document_title: Ten Commandments

question_text: where are the ten commandments listed in the bible

question_tokens: where are the ten commandments listed in the bible

text: Ten Commandments

text: Terminology

text: In biblical Hebrew, the Ten Commandments are called עשרת הדברים (transliterated aseret ha-d'varîm) and in Rabbinical Hebrew עשרת הדברות (transliterated aseret ha-dibrot), both translatable as "the ten words", "the ten sayings", or "the ten matters".[2] The Tyndale and Coverdale English translations used "ten verses". The Geneva Bible used "tenne commandements", which was followed by the Bishops' Bible and the Authorized Version (the "King James" version) as "ten commandments". Most major English versions use "commandments."[3]

text: The English name "Decalogue" is derived from Greek δεκάλογος, dekalogos, the latter meaning and referring[4] to the Greek translation (in accusative) δέκα λόγους, deka logous, "ten words", found in the Septuagint (or LXX) at Exodus 34:28[3] and Deuteronomy 10:4.[5]

text: The stone tablets, as opposed to the commandments inscribed on them, are called לוחות הברית, Lukhot HaBrit, meaning "the tablets of the covenant".

text: Passages in Exodus and Deuteronomy

text: The biblical narrative of the revelation at Sinai begins in Exodus 19 after the arrival of the children of Israel at Mount Sinai (also called Horeb). On the morning of the third day of their encampment, "there were thunders and lightnings, and a thick cloud upon the mount, and the voice of the trumpet exceeding loud", and the people assembled at the base of the mount. After "the LORD[6] came down upon mount Sinai", Moses went up briefly and returned and prepared the people, and then in Exodus 20 "God spoke" to all the people the words of the covenant, that is, the "ten commandments"[7] as it is written. Modern biblical scholarship differs as to whether Exodus 19-20 describes the people of Israel as having directly heard all or some of the decalogue, or whether the laws are only passed to them through Moses.[8]

text: The people were afraid to hear more and moved "afar off", and Moses responded with "Fear not." Nevertheless, he drew near the "thick darkness" where "the presence of the Lord" was[9] to hear the additional statutes and "judgments",[10] all which he "wrote"[11] in the "book of the covenant"[12] which he read to the people the next morning, and they agreed to be obedient and do all that the LORD had said. Moses escorted a select group consisting of Aaron, Nadab and Abihu, and "seventy of the elders of Israel" to a location on the mount where they worshipped "afar off"[13] and they "saw the God of Israel" above a "paved work" like clear sapphire stone.[14]

text: And the LORD said unto Moses, Come up to me into the mount, and be there: and I will give thee tablets of stone, and a law, and commandments which I have written; that thou mayest teach them. 13 And Moses rose up, and his minister Joshua: and Moses went up into the mount of God.

text: The mount was covered by the cloud for six days, and on the seventh day Moses went into the midst of the cloud and was "in the mount forty days and forty nights."[15] And Moses said, "the LORD delivered unto me two tablets of stone written with the finger of God; and on them was written according to all the words, which the LORD spake with you in the mount out of the midst of the fire in the day of the assembly."[16] Before the full forty days expired, the children of Israel collectively decided that something had happened to Moses, and compelled Aaron to fashion a golden calf, and he "built an altar before it"[17] and the people "worshipped" the calf.[18]

text: After the full forty days, Moses and Joshua came down from the mountain with the tablets of stone: "And it came to pass, as soon as he came nigh unto the camp, that he saw the calf, and the dancing: and Moses' anger waxed hot, and he cast the tablets out of his hands, and brake them beneath the mount."[19] After the events in chapters 32 and 33, the LORD told Moses, "Hew thee two tablets of stone like unto the first: and I will write upon these tablets the words that were in the first tablets, which thou brakest."[20] "And he wrote on the tablets, according to the first writing, the ten commandments, which the LORD spake unto you in the mount out of the midst of the fire in the day of the assembly: and the LORD gave them unto me."[21]

text: According to Jewish tradition, Exodus 20:1–17 constitutes God's first recitation and inscription of the ten commandments on the two tablets,[22] which Moses broke in anger with his rebellious nation, and were later rewritten on replacement stones and placed in the ark of the covenant;[23] and Deuteronomy 5:4–25 consists of God's re-telling of the Ten Commandments to the younger generation who were to enter the Promised Land. The passages in Exodus 20 and Deuteronomy 5 contain more than ten imperative statements, totalling 14 or 15 in all.

text: Traditions for numbering

text: Different religious traditions divide the seventeen verses of Exodus 20:1–17 and their parallels at Deuteronomy 5:4–21 into ten "commandments" or "sayings" in different ways, shown in the table below. Some suggest that the number ten is a choice to aid memorization rather than a matter of theology.[24][25]

text: Traditions:

text:
LXX: Septuagint, generally followed by Orthodox Christians.
P: Philo, same as the Septuagint, but with the prohibitions on killing and adultery reversed.
S: Samaritan Pentateuch, with an additional commandment about Mount Gerizim as 10th.
T: Jewish Talmud, makes the "prologue" the first "saying" or "matter" and combines the prohibition on worshiping deities other than Yahweh with the prohibition on idolatry.
A: Augustine follows the Talmud in combining verses 3–6, but omits the prologue as a commandment and divides the prohibition on coveting in two and following the word order of Deuteronomy 5:21 rather than Exodus 20:17.
C: Catechism of the Catholic Church, largely follows Augustine.
L: Lutherans follow Luther's Large Catechism, which follows Augustine but omits the prohibition of images[26] and uses the word order of Exodus 20:17 rather than Deuteronomy 5:21 for the ninth and tenth commandments.
R: Reformed Christians follow John Calvin's Institutes of the Christian Religion, which follows the Septuagint; this system is also used in the Anglican Book of Common Prayer.[27]

text: The Ten Commandments

text:
The Ten Commandments

LXX
P
S
T
A
C
L
R
Main article
Exodus 20:1-17
Deuteronomy 5:4-21

—
—
—
1
—
1
—
(1)
I am the Lord thy God, which have brought thee out of the land of Egypt, out of the house of bondage.
2[28]
6[28]

1
1
1
2
1
1
1
1
Thou shalt have no other gods before me
3[29]
7[29]

2
2
1
2
1
1
1
2
Thou shalt not make unto thee any graven image
4–6[30]
8–10[31]

3
3
2
3
2
2
2
3
Thou shalt not take the name of the Lord thy God in vain
7[32]
11[32]

4
4
3
4
3
3
3
4
Remember the sabbath day, to keep it holy
8–11[33]
12–15[34]

5
5
4
5
4
4
4
5
Honour thy father and thy mother
12[35]
16[36]

6
7
5
6
5
5
5
6
Thou shalt not kill
13[37]
17[37]

7
6
6
7
6
6
6
7
Thou shalt not commit adultery
14[38]
18[39]

8
8
7
8
7
7
7
8
Thou shalt not steal
15[40]
19[41]

9
9
8
9
8
8
8
9
Thou shalt not bear false witness against thy neighbour
16[42]
20[43]

