboards, with somersaults, to its furious conclusion....As Harry gets older, Rowling gets better."[11] However, he also criticises "the one-note Draco Malfoy" and the predictable Lord Voldemort.[11]

text: Predecessors and sequels[edit]

text: Harry Potter and the Order of the Phoenix is the fifth book in the Harry Potter series.[2] The first book in the series, Harry Potter and the Philosopher's Stone was first published by Bloomsbury in 1997 with an initial print-run of 500 copies in hardback, three hundred of which were distributed to libraries. By the end of 1997 , the UK edition won a National Book Award and a gold medal in the 9 to 11 year-olds category of the Nestlé Smarties Book Prize.[12][13][14] The second novel, Harry Potter and the Chamber of Secrets, was published in the UK on 2 July 1998. Harry Potter and the Prisoner of Azkaban was published a year later in the UK on 8 July 1999 and in the US on 8 September 1999.[13][14] Harry Potter and the Goblet of Fire was published on 8 July 2000  simultaneously by Bloomsbury and Scholastic.[15] Harry Potter and the Order of the Phoenix is the longest book from the series, yet the second shortest film at 2 hours and 18 minutes.[16]

text: After the publishing of Order of the Phoenix, the sixth book of the series, Harry Potter and the Half-Blood Prince, was published on 16 July 2005, and sold 9 million copies in the first 24 hours of its worldwide release.[1][17] The seventh and final novel, Harry Potter and the Deathly Hallows, was published 21 July 2007.[18] The book sold 11 million copies within 24 hours of its release: 2.7 million copies in the UK and 8.3 million in the US.[17]

text: Adaptations[edit]

text: Film[edit]

text: In 2007, Harry Potter and the Order of the Phoenix was released in a film version directed by David Yates and written by Michael Goldenberg. The film was produced by David Heyman's company, Heyday Films, alongside David Barron. The budget was reportedly between £75 and 100 million (US$150–200 million),[19][20] and it became the unadjusted eleventh-highest-grossing film of all time, and a critical and commercial success.[21] The film opened to a worldwide 5-day opening of $333 million, third all-time, and grossed $938.4 million in total, second to Pirates of the Caribbean: At World's End for the greatest total of 2007.[22][23]

text: Video games[edit]

text: A video game adaptation of the book and film versions of Harry Potter and the Order of the Phoenix was made for Microsoft Windows, PS2, PS3, Xbox 360, PSP, Nintendo DS, Wii, Game Boy Advance and Mac OS X.[24] It was released on 25 June 2007 in the U.S., 28 June 2007 in Australia and 29 June 2007 in the UK and Europe for PlayStation 3, PSP, PlayStation 2, Windows and 3 July 2007 for most other platforms.[25] The games were published by Electronic Arts.[26]

text: The book is also depicted in the 2011 video game Lego Harry Potter: Years 5–7.

text: Translations[edit]

text: The first official foreign translation of the book appeared in Vietnamese on 21 July 2003, when the first of twenty-two instalments was released. The first official European translation appeared in Serbia and Montenegro in Serbian, by the official publisher Narodna Knjiga, in early September 2003. Other translations appeared later (e.g. in November 2003 in Dutch and German). The English-language version has topped the best-seller list in France, while in Germany and the Netherlands an unofficial distributed translation process has been started on the Internet.[27]


document_title: In the Night Garden...

question_text: who plays makka pakka in the night garden

text: In the Night Garden...

text: Overview[edit]

text: The programme features a large cast of colourful characters with unusual names who live in a magical forest scattered with large daisies and brightly coloured pompom flowers. The characters mostly speak short, repetitive phrases and each has their own special song and dance. The garden is a sunny, colourful environment and the music is jaunty and music box-like. Producer Anne Wood said:

text:
“
We wanted to explore the difference between being asleep and being awake from a child's point of view: the difference between closing your eyes and pretending to be asleep and closing your eyes and sleeping.[7]
”

text: Each episode starts with a different child in bed, while the narrator introduces the episode. The scene cuts to Iggle Piggle, in his boat, traveling to the Night Garden. Then the camera pans up to the sky and zooms in, followed by blooming flowers. After the title appears under a hedge, either the Ninky Nonk or the Pinky Ponk appears. The episodes end with one character receiving a bedtime story, which is generated by the magical gazebo that sits at the centre of the Night Garden. This story is a summary of the plot of the episode. Sometimes the characters all dance together under the Gazebo.