10
10
9
10
10
10
9
10
Thou shalt not covet (neighbour's house)
17a[44]
21b[45]

10
10
9
10
9
9
10
10
Thou shalt not covet (neighbour's wife)
17b[46]
21a[47]

10
10
9
10
10
10
10
10
Thou shalt not covet (neighbour's servants, animals, or anything else)
17c[48]
21c[49]

—
—
10
—
—
—
—
—
Ye shall erect these stones which I command thee upon Mount Gerizim
[citation needed]
[citation needed]

text: All scripture quotes above are from the King James Version. Click on verses at top of columns for other versions.

text: Religious interpretations

text: The Ten Commandments concern matters of fundamental importance in Judaism and Christianity: the greatest obligation (to worship only God), the greatest injury to a person (murder), the greatest injury to family bonds (adultery), the greatest injury to commerce and law (bearing false witness), the greatest inter-generational obligation (honour to parents), the greatest obligation to community (truthfulness), the greatest injury to moveable property (theft).[50]

text: The Ten Commandments are written with room for varying interpretation, reflecting their role as a summary of fundamental principles.[25][50][51][52] They are not as explicit[50] or detailed as rules[53] or many other biblical laws and commandments, because they provide guiding principles that apply universally, across changing circumstances. They do not specify punishments for their violation. Their precise import must be worked out in each separate situation.[53]

text: The Bible indicates the special status of the Ten Commandments among all other Torah laws in several ways:

text:
They have a uniquely terse style.[54]
Of all the biblical laws and commandments, the Ten Commandments alone[54] are said to have been "written with the finger of God" (Exodus 31:18).
The stone tablets were placed in the Ark of the Covenant (Exodus 25:21, Deuteronomy 10:2,5).[54]

text: Judaism

text: The Ten Commandments form the basis of Jewish law,[55] stating God's universal and timeless standard of right and wrong – unlike the rest of the 613 commandments in the Torah, which include, for example, various duties and ceremonies such as the kashrut dietary laws, and now unobservable rituals to be performed by priests in the Holy Temple.[56] Jewish tradition considers the Ten Commandments the theological basis for the rest of the commandments; a number of works, starting with Rabbi Saadia Gaon, have made groupings of the commandments according to their links with the Ten Commandments.[citation needed]

text: A conservative rabbi, Louis Ginzberg, stated in his book Legends of the Jews, that Ten Commandments are virtually entwined, that the breaking of one leads to the breaking of another. There is also a great bond of union between the first five commandments and the last five. The first commandment: "I am the Lord, thy God," corresponds to the sixth: "Thou shalt not kill," for the murderer slays the image of God. The second: "Thou shalt have no strange gods before me," corresponds to the seventh: "Thou shalt not commit adultery," for conjugal faithlessness is as grave a sin as idolatry, which is faithlessness to God. The third commandment: "Thou shalt not take the name of the Lord in vain," corresponds to the eighth: "Thou shalt not steal," for stealing result in false oath in God's name. The fourth: "Remember the Sabbath day, to keep it holy," corresponds to the ninth: "Thou shalt not bear false witness against thy neighbor," for he who bears false witness against his neighbor commits as grave a sin as if he had borne false witness against God, saying that He had not created the world in six days and rested on the seventh day (the holy Sabbath). The fifth commandment: "Honor thy father and thy mother," corresponds to the tenth: "Covet not thy neighbor's wife," for one who indulges this lust produces children who will not honor their true father, but will consider a stranger their father.[57]

text: The traditional Rabbinical Jewish belief is that the observance of these commandments and the other mitzvot are required solely of the Jewish people and that the laws incumbent on humanity in general are outlined in the seven Noahide laws, several of which overlap with the Ten Commandments. In the era of the Sanhedrin transgressing any one of six of the Ten Commandments theoretically carried the death penalty, the exceptions being the First Commandment, honouring your father and mother, saying God's name in vain, and coveting, though this was rarely enforced due to a large number of stringent evidentiary requirements imposed by the oral law.[58]

text: Two tablets

text: The arrangement of the commandments on the two tablets is interpreted in different ways in the classical Jewish tradition. Rabbi Hanina ben Gamaliel says that each tablet contained five commandments, "but the Sages say ten on one tablet and ten on the other", that is, that the tablets were duplicates.[59] This can be compared to diplomatic treaties of the ancient Near East, in which a copy was made for each party.[60]

text: According to the Talmud, the compendium of traditional Rabbinic Jewish law, tradition, and interpretation, one interpretation of the biblical verse "the tablets were written on both their sides",[61] is that the carving went through the full thickness of the tablets, yet was miraculously legible from both sides.[62]

text: Use in Jewish ritual

text: The Mishna records that during the period of the Second Temple, the Ten Commandments were recited daily,[63] before the reading of the Shema Yisrael (as preserved, for example, in the Nash Papyrus, a Hebrew manuscript fragment from 150–100 BCE found in Egypt, containing a version of the ten commandments and the beginning of the Shema); but that this practice was abolished in the synagogues so as not to give ammunition to heretics who claimed that they were the only important part of Jewish law,[64][65] or to dispute a claim by early Christians that only the Ten Commandments were handed down at Mount Sinai rather than the whole Torah.[63]

text: In later centuries rabbis continued to omit the Ten Commandments from daily liturgy in order to prevent a confusion among Jews that they are only bound by the Ten Commandments, and not also by many other biblical and Talmudic laws, such as the requirement to observe holy days other than the sabbath.[63]

text: Today, the Ten Commandments are heard in the synagogue three times a year: as they come up during the readings of Exodus and Deuteronomy, and during the festival of Shavuot.[63] The Exodus version is read in parashat Yitro around late January–February, and on the festival of Shavuot, and the Deuteronomy version in parashat Va'etchanan in August–September. In some traditions, worshipers rise for the reading of the Ten Commandments to highlight their special significance[63] though many rabbis, including Maimonides, have opposed this custom since one may come to think that the Ten Commandments are more important than the rest of the Mitzvot.[66]

text: In printed Chumashim, as well as in those in manuscript form, the Ten Commandments carry two sets of cantillation marks. The ta'am 'elyon (upper accentuation), which makes each Commandment into a separate verse, is used for public Torah reading, while the ta'am tachton (lower accentuation), which divides the text into verses of more even length, is used for private reading or study. The verse numbering in Jewish Bibles follows the ta'am tachton. In Jewish Bibles the references to the Ten Commandments are therefore Exodus 20:2–14 and Deuteronomy 5:6–18.

text: Samaritan

text: The Samaritan Pentateuch varies in the Ten Commandments passages, both in that the Samaritan Deuteronomical version of the passage is much closer to that in Exodus, and in that Samaritans count as nine commandments what others count as ten. The Samaritan tenth commandment is on the sanctity of Mount Gerizim.

text: The text of the Samaritan tenth commandment follows:

text: Christianity

text: Most traditions of Christianity hold that the Ten Commandments have divine authority and continue to be valid, though they have different interpretations and uses of them.[68] The Apostolic Constitutions, which implore believers to "always remember the ten commands of God," reveal the importance of the Decalogue in the early Church.[69] Through most of Christian history the decalogue was considered a summary of God's law and standard of behaviour, central to Christian life, piety, and worship.[70]

text: References in the New Testament

text: During his Sermon on the Mount, Jesus explicitly referenced the prohibitions against murder and adultery. In Matthew 19:16-19 Jesus repeated five of the Ten Commandments, followed by that commandment called "the second" (Matthew 22:34-40) after the first and great commandment.

text: And, behold, one came and said unto him, Good Master, what good thing shall I do, that I may have eternal life? And he said unto him, Why callest thou me good? there is none good but one, that is, God: but if thou wilt enter into life, keep the commandments. He saith unto him, Which? Jesus said, Thou shalt do no murder, Thou shalt not commit adultery, Thou shalt not steal, Thou shalt not bear false witness, Honour thy father and thy mother: and, Thou shalt love thy neighbour as thyself.

text: In his Epistle to the Romans, Paul the Apostle also mentioned five of the Ten Commandments and associated them with the neighbourly love commandment.

text:
Romans 13:8 Owe no man any thing, but to love one another: for he that loveth another hath fulfilled the law.
9 For this, Thou shalt not commit adultery, Thou shalt not kill, Thou shalt not steal, Thou shalt not bear false witness, Thou shalt not covet; and if there be any other commandment, it is briefly comprehended in this saying, namely, Thou shalt love thy neighbour as thyself.
10 Love worketh no ill to his neighbour: therefore love is the fulfilling of the law.

text: Roman Catholicism

text: In Roman Catholicism, Jesus freed Christians from the rest of Jewish religious law, but not from their obligation to keep the Ten Commandments.[71] It has been said that they are to the moral order what the creation story is to the natural order.[71]

text: According to the Catechism of the Catholic Church—the official exposition of the Catholic Church's Christian beliefs—the Commandments are considered essential for spiritual good health and growth,[72] and serve as the basis for social justice.[73] Church teaching of the Commandments is largely based on the Old and New Testaments and the writings of the early Church Fathers.[74] In the New Testament, Jesus acknowledged their validity and instructed his disciples to go further, demanding a righteousness exceeding that of the scribes and Pharisees.[75] Summarized by Jesus into two "great commandments" that teach the love of God and love of neighbour,[76] they instruct individuals on their relationships with both.

text: Orthodox

text: The Eastern Orthodox Church holds its moral truths to be chiefly contained in the Ten Commandments.[77] A confession begins with the Confessor reciting the Ten Commandments and asking the penitent which of them he has broken.[78]

text: Protestantism

text: After rejecting the Roman Catholic moral theology, giving more importance to biblical law and the gospel, early Protestant theologians continued to take the Ten Commandments as the starting point of Christian moral life.[79] Different versions of Christianity have varied in how they have translated the bare principles into the specifics that make up a full Christian ethic.[79]

text: Lutheranism

text: The Lutheran division of the commandments follows the one established by St. Augustine, following the then current synagogue scribal division. The first three commandments govern the relationship between God and humans, the fourth through eighth govern public relationships between people, and the last two govern private thoughts. See Luther's Small Catechism[80] and Large Catechism.[26]

text: Reformed

text: The Articles of the Church of England, Revised and altered by the Assembly of Divines, at Westminster, in the year 1643 state that "no Christian man whatsoever is free from the obedience of the commandments which are called moral. By the moral law, we understand all the Ten Commandments taken in their full extent."[81] The Westminster Confession, held by Presbyterian Churches, holds that the moral law contained in the Ten Commandments "does forever bind all, as well justified persons as others, to the obedience thereof".[82]

text: Methodist

text: The moral law contained in the Ten Commandments, according to the founder of the Methodist movement John Wesley, was instituted from the beginning of the world and is written on the hearts of all people.[83] As with the Reformed view,[84] Wesley held that the moral law, which is contained in the Ten Commandments, stands today:[85]

text: Every part of this law must remain in force upon all mankind in all ages, as not depending either on time or place, nor on any other circumstances liable to change; but on the nature of God and the nature of man, and their unchangeable relation to each other" (Wesley's Sermons, Vol. I, Sermon 25).[85]

text: In keeping with Wesleyan covenant theology, "while the ceremonial law was abolished in Christ and the whole Mosaic dispensation itself was concluded upon the appearance of Christ, the moral law remains a vital component of the covenant of grace, having Christ as its perfecting end."[83] As such, in Methodism, an "important aspect of the pursuit of sanctification is the careful following" of the Ten Commandments.[84]

text: The Church of Jesus Christ of Latter-day Saints

text: According to The Church of Jesus Christ of Latter-day Saints (LDS) doctrine, Jesus completed rather than rejected the Mosaic Law.[86] The Ten Commandments are considered eternal gospel principles necessary for exaltation.[87] They appear in the Book of Mosiah 12:34–36,[88] 13:15–16,[89] 13:21–24[90] and Doctrine and Covenants.[87] According to the Book of Mosiah, a prophet named Abinadi taught the Ten Commandments in the court of King Noah and was martyred for his righteousness.[91] Abinadi knew the Ten Commandments from the brass plates.[92]

text: In an October 2010 address, LDS president and prophet Thomas S. Monson taught "The Ten Commandments are just that—commandments. They are not suggestions."[93]

text: The Strangite denomination has different views of the Decalogue.[citation needed]

text: Main points of interpretative difference

text: Sabbath day

text: All Abrahamic religions observe a weekly day of rest, often called the Sabbath, although the actual day of the week ranges from Friday in Islam, Saturday in Judaism (both reckoned from dusk to dusk), and Sunday, from midnight to midnight, in Christianity. Sabbath in Christianity is a day of rest from work, often dedicated to religious observance, derived from the Biblical Sabbath.[94] Non-Sabbatarianism is the principle of Christian liberty from being bound to physical sabbath observance. Most dictionaries provide both first-day and seventh-day definitions for "sabbath" and "Sabbatarian", among other related uses.

text: Observing the Sabbath on Sunday, the day of resurrection, gradually became the dominant Christian practice from the Jewish-Roman wars onward.[citation needed] The Church's general repudiation of Jewish practices during this period is apparent in the Council of Laodicea (4th century AD) where Canons 37–38 state: "It is not lawful to receive portions sent from the feasts of Jews or heretics, nor to feast together with them" and "It is not lawful to receive unleavened bread from the Jews, nor to be partakers of their impiety".[95] Canon 29 of the Laodicean council specifically refers to the sabbath: "Christians must not judaize by resting on the [Jewish] Sabbath, but must work on that day, rather honouring the Lord's Day; and, if they can, resting then as Christians. But if any shall be found to be judaizers, let them be anathema from Christ."[95]

text: Killing or murder

text: Multiple translations exist of the fifth/sixth commandment; the Hebrew words לא תרצח (lo tirtzach) are variously translated as "thou shalt not kill" or "thou shalt not murder".[96]

text: The imperative is against unlawful killing resulting in bloodguilt.[97] The Hebrew Bible contains numerous prohibitions against unlawful killing, but does not prohibit killing in the context of warfare (1Kings 2:5–6), capital punishment (Leviticus 20:9–16) and self-defence (Exodus 22:2–3), which are considered justified. The New Testament is in agreement that murder is a grave moral evil,[98] and references the Old Testament view of bloodguilt.[99]

text: Theft

text: Some academic theologians, including German Old Testament scholar Albrecht Alt: Das Verbot des Diebstahls im Dekalog (1953), suggest that the commandment translated as "thou shalt not steal" was originally intended against stealing people—against abductions and slavery, in agreement with the Talmudic interpretation of the statement as "thou shalt not kidnap" (Sanhedrin 86a).