text: Iggle Piggle does not go to sleep, and his goodbye sequence ("Iggle Piggle's not in bed!" ... "Squeak!" ... "Don't worry, Iggle Piggle! It's time to go") rounds off the programme. The Night Garden retreats into the night sky and Iggle Piggle is seen asleep on his boat as the end credits roll.

text: In the Night Garden... is intended to help children relax and achieve calming relationships with parents. Wood states: "We became very aware of the anxiety surrounding the care of young children which manifested itself in all kind of directions; but the one big subject that came up again and again was bedtime. It's the classic time for tension between children who want to stay up and parents who want them to go to bed... so this is a programme about calming things down whereas most children's TV is about getting everything up."[7]

text: In 2007[8] and 2008,[9] the show won the Children's BAFTA for "Pre-school live action," as well as being nominated in 2009.[10]

text: Cast[edit]

text:
Derek Jacobi as Narrator
Celia Wickham-Anderson as Singer
Nick Kellington as Igglepiggle
Rebecca Hyland as Upsy Daisy
Justyn Towler as Makka Pakka
Andy Wareham as Tombliboo Unn
Isaac Blake as Tombliboo Ooo (1st time)
Holly Denoon as Tombliboo Ooo (2nd time)
Elisa Laghi as Tombliboo Eee

text: Characters[edit]

text: Igglepiggle (played by Nick Kellington) is a blue teddy bear-like doll with a bean-shaped head and a sideways red mohawk. He always carries his red blanket, and tends to fall flat on his back when surprised. He is the main character of the show. He arrives at the beginning and leaves the Night Garden at the end of each episode in a boat, for which the blanket doubles as a sail. Iggle Piggle has a bell in his left foot, a squeaker in his tummy, and a rattle in his left hand. His best friends in the garden are Upsy Daisy and Makka Pakka. He is the only character not to sleep in the Night Garden (with one exception when he fell asleep on Upsy Daisy's special bed), because sometimes he needs to find his boat; he sleeps on his boat instead of in a bed. He is the only character to walk on the Stepping Stone Path. He was first featured in the episode "Makka Pakka Washes Faces". Sometimes Iggle Piggle has a red blanket in the boat.

text: Upsy Daisy (played by Rebecca Hyland) is similar to a rag doll, with a brown complexion, a chime in her tummy, and brightly colored clothes. She likes skipping through the Garden and blowing kisses to the other characters or to the audience. She often hugs and kisses other characters, particularly Iggle Piggle. Her catchphrases are "Upsy Daisy," and the more emphatic "Daisy Doo!", and she also says "Pip pip onk onk!", her way of saying goodbye. Her hair stands on end when excited or surprised, and her skirt inflates to a tutu when she dances or pulls the ripcord on her waist. She, along with Iggle Piggle were first featured in the episode "Makka Pakka Washes Faces".

text: Makka Pakka (played by Justyn Towler) is a beige, small, round-bodied doll. He has three rounded protuberances on his head, ears and back to represent stones that he uses to make into piles. He lives in a cave and likes cleaning things, such as his collection of stacking stones, and sometimes the other characters. Makka Pakka often stacks freshly cleaned stones into piles resembling his head and body. He sleeps on a stone bed, often cuddling a stone. He travels around the garden riding his trolley, the Og-Pog, which carries his sponge, soap, orange trumpet, and a bellows-like apparatus called Uff-Uff which he uses to dry items after cleaning them. His house is approached by a stone-walled ditch, as his home is half buried in the ground. He says his own name and the phrase "Mikka makka moo" when he is happy, as well as the names of the Og-Pog and the Uff-Uff, and other phrases from his song such as "agga pang" (his soap and sponge), "hum dum" (his trumpet), and "ing ang oo". Like Upsy Daisy and the Tombliboos, he also uses a phrase meaning "goodbye", represented in publications as "pip pip onk onk". He, along with Iggle Piggle and Upsy Daisy were first featured in the episode "Makka Pakka Washes Faces". As Makka Pakka is smaller than the other characters, he is filmed on another identical set (or garden), and where he appears with other characters, two scenes are shot in parallel and he is filmed far away, whilst the other costumed characters are filmed close up.