text: Idolatry

text: Idolatry is forbidden in all Abrahamic religions. In Judaism there is a prohibition against worshipping an idol or a representation of God, but there is no restriction on art or simple depictions. Islam has a stronger prohibition, banning representations of God, and in some cases of Muhammad, humans and, in some interpretations, any living creature.

text: In Gospel of Barnabas, Jesus stated that idolatry is the greatest sin as it divests a man fully of faith, and hence of God.[100] In his time, Idolatry is not only worshipping statues of wood or stone; but also statues of flesh. All which a man loves, for which he leaves everything else but that, is his god, thus the glutton and drunkard has for his idol his own flesh, the fornicator has for his idol the harlot and the greedy has for his idol silver and gold, and so the same for every other sinner.[101]

text: In Christianity's earliest centuries, some Christians had informally adorned their homes and places of worship with images of Christ and the saints, which others thought inappropriate. No church council had ruled on whether such practices constituted idolatry. The controversy reached crisis level in the 8th century, during the period of iconoclasm: the smashing of icons.[102]

text: In 726 Emperor Leo III ordered all images removed from all churches; in 730 a council forbade veneration of images, citing the Second Commandment; in 787 the Seventh Ecumenical Council reversed the preceding rulings, condemning iconoclasm and sanctioning the veneration of images; in 815 Leo V called yet another council, which reinstated iconoclasm; in 843 Empress Theodora again reinstated veneration of icons.[102] This mostly settled the matter until the Protestant Reformation, when John Calvin declared that the ruling of the Seventh Ecumenical Council "emanated from Satan".[102] Protestant iconoclasts at this time destroyed statues, pictures, stained glass, and artistic masterpieces.[102]

text: The Eastern Orthodox Church celebrates Theodora's restoration of the icons every year on the First Sunday of Great Lent.[102] Eastern Orthodox tradition teaches that while images of God, the Father, remain prohibited, depictions of Jesus as the incarnation of God as a visible human are permissible. To emphasize the theological importance of the incarnation, the Orthodox Church encourages the use of icons in church and private devotions, but prefers a two-dimensional depiction[103] as a reminder of this theological aspect. Icons depict the spiritual dimension of their subject rather than attempting a naturalistic portrayal.[102] In modern use (usually as a result of Roman Catholic influence), more naturalistic images and images of the Father, however, also appear occasionally in Orthodox churches, but statues, i.e. three-dimensional depictions, continue to be banned.[103]

text: The Roman Catholic Church holds that one may build and use "likenesses", as long as the object is not worshipped. Many Roman Catholic Churches and services feature images; some feature statues. For Roman Catholics, this practice is understood as fulfilling the Second Commandment, as they understand that these images are not being worshipped.[citation needed]

text: Some Protestants will picture Jesus in his human form, while refusing to make any image of God or Jesus in Heaven.[citation needed]

text: Strict Amish people forbid any sort of image, such as photographs.[citation needed]

text: Adultery

text: Originally this commandment forbade male Israelites from having sexual intercourse with the wife of another Israelite; the prohibition did not extend to their own slaves. Sexual intercourse between an Israelite man, married or not, and a woman who was neither married nor betrothed was not considered adultery.[104] This concept of adultery stems from the economic aspect of Israelite marriage whereby the husband has an exclusive right to his wife, whereas the wife, as the husband's possession, did not have an exclusive right to her husband.[105]

text: Louis Ginzberg argued that the tenth commandment (Covet not thy neighbor's wife) is directed against a sin which may lead to a trespassing of all Ten Commandments.[106]

text: Critical historical analysis

text: Early theories

text: Critical scholarship is divided over its interpretation of the ten commandment texts.

text: Julius Wellhausen's influential hypothesis regarding the formation of the Pentateuch suggests that Exodus 20-23 and 34 "might be regarded as the document which formed the starting point of the religious history of Israel."[107] Deuteronomy 5 then reflects King Josiah's attempt to link the document produced by his court to the older Mosaic tradition.

text: In a 2002 analysis of the history of this position, Bernard M. Levinson argued that this reconstruction assumes a Christian perspective, and dates back to Johann Wolfgang von Goethe's polemic against Judaism, which asserted that religions evolve from the more ritualistic to the more ethical. Goethe thus argued that the Ten Commandments revealed to Moses at Mt. Sinai would have emphasized rituals, and that the "ethical" Decalogue Christians recite in their own churches was composed at a later date, when Israelite prophets had begun to prophesy the coming of the messiah, Jesus Christ. Levinson points out that there is no evidence, internal to the Hebrew Bible or in external sources, to support this conjecture. He concludes that its vogue among later critical historians represents the persistence of the idea that the supersession of Judaism by Christianity is part of a longer history of progress from the ritualistic to the ethical.[108]

text: By the 1930s, historians who accepted the basic premises of multiple authorship had come to reject the idea of an orderly evolution of Israelite religion. Critics instead began to suppose that law and ritual could be of equal importance, while taking different form, at different times. This means that there is no longer any a priori reason to believe that Exodus 20:2–17 and Exodus 34:10–28 were composed during different stages of Israelite history. For example, critical historian John Bright also dates the Jahwist texts to the tenth century BCE, but believes that they express a theology that "had already been normalized in the period of the Judges" (i.e., of the tribal alliance).[109] He concurs about the importance of the decalogue as "a central feature in the covenant that brought together Israel into being as a people"[110] but views the parallels between Exodus 20 and Deuteronomy 5, along with other evidence, as reason to believe that it is relatively close to its original form and Mosaic in origin.[111]

text: Hittite treaties

text: According to John Bright, however, there is an important distinction between the Decalogue and the "book of the covenant" (Exodus 21-23 and 34:10–24). The Decalogue, he argues, was modelled on the suzerainty treaties of the Hittites (and other Mesopotamian Empires), that is, represents the relationship between God and Israel as a relationship between king and vassal, and enacts that bond.[112]

text: "The prologue of the Hittite treaty reminds his vassals of his benevolent acts.. (compare with Exodus 20:2 "I am the LORD your God, who brought you out of the land of Egypt, out of the house of slavery"). The Hittite treaty also stipulated the obligations imposed by the ruler on his vassals, which included a prohibition of relations with peoples outside the empire, or enmity between those within."[113] (Exodus 20:3: "You shall have no other gods before Me"). Viewed as a treaty rather than a law code, its purpose is not so much to regulate human affairs as to define the scope of the king's power.[114]

text: Julius Morgenstern argued that Exodus 34 is distinct from the Jahwist document, identifying it with king Asa's reforms in 899 BCE.[115] Bright, however, believes that like the Decalogue this text has its origins in the time of the tribal alliance. The book of the covenant, he notes, bears a greater similarity to Mesopotamian law codes (e.g. the Code of Hammurabi which was inscribed on a stone stele). He argues that the function of this "book" is to move from the realm of treaty to the realm of law: "The Book of the Covenant (Ex., chs. 21 to 23; cf. ch. 34), which is no official state law, but a description of normative Israelite judicial procedure in the days of the Judges, is the best example of this process."[116] According to Bright, then, this body of law too predates the monarchy.[117]

text: Hilton J. Blik writes that the phrasing in the Decalogue's instructions suggests that it was conceived in a mainly polytheistic milieu, evident especially in the formulation of the henotheistic "no-other-gods-before-me" commandment.[118][self-published source]

text: Dating

text: If the Ten Commandments are based on Hittite forms, it would date them to somewhere between the 14th-12th century BCE.[119] Archaeologists Israel Finkelstein and Neil Asher Silberman argue that "the astonishing composition came together … in the seventh century BCE".[120] Critical scholar Yehezkel Kaufmann (1960) dates the oral form of the covenant to the time of Josiah.[121] An even later date (after 586 BCE) is suggested by David H. Aaron.[122]

text: The Ritual Decalogue

text: Some proponents of the Documentary hypothesis have argued that the biblical text in Exodus 34:28[123] identifies a different list as the ten commandments, that of Exodus 34:11–27.[124] Since this passage does not prohibit murder, adultery, theft, etc., but instead deals with the proper worship of Yahweh, some scholars call it the "Ritual Decalogue", and disambiguate the ten commandments of traditional understanding as the "Ethical Decalogue".[125][126][127][128]

text: According to these scholars the Bible includes multiple versions of events. On the basis of many points of analysis including linguistic it is shown as a patchwork of sources sometimes with bridging comments by the editor (Redactor) but otherwise left intact from the original, frequently side by side.[129]

text: Richard Elliott Friedman argues that the Ten Commandments at Exodus 20:1–17 "does not appear to belong to any of the major sources. It is likely to be an independent document, which was inserted here by the Redactor."[130] In his view, the Covenant Code follows that version of the Ten Commandments in the northern Israel E narrative. In the J narrative in Exodus 34 the editor of the combined story known as the Redactor (or RJE), adds in an explanation that these are a replacement for the earlier tablets which were shattered. "In the combined JE text, it would be awkward to picture God just commanding Moses to make some tablets, as if there were no history to this matter, so RJE adds the explanation that these are a replacement for the earlier tablets that were shattered."[131]

text: He writes that Exodus 34:14–26 is the J text of the Ten Commandments: "The first two commandments and the sabbath commandment have parallels in the other versions of the Ten Commandments. (Exodus 20 and Deuteronomy 5). … The other seven commandments here are completely different."[132] He suggests that differences in the J and E versions of the Ten Commandments story are a result of power struggles in the priesthood. The writer has Moses smash the tablets "because this raised doubts about the Judah's central religious shrine".[133]

text: According to Kaufmann, the Decalogue and the book of the covenant represent two ways of manifesting God's presence in Israel: the Ten Commandments taking the archaic and material form of stone tablets kept in the ark of the covenant, while the book of the covenant took oral form to be recited to the people.[121]

text: United States debate over display on public property

text: European Protestants replaced some visual art in their churches with plaques of the Ten Commandments after the Reformation. In England, such "Decalogue boards" also represented the English monarch's emphasis on rule of royal law within the churches. The United States Constitution forbids establishment of religion by law; however images of Moses holding the tablets of the Decalogue, along other religious figures including Solomon, Confucius, and Mohamed holding the Qur'an, are sculpted on the north and south friezes of the pediment of the Supreme Court building in Washington.[134] Images of the Ten Commandments have long been contested symbols for the relationship of religion to national law.[135]

text: In the 1950s and 1960s the Fraternal Order of Eagles placed possibly thousands of Ten Commandments displays in courthouses and school rooms, including many stone monuments on courthouse property.[136] Because displaying the commandments can reflect a sectarian position if they are numbered (see above), the Eagles developed an ecumenical version that omitted the numbers, as on the monument at the Texas capitol (shown here). Hundreds of monuments were also placed by director Cecil B. DeMille as a publicity stunt to promote his 1956 film The Ten Commandments.[137] Placing the plaques and monuments to the Ten Commandments in and around government buildings was another expression of mid-twentieth century U.S. civil religion, along with adding the phrase "under God" to the Pledge of Allegiance.[135]

text: By the beginning of the twenty-first century in the U.S., however, Decalogue monuments and plaques in government spaces had become a legal battleground between religious as well as political liberals and conservatives. Organizations such as the American Civil Liberties Union (ACLU) and Americans United for Separation of Church and State launched lawsuits challenging the posting of the ten commandments in public buildings. The ACLU has been supported by a number of religious groups (such as the Presbyterian Church (U.S.A.),[138] and the American Jewish Congress[139]), both because they do not want government to be issuing religious doctrine and because they feel strongly that the commandments are inherently religious. Many commentators see this issue as part of a wider culture war between liberal and conservative elements in American society. In response to the perceived attacks on traditional society, other legal organizations, such as the Liberty Counsel, have risen to advocate the conservative interpretation. Many Christian conservatives have taken the banning of officially sanctioned prayer from public schools by the U.S. Supreme Court as a threat to the expression of religion in public life. In response, they have successfully lobbied many state and local governments to display the ten commandments in public buildings.

text: Those who oppose the posting of the ten commandments on public property argue that it violates the establishment clause of the First Amendment to the Constitution of the United States. In contrast, groups like the Fraternal Order of Eagles who support the public display of the ten commandments claim that the commandments are not necessarily religious but represent the moral and legal foundation of society, and are appropriate to be displayed as a historical source of present-day legal codes. Also, some argue like Judge Roy Moore that prohibiting the public practice of religion is a violation of the first amendment's guarantee of freedom of religion.[135]

text: U.S. courts have often ruled against displays of the Ten Commandments on government property. They conclude that the ten commandments are derived from Judeo-Christian religions, to the exclusion of others: the statement "Thou shalt have no other gods before me" excludes non-monotheistic religions like Hinduism, for example. Whether the Constitution prohibits the posting of the commandments or not, there are additional political and civil rights issues regarding the posting of what is construed as religious doctrine. Excluding religions that have not accepted the ten commandments creates the appearance of impropriety. The courts have been more accepting, however, of displays that place the Ten Commandments in a broader historical context of the development of law.

text: One result of these legal cases has been that proponents of displaying the Ten Commandments have sometimes surrounded them with other historical texts to portray them as historical, rather than religious. Another result has been that other religious organizations have tried to put monuments to their laws on public lands. For example, an organization called Summum has won court cases against municipalities in Utah for refusing to allow the group to erect a monument of Summum aphorisms next to the ten commandments. The cases were won on the grounds that Summum's right to freedom of speech was denied and the governments had engaged in discrimination. Instead of allowing Summum to erect its monument, the local governments chose to remove their ten commandments.