text: The Tombliboos – Unn (Andy Wareham), Ooo (Holly Denoon/Isaac Blake), and Eee (Elisa Laghi) – are dressed in costumes with stripes and spots: red and green (Unn), brown and pink (Ooo), and pink and yellow (Eee). Their names reflect phonetically how a young child might count to three, and the Tombliboos always appear in this order by saying their names. They live among the branches of a bush, on a series of platforms connected by stairs and chutes. The Tombliboos enjoy playing the drums and piano, although not with any particular musical prowess, and they also play with large blocks. Their trousers (which fall down unexpectedly) are often seen hanging on the washing line outside their home, and they usually take them down from the line and put them on before going on an adventure. They are sometimes seen brushing their teeth before bed. Tombliboos enjoy kissing each other whilst cuddling and reciting their names. They also have a song about staying together, which consists of them singing "Tombliboo, Tombliboo, Unn, Ooo, Eee!" over and over again. Tombliboo Eee is female and is shorter and smaller than Ooo and Unn. The Tombliboos, along with Iggle Piggle, Upsy Daisy and Makka Pakka were first featured in the episode "Makka Pakka Washes Faces".

text: The Pontipines (red) and The Wottingers (blue) are two families of ten tiny creatures (a mother and a father, plus four boys and four girls) similar to peg dolls. They live in a semidetached house at the foot of a tree. The Pontipines appear in most episodes, while appearances by the Wottingers, are rare. The Pontipines all dress in a very similar fashion to each other, as do the Wottingers. Each family sleeps in one room, their beds next to each other in rows. The Pontipines enter their home by flying down the chimney or going through the front door. They have no feet. The Pontipines enter the Pinky Ponk through a different door from all the other characters, and stay on a separate deck. The Pontipines and the Wottingers appear to be animated using stop motion, but in reality they were hand puppets on sticks that were moved in real time by a puppeteer, with a strobe effect applied in post-production to give the illusion of stop motion animation. They constantly chatter, making high-pitched "mi-mi-mi" sounds and "farting" noises. Mr Pontipine's moustache occasionally flies off his face and settles on Mrs Pontipine. The adult Pontipines and the adult Wottingers wear large hats. Mrs Pontipine carries a pair of binoculars around her neck at all times, which she uses to look for her children when they get lost. The Wottingers are similar in design to the Pontipines, though not identical; they can be glimpsed in the general dance sequences, but are not seen going to bed. The Pontipines, along with Iggle Piggle, Upsy Daisy, Makka Pakka and the Tombliboos were first featured in the 1st episode "Makka Pakka Washes Faces" and the Wottingers first appeared in the episode "The Pontipine Children in the Tombliboo Trousers".

text: The Haahoos are five very large inflatable pillow-like creatures of various shapes and colours with eyes and smiling mouths. They move slowly around the garden making deep springy sounds ("boing, boing"). The Haahoos appear behind the gazebo during general dance sequences, and are also seen going to sleep, closing their eyes and deflating slightly. They come in the shape of a flower, an X, a star, a circle and a figure of 8. They were first featured in the episode "The Tombliboos' Waving Game".

text: The Tittifers are CGI enhanced tropical birds with their own unique songs. There are four small blue tittifers (long-tailed finches), three larger pink ones (hoopoes), two big green ones (white-cheeked turacos) and one Channel-billed toucan with a huge purple beak. They usually sing between segments, and when they sing together, near the end, it is time to sleep. They, along with Iggle Piggle, Upsy Daisy, Makka Pakka, the Tombliboos and the Pontipines were first featured in the episode "Makka Pakka Washes Faces".

text: The Ninky Nonk is a train of five differently sized and shaped carriages. Its size is non-euclidean: exterior shots of the moving Ninky Nonk show a toy-sized train, quite small compared to the main characters and scenery, while interiors and static exterior shots are done on sets or with life-sized models so that the main characters can easily fit inside. When it stops or starts, the seat-belted passengers jerk sharply in their seats. A range of bells and klaxons warn everyone inside. The Ninky Nonk can drive up and down trees and upside-down along branches. Like the other characters, it goes to sleep. The engine is banana-shaped with a green flashing light on top, and is followed by a green spheroidal carriage used by the Tombliboos, a tiny house-like carriage used by the Pontipines, a blue rectangular carriage with a flashing light used by Upsy Daisy, and a tall rounded single-seater carriage used by Igglepiggle. It was first featured in the episode "Everybody, All Aboard the Ninky Nonk". All the above characters are played by actors in costumes just like the Teletubbies.