text: Cultural references

text: Two famous films of this name were directed by Cecil B. DeMille: a silent movie released in 1923 starring Theodore Roberts as Moses and a colour VistaVision version of 1956, starring Charlton Heston as Moses.

text: Both Dekalog, a 1989 Polish film series directed by Krzysztof Kieślowski, and The Ten, a 2007 American film, use the ten commandments as a structure for 10 smaller stories.[140]

text: The receipt of the Ten Commandments by Moses was satirized in Mel Brooks's movie History of the World Part I (1981), which shows Moses (played by Brooks, in a similar costume to Charlton Heston's Moses in the 1956 film), receiving three tablets containing fifteen commandments, but before he can present them to his people, he stumbles and drops one of the tablets, shattering it. He then presents the remaining tablets, proclaiming Ten Commandments.[141]

text: In The Prince of Egypt, a 1998 animated film that depicted the early life of Moses (voiced by Val Kilmer), the ending depicts him with the Ten Commandments at Mount Sinai, accompanied by a reprise of Deliver Us.


document_title: The Masque of the Red Death

question_text: where was the masque of the red death published

root

text: The Masque of the Red Death

text: Plot summary[edit]

text: The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and "profuse bleeding at the pores", and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut.

tag: p

text: Prospero holds a masquerade ball one night to entertain his guests in seven colored rooms of the abbey. Each of the first six rooms is decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a scarlet light, "a deep blood color" cast from its stained glass windows. Because of this chilling pairing of colors, very few guests are brave enough to venture into the seventh room. A large ebony clock stands in this room and ominously chimes each hour, upon which everyone stops talking or dancing and the orchestra stops playing. Once the chiming stops, everyone immediately resumes the masquerade.

text: At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. Gravely insulted, Prospero demands to know the identity of the mysterious guest so they can hang him. The guests, too afraid to approach the figure, instead let him pass through the six chambers. The Prince pursues him with a drawn dagger and corners the guest in the seventh room. When the figure turns to face him, the Prince lets out a sharp cry and falls dead. The enraged and terrified revelers surge into the black room and forcibly remove the mask and robe, only to find to their horror that there is nothing underneath. Only then do they realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up, "And Darkness and Decay and the Red Death held illimitable dominion over all".

text: Analysis[edit]

text: Directly influenced by the first Gothic novel, Horace Walpole's The Castle of Otranto, in "The Masque of the Red Death", Poe adopts many conventions of traditional Gothic fiction, including the castle setting.[1] The multiple single-toned rooms may be representative of the human mind, showing different personality types. The imagery of blood and time throughout also indicates corporeality. The plague may, in fact, represent typical attributes of human life and mortality,[2] which would imply the entire story is an allegory about man's futile attempts to stave off death (a commonly accepted interpretation).[3] However, there is much dispute over how to interpret "The Masque of the Red Death"; some suggest it is not allegorical, especially due to Poe's admission of a distaste for didacticism in literature.[4] If the story really does have a moral, Poe does not explicitly state that moral in the text.[5]

text: Blood, emphasized throughout the tale, along with the color red, serves as a dual symbol, representing both death and life. This is emphasized by the masked figure – never explicitly stated to be the Red Death, but only a reveler in a costume of the Red Death – making his initial appearance in the easternmost room, which is colored blue, a color most often associated with birth.[6]

text: Though Prospero's castle is meant to keep the sickness out, it is ultimately an oppressive structure. Its maze-like design and tall and narrow windows become almost burlesque in the final black room, so oppressive that "there were few of the company bold enough to set foot within its precincts at all".[7] Additionally, the castle is meant to be an enclosed space, yet the stranger is able to sneak inside, suggesting that control is an illusion.[8]

text: Like many of Poe's tales, "The Masque of the Red Death" has been interpreted autobiographically, by some. In this point of view, Prince Prospero is Poe as a wealthy young man, part of a distinguished family much like Poe's foster parents, the Allans. Under this interpretation, Poe is seeking refuge from the dangers of the outside world, and his portrayal of himself as the only person willing to confront the stranger is emblematic of Poe's rush towards inescapable dangers in his own life.[9] Prince Prospero is also the name of a character in William Shakespeare's The Tempest.[10]

text: The "Red Death"[edit]

text: The disease called the Red Death is fictitious. Poe describes it as causing "sharp pains, and sudden dizziness, and then profuse bleeding at the pores" leading to death within half an hour.

text: The disease may have been inspired by tuberculosis (or consumption, as it was known then), since Poe's wife Virginia was suffering from the disease at the time the story was written. Like the character Prince Prospero, Poe tried to ignore the fatality of the disease.[11] Poe's mother Eliza, brother William, and foster mother Frances had also died of tuberculosis. Alternatively, the Red Death may refer to cholera; Poe would have witnessed an epidemic of cholera in Baltimore, Maryland in 1831.[12] Others have suggested the pandemic is actually Bubonic plague or the Black death, emphasized by the climax of the story featuring the "Red" Death in the "black" room.[13] One writer likens the description to that of a viral hemorrhagic fever or necrotizing fasciitis.[14] It has also been suggested that the Red Death is not a disease or sickness at all but a weakness (like "original sin") that is shared by all of humankind inherently.[15]

text: Publication history[edit]

text: Poe first published the story in the May 1842 edition of Graham's Lady's and Gentleman's Magazine as "The Mask of the Red Death", with the tagline "A Fantasy". This first publication earned him $12.[16] A revised version was published in the July 19, 1845 edition of the Broadway Journal under the now-standard title "The Masque of the Red Death."[17] The original title emphasized the figure at the end of the story; the new title puts emphasis on the masquerade ball.[18]

text: Adaptations[edit]

text: Audio adaptations[edit]

text:
Basil Rathbone read the entire short story in his Caedmon LP recording The Tales of Edgar Allan Poe (early 1960s). Other audiobook recordings have featured Christopher Lee, Hurd Hatfield, Martin Donegan and Gabriel Byrne as readers.
The story was adapted by George Lowther for a broadcast on the CBS Radio Mystery Theater (January 10, 1975), starring Karl Swenson and Staats Cotsworth.
A radio reading was performed by Winifred Phillips, with music she composed. The program was produced by Winnie Waldron as part of National Public Radio's Tales by American Masters series.
Eros Ramazzotti's song "Lettera al futuro" ("Letter to the future"), from his 1996 album Dove c'è musica, retells the main events of the story in a simplified form, without mentioning any specific characters or names but vaguely connecting the plague mentioned in the story to AIDS, and concludes with the singer's hope, addressed to an imaginary unborn child, that such events will not happen any longer in the future.[19]

tag: ul

text: Comics adaptations[edit]