text: The Pinky Ponk is an airship, speckled with many slowly waving fins and several small propellers that can spin fast, plus a large propeller at the rear that always turns very gently. The characters often use it to travel around the forest, and during their journey are able to drink "Pinky Ponk juice" which is dispensed in "sippy cups". It comes in several colours. If drunk too much, you can feel ill, as demonstrated by Tombliboo Ooo.[11] As well as whirrings and clankings, and a sporadic honking sound from the "Ponk light" at the front, the Pinky Ponk makes flatulent noises.[12] Like the Ninky Nonk, the Pinky Ponk does not conform to euclidean geometry: exterior shots are chroma keyed model shots showing a model smaller than the main characters, while interior ones shots produced on a set into which they can fit. It has two doors, one for the costumed characters and the other for the tiny characters. One table has three seats (for the Tombliboos), another has two seats (for Iggle Piggle and Upsy Daisy), and the third has one seat (for Makka Pakka). The Pontipines take a table with no seats in a small room. It also has a habit of crashing into tree trunks, thus sounding the "Ponk Alert" (repeated honking and flashing of the "Ponk Light" and interior lights flashing and making noises.) This is a warning for all the passengers to take their seats and brace. Sometimes, the Pinky Ponk rocks during the "Ponk Alert", causing the passengers and their tables and chairs to slide from one end to the other. It, along with the Haahoos was first featured in the episode "The Tombliboos' Waving Game".

text: The Ball is a colourful living ball that plays with the Night Garden characters. It was first featured in the episode "The Ball".

text: The Bed is Upsy Daisy's specially private bed. She moves it around the Night Garden, with its ripcord, around the garden; sometimes she has to catch the Bed, before it runs away. It was first featured in the episode "Makka Pakka's Trumpet Makes a Funny Noise".

text: The Tiddle is a small geyser-like fountain. It appears in any place of the Night Garden when someone stomps his/her feet three times. It disappears when someone stomps one of his/her feet once. It was featured in the episode "Igglepiggle's Tiddle".

text: The Trubliphones are a sort of telephone scattered randomly throughout the garden. The characters can use them to communicate with one another. They were first featured in the episode "Upsy Daisy's Big Loud Sing Song".

text: Places[edit]

text: The Stepping Stone Path is where Igglepiggle lives, for a vacation in the Night Garden. It leads to the Gazebo at the beginning and end of an episode.[13] It was first featured in the episode "Makka Pakka Washes Faces".

text: The Daisy Patch is where Upsy Daisy lives. It is a field full of daisies. Upsy Daisy is usually the only character that can be seen in the patch.[14] It was first featured in the episode "The Pontipines in Upsy Daisy's Bed".

text: Makka Pakka's Cave is where he lives and his Og-pog is kept outside it, behind a boulder. The cave, along with the Stepping Stone Path was first featured in the episode "Makka Pakka Washes Faces".

text: The Tombliboo Bush is where the Tombliboos live. It is the largest house in the garden with so many fun things to do such as playing music, playing with blocks and brushing teeth (like the Pinky Ponk and the Ninky Nonk it is bigger on the inside). It was first featured on the outside in "The Tombliboos' Waving Game" and on the inside in the episode "Too Loud Tombliboos!! Nice and Quiet!!"

text: The Pontipines/Wottingers' House is a small house at the foot of a tree where the Pontipines and Wottingers live. It, along with the Stepping Stone Path and Makka Pakka's Cave was first featured in the episode "Makka Pakka Washes Faces".

text: The Tune Bridge is a musical bridge near Makka Pakka's cave. Whenever someone walks on the bridge, it plays a musical tune. It, and the Stepping Stone Path, Makka Pakka's Cave and the Pontipines/Wottingers' House, were first featured in the episode "Makka Pakka Washes Faces".