text:
In 1952, Marvel published "The Face of Death" in Adventures Into Weird Worlds #4. Adaptation & art by Bill Everett.
In 1952, Charlton published "The Red Death" in The Thing #2. Adaptation & art by Bob Forgione.
In 1960, Editora Continental (Brazil) published "A Mascara Da Morte Rubra" in Classicos De Terror #9. Adaptation & art by Manoel Ferreira. It was reprinted by Editora Taika in Album Classicos De Terror #11 (1974) and by Editora Vecchia in Spektro #6 (1978).
In 1961, Marvel published "Masqeurade Party" in Strange Tales #83. Story & art by Steve Ditko. It was reprinted by Editora Taika (Brazil) in Almanaque Fantastic Aventuras #1 (1973) and by Marvel in Chamber Of Chills #16 (1975).
In 1964, Dell published "The Masque Of The Red Death". Adapted from the 1964 film, art by Frank Springer.
In 1967, Warren published "The Masque Of The Red Death" in Eerie #12. Adaptation by Archie Goodwin, art by Tom Sutton. This version has been reprinted multiple times.
In 1967, Editora Taika published "A Mascara Da Morte Rubra" in Album Classicos De Terror #3. Adaptation by Francisco De Assis, art by Nico Rosso with J.B. Rosa. This was reprinted in Almanaque Classicos De Terror #15 (1976).
In 1969, Marvel published "The Day Of The Red Death" in Chamber Of Darkness #2. Adaptation by Roy Thomas, art by Don Heck. This was reprinted by La Prensa (Mexico) in El Enterrador #4 (1970) and by Marvel in Chamber Of Darkness Special #1 (1972).
In 1972, Milano Libri Edizioni (Italy) published "La Maschera Della Morte Rossa" in Linus #91. Adaptation & art by Dino Battaglia. This was reprinted in Corto Maltese #7 (1988) and multiple other times.
In 1974, Skywald published "The Masque Of The Red Death" in Psycho #20. Adaptation by Al Hewetson, art by Ricardo Villamonte. This was reprinted by Garbo (Spain) in Vampus #50 (1975) and by Eternity in The Masque Of The Red Death And Other Stories #1 (1988).
In 1975, Warren published "Shadow" in Creepy #70. Adaptation by Richard Margopoulos, art by Richard Corben. The ending was changed to incorporate elements of "The Masque Of The Red Death". This was reprinted multiple times.
In 1975, Charlton published "The Plague" in Haunted #22. Adaptation by Britton Bloom, art by Wayne Howard. This was reprinted in Haunted #45 (1979) and by Rio Grafica Editora Globo (Portugal) in Fetiche #1 (1979).
In 1975, Ediciones Ursus (Spain) published "La Mascara Da la Muerte Roja" in Macabro #17. Art by Francisco Agras.
In 1979, Bloch Editores S.A. (Brazil) published "A Mascara Da Morte Rubra" in Aventuras Macabras #12. Adaptation by Delmir E. Narutoxdc, art by Flavio Colin.
In 1982, Troll Associates published "The Masque Of The Red Death" as a children's book. Adaptation by David E. Cutts, art by John Lawn.
In 1982, Warren published "The Masque of The Red Death" in Vampirella #110. Adaptation by Rich Margopoulos, art by Auraleon. This has been reprinted multiple times.
In 1984, Editora Valenciana (Spain) published "La Mascara De La Muerte Roja" in SOS #1. Adaptation & art by A.L. Pareja.
In 1985, Edizione Editiemme (Italy) published "La Masque De La Morte Rouge" in Quatro Incubi #1. Adaptation & art by Alberto Brecchi. This has been reprinted multiple times.
In 1987, Kitchen Sink Press published "The Masque of The Red Death" in Death Rattle v.2 #13. Adaptation & art by Daryl Hutchinson.
In 1988, Last Gasp published "The Masque of The Red Death" in Strip Aids U.S.A. Adaptation & art by Steve Leialoha.
In 1995, Mojo Press published "The Masque of The Red Death" in Weird Business. Adaptation by Erick Burnham, art by Ted Naifeh.
In 1999, Albin Michel – L’Echo des Savanes (France) published "De La Mascara De La Muerte Roja" in Le Chat Noir. Adaptation & art by Horacio Lalia. This has been reprinted multiple times.
In 2004, Eureka Productions published "The Masque of The Red Death" in Graphic Classics #1: Edgar Allan Poe (2nd edition). Adaptation by David Pomplun, art by Stanley W. Shaw. This has been reprinted in the 3rd edition (2006), and in Graphic Classics #21: Edgar Allan Poe's Tales Of Mystery (2011).
In 2008, Go! Media Entertainment published Wendy Pini's Masque of the Red Death. Adaptation by Richard Pini, art by Wendy Pini. This version is an erotic, illustrated webcomic, set in the future.
In 2008, Sterling Press published "The Masque of The Red Death" in Nevermore (Illustrated Classics): A Graphic Adaptation Of Edgar Allan Poe's Short Stories. Adaptation by Adam Prosser, art by Erik Rangel.
In 2013, Dark Horse published "The Masque of The Red Death" in The Raven And The Red Death. Adaptation & art by Richard Corben. This has been reprinted in Spirits Of The Dead (2014).
In spring 2017, UDON Entertainment's Manga Classics line will publish The Stories of Edgar Allan Poe, which will include a manga format adaptation of "The Masque of the Red Death".[20]

text: Film adaptations[edit]

text:
The story was adapted by Roger Corman as a film, The Masque of the Red Death (1964), starring Vincent Price.
Corman produced, but did not direct a remake of the film in 1989, starring Adrian Paul as Prince Prospero.[21]
Corman also voiced Prince Prospero in "The Masque of the Red Death" segment of Raúl García's animated anthology Extraordinary Tales (2015).
Huayi Brothers Media and CKF Pictures in China announced in 2017 plans to produce a film of Akira Kurosawa's posthumous screenplay of "The Mask of the Red Death" for 2020.[22]

text: Stage adaptations[edit]

text: The story has been adapted by Punchdrunk Productions in collaboration with Battersea Arts Centre, as a promenade theatre performance (The Masque of the Red Death (play)) from September 17, 2007 to April 12, 2008.[23]

text: Events[edit]

text: The story has been turned into an annual Halloween event called The Masquerade Of The Red Death, held in the area of Detroit, Michigan. The annual event began in 2013, and is said to put the guests in the center of Poe's story.[24][25]

text: In popular culture[edit]

text: The Masque of the Red Death in popular culture


document_title: Ex on the Beach

question_text: where is ex on the beach season 7 filmed

text: Ex on the Beach

text: Series[edit]

text:
Year
Series
Predominant Location
Number of Episodes
Average MTV viewers 1

2014
Series 1
Marbella, Spain
8
764,000

2015
Series 2
Marbella, Spain
8
712,000

Series 3
Cancun, Mexico
10
777,000

2016
Series 4
Algarve, Portugal
8
896,000

Series 5
Koh Samui, Thailand
10
800,000

2017
Series 6
Crete, Greece
10
805,000

Series 7
Bali, Indonesia
10
525,000

2018
Series 8
TBA
10

tag: table

text: Series 1 (2014)[edit]