text: The Gazebo is where the characters meet to dance at the end of some episodes.[15] It has a picture of all the characters including the Ball (but except the Tittifers, one of the Trubliphones, the Tiddle and the Bed), the Tittifers' Tree, a Daisy, the Tune Bridge, the Tombliboo Bush, the Tombliboo Instruments, Igglepiggle's Blanket, the Tombliboo Bricks and, of course, the Gazebo, itself. It has two pictures of Makka Pakka, one with his Og-Pog, the other with him blowing his trumpet. The first dance was featured in the episode "The Tombliboos' Waving Game" and it first gave a clue in "Igglepiggle's Blanket in Makka Pakka's Ditch".

text: The Tittifers' Tree is where the Tittifers sing in a certain section and together and at the end. But no one knows where this program is filmed

text: Episodes[edit]

text: Broadcast[edit]

text: Until 1 April 2008, the show aired on the CBeebies channel every day, including weekends, at 6:25 PM in the "Bedtime Hour" slot, in addition to earlier daytime showings on weekdays (like every other show on CBeebies, the same episodes are shown all day).[16] From April until August 2008, In The Night Garden... was removed from its 6:25 PM "Bedtime Hour" slot, which resulted in a petition asking for the programme to be re-instated to its normal slot.[17] One parent petitioner was quoted by The Daily Telegraph commenting that "My four-year-old refused to believe it was bedtime because ITNG hadn't been on and it was daylight outside."[17]

text: The show returned to the daily "Bedtime Hour" slot at 6:25 PM as of 30 August 2008, and began showing the second series (beginning with "Slow Down Everybody") on 1 September 2008.[citation needed] From December 2008, the show was moved again, this time to 6:00 PM. As of January 2010, it airs at 6.20 PM.

text: As of February 2008, in Canada, the show airs daily at 5:30 AM on Treehouse TV, Mondays to Fridays at 7:30 PM, and Saturdays at 10:30 AM.

text: As of March 2016, in Australia, the show airs during the ABC 4 Kids block of programming on ABC2 every weekends at 11:30 AM.

text: As of October 2008, in India, the show airs every day on the CBeebies channel, including weekends, at 9 AM, 12 PM and 3 PM.

text: As of 2008, in Norway, the show airs every weekday on the NRK Super channel, at 5:30 PM.

text: As of 2009, the show airs on TV2 in Malaysia on weekday mornings at 8:30 AM.

text: As of 2009, the show airs on Luli and Hop! in Israel. Twenty new episodes began broadcasting on CBeebies and BBC HD on 9 February to continue at 6 PM daily.

text: As of 2010, Series 1 of the show airs daily on Baraem on Nilesat and Arabsat covering the Middle East in Arabic at 7:30 PM.

text: As of 2010, the show airs on Clan in Spain sometime around 8:30 AM on weekdays and around 7:50 AM on weekends.

text: As of 11 October 2010, the series was added on The Hub in the U.S. as part of the "HubBub" programming block. On 24 June 2012, it was removed on The Hub along with The Future Is Wild and Wilbur. However, the series returned on Hub Network on 2 June 2013 and was removed again on 13 October 2013.

text: In The Netherlands, it airs on Disney Junior.

text: Merchandising[edit]

text: In the Night Garden... books, DVDs and toys have been marketed since 2007.

text: Books[edit]

text: In 2014, Penwizard[18] introduced a line of personalised books where customers can customise the story to include their child's name and likeness in the story alongside IgglePiggle and friends.

text: DVDs[edit]

text: Several Region 2 DVDs have been released in the UK:

text:
DVD Title
Episodes

Who's Here?
Makka Pakka Washes Faces
Tombliboos Waving Game
Everybody all aboard the Ninky Nonk
The Prettiest Flower
Makka Pakka's Trumpet Makes a Funny Noise

Hello IgglePiggle!
IgglePiggle's Blanket in Makka Pakka's Ditch
Jumping for Everybody
IgglePiggle's Mucky Patch
The Pinky Ponk Adventure
IgglePiggle's Blanket Walks About by Itself

Hello Upsy Daisy!
Quiet Please Tombliboos!! Upsy Daisy Wants to Sing!!
Upsy Daisy Kisses Everything!
Upsy Daisy's Big Loud Sing Song!
IgglePiggle Looks for Upsy Daisy and Follows her Bed!
The Ninky Nonk Wants a Kiss!

Hello Makka Pakka!
Makka Pakka's Stone Concert
Runaway Og-Pog
Makka Pakka's Present
Makka Pakka Gets Lost
Washing the Haahoos

Hello Tombliboos!
Too Loud Tombliboos!! Nice and Quiet!!
The Tombliboos' Busy Day
Tombliboo Trousers
Tombliboo Ooo Drinks Everybody Else's Pinky Ponk Juice
Tower of 5

Isn't That a Pip?
The Pontipine Children of the Roof
Looking for Each Other
Slow Down Everybody!
IgglePiggle Goes Visiting
Where is the Pinky Ponk Going?

Look at That!
IgglePiggle’s Tiddle
Makka Pakka’s Piles of Three
Where Are the Wottingers?
Mr Pontipine’s Moustache Flies Away
Too Loud Tombliboos

What Fun!
Sneezing
Hide and Seek
Mind the Haahoos
The Pontipines Find IgglePiggle’s Blanket
Upsy Daisy Dances with the Pinky Ponk

All Together!
Waving from the Ninky Nonk
Playing Hiding with Makka Pakka
Wake Up Ball
Over and Under
Sad and Happy Tombliboos.

All Aboard
Ninky Nonk or Pinky Ponk
Upsy Daisy's Special Stone
Ninky Nonk Dinner Swap
The Tombliboos Swap Trousers
Igglepiggle's Accident.

Wake Up Igglepiggle
Wake Up Igglepiggle
Where Can Igglepiggle Have a Rest
Oh Look It's Wottingers
Dinner in the Ninky Nonk
Tombliboos Clean Their Teeth.

Out For A Walk
Upsy Daisy’s Funny Bed
The Ball
Wave to the Wottingers
The Pontipines in Upsy Daisy’s Bed
Igglepiggle’s Noisy Noises.

What Lovely Music
Tombliboo Eee Gets Lost
Make Up Your Mind Upsy Daisy!
Following
Upsy Daisy Dances With The Haahoos
Long Distance Ball Game

Best Friends
Upsy Daisy’s Tiring Walk
Trubliphone Fun
Shshsh! Upsy Daisy’s Having a Rest!
Who’s Next on the Pinky Ponk?
Makka Pakka’s Circle of Friends

text: Each DVD features five episodes.

text: A boxset, Hello Everybody!, has been released, containing "Hello IgglePiggle!", "Hello Upsy Daisy!", "Hello Makka Pakka!" and "Hello Tombliboos!" Each of these titles have episodes relating to the character on which the DVD is based.

text: Toys[edit]

text: The show's makers, Ragdoll Productions, signed a deal to make the toy producer Hasbro a global partner before the show was first broadcast, and merchandise was first made available in July 2007. The range includes small Igglepiggle, Upsy Daisy and Makka Pakka stuffed toys and a small Ninky Nonk train with detachable carriages. Wheeled toy licensee MV Sports & Leisure Limited produced a range of scooters and trikes. Play-doh made some dough that came packaged with an Igglepiggle-shaped cut-out.

text: In spring 2008, several new toys arrived, including roll-along characters, Talking Cuddly Makka Pakka, Ninky Nonk Pop-up tent and more. Hasbro won the 2008 "Best Licensed Toy or Game range" Licensing Award for their In The Night Garden... range.[19]

text: In January 2009, a spokesman for the BBC confirmed that they had asked Hasbro to change the skin colour of the Upsy Daisy doll following "a handful of complaints". The doll was originally released with a noticeably lighter complexion than seen in the television series, as it was based on the animated version of Upsy Daisy.[20]

text: Live theatrical show[edit]

text: In the Night Garden...Live! started a UK tour in July 2010. The show took place in an inflatable purpose-built show dome. The show premièred in Liverpool, and moved on to London, Glasgow and Birmingham. In the Night Garden Live has toured the UK every summer.[21][22]

text: Awards and nominations[edit]

text: BAFTA Children's Awards 2007

text:
Awarded Best Children's Live-Action Series[8]
The website for the programme was nominated for Best Interactive Site[8]

text: BAFTA Children's Awards 2008

text: Awarded Best Pre-School Live Action Series[9]

text: BAFTA Children's Awards 2009

text: Nominated for Best Pre-School Live Action[10]