text: The first series of the show was announced in February 2014[1] and premiered on MTV on 22 April 2014.[2] The series ran for eight episodes and concluded on 10 June 2014. The official list of cast members was released on 13 March 2014 and includes four single boys: Ashley Cain, Jack Lomax, Liam Lewis and Marco Alexandre; as well as four single girls: Chloe Goodman, Emily Gillard, Farah Sattaur and Vicky Pattison.[5] It was announced that Geordie Shore star Vicky Pattison would be taking part in the series; she was joined by ex-fiancé and former Geordie Shore co-star Ricci Guarnaccio as well as Australian fling Daniel Conn who featured briefly in series 6 of Geordie Shore.[6] On 7 January 2015, cast member Chloe Goodman entered the Celebrity Big Brother house to compete in the fifteenth series. However she became the first Housemate to be evicted. Ashley later returned for Series 2 as an ex, whilst Vicky returned in the third series. Liam and Chloe both returned again for Series 5, whilst Ashley and Joss made appearances as exes. Ross was another cast member from this series to make a return, this time during Series 6.

text: Series 2 (2015)[edit]

text: The second series of the show began airing on 27 January 2015[7] and ran for eight episodes, concluding on 17 March 2015. This was confirmed on 23 July 2014 when it was announced that filming would begin soon, with the series airing in 2015.[8] The official list of cast members was released on 6 January 2015.[9] It included four single boys: Connor Hunter, Luke Goodfellow, Morgan Evans and Rogan O'Connor, as well as four single girls: Anita Kaushik, Kayleigh Morris, Loren Green and Melissa Reeves. It was also announced that Geordie Shore stars Charlotte Crosby and Gary Beadle would be taking part in the series.[10] Ahead of the launch of the new series, it was confirmed that Series 1 cast member Ashley Cain would be returning for the second series as an ex.[11] Rogan later returned for the third series, whilst Jess and Gary both returned for the fifth series as main cast, with Kayleigh and Melissa appearing as exes. Kayleigh also went on to appear in the eighteenth series of Big Brother in 2017,[12] but was removed from the house on Day 13 due to threatening behaviour.[13]

text: Series 3 (2015)[edit]

text: The third series of the show began on 11 August 2015.[14] The official list of cast members was released on 14 July 2015. This series was filmed in Cancun, Mexico, making this the first series to be filmed outside of Europe. They include four boys: Graham Griffiths, Jayden Robins, Kirk Norcross and Stephen Bear, and four girls: Amy Paige Cooke, Laura Alicia Summers, Megan McKenna and Megan Rees.[15] With the announcement of the line-up it was confirmed that former Geordie Shore cast member and star of the first series, Vicky Pattison, would be making her return as an ex alongside Series 2 star Rogan O'Connor. The Only Way Is Essex cast member Kirk Norcross was also confirmed to be taking part in the series, with his ex-fiancée and Celebrity Big Brother star Cami-Li featuring as his ex. Star of Magaluf Weekender Jordan Davies was also revealed to be taking part in the series, also featuring as an ex.[16] Megan McKenna and Jordan later returned for the fourth series. On 5 January 2016, cast member Megan McKenna entered the Celebrity Big Brother house to compete in the seveneeth series, and on 28 July 2016, Stephen Bear entered the house to compete in the eighteenth series where he left as the winner. Jordan Davies made another return to the show, this time during the fifth series with Jemma and Bear, and Holly also returning as an ex again.

text: Series 4 (2016)[edit]

text: The fourth series of the show began on 19 January 2016.[17] This series was filmed in Portugal.[18] The official cast list was revealed on 15 December 2015 and includes four girls: Helen Briggs, Nancy-May Turner, Naomi Hedman and Olivia Walsh, as well as four boys: Joe Delaney, Lewis Good, Youssef Hassane and Geordie Shore star Scotty T. Megan McKenna and Magaluf Weekender cast member Jordan Davies would be returning to the series as exes, having previously appeared during the previous series.[19] Olivia later returned to the beach for the fifth series, whilst Kieran Lee went onto appear in the eighteenth series of Big Brother, but was evicted during the final week.

text: Series 5 (2016)[edit]

text: The fifth series of the show began on 16 August 2016. This series took place in Koh Samui, Thailand. The series was confirmed on 8 March 2016 after the finale of the fourth series. It was also announced that faces from the past would return for this series with "unfinished business".[20] The official list of cast members were released on 5 July 2016.[21] It features four boys and four girls from previous series. From the first series it includes Chloe Goodman and Liam Lewis. Geordie Shore star Gary Beadle and Jess Impiazzi return having previously appeared in the second series, whilst Jemma Lucy, Jordan Davies and Stephen Bear from the third series all return. Finally Olivia Walsh returns having previously appeared in series 4. Over the course of the series they will be joined by their exes, which also include familiar faces. Series 1's Ashley Cain will be making his third appearance on the show, whilst Joss Mooney also returns. Kayleigh Morris and Melissa Reeves will be back having already appeared in the second series. Holly Rickwood from Series 3 will also be back on the beach. New cast members include Lillie Lexie Gregg, Charlotte Dawson, David Hawley, Aimee Kimber, Conor Scurlock and Alex Stewart.[22] Kayleigh also went on to appear in the eighteenth series of Big Brother in 2017,[23] but was removed from the house on Day 13 due to threatening behaviour.[24]

text: Series 6 (2017)[edit]

text: The sixth series of the show began on 17 January 2017. This series was filmed on location in Crete, Greece. The series was confirmed on 2 November 2016.[25] The official list of cast members were released on 13 December 2016.[26] They include four boys; Alex Leslie, Josh Ritchie, Ross Worsick and Sean Pratt, and four girls; Harriette Harper, Maisie Gillespie, Zahida Allen and ZaraLena Jackson. Ross has previously appeared in the first series of the show whereas Josh featured in the first series of Love Island. With the announcement of the line-up it was also confirmed that Geordie Shore star Aaron Chalmers would be arriving on the beach as an ex as well as former The Only Way Is Essex cast member Nicole Bass. Chanelle McCleary, an ex from this series, later went onto appear in the eighteenth series of Big Brother but was evicted a week before the final.

text: Series 7 (2017)[edit]

text: The seventh series of the show began on 20 June 2017.[27] This series was filmed on location on the island of Bali in Indonesia. The series was confirmed on 26 February 2017.[28] The cast members for the series were confirmed on 23 May 2017[29] which include Geordie Shore stars Chloe Ferry and Marty McKenna, Love Island contestants Max Morley and Josh Ritchie, as well as Beauty School Cop Outs cast member Savannah Kemplay. Marty and Josh had previously appeared in the third and sixth series of the show respectively.

text: Series 8 (2018)[edit]

text: The eighth series of the show is expected to begin in 2018. The series was confirmed when it was rumoured that Geordie Shore cast member Marnie Simpson had signed up for the show.[30]

text: Cast[edit]

text: Other appearances[edit]

text: As well as appearing in Ex on the Beach, some of the cast members went on to compete in other reality TV shows including Celebrity Big Brother and Big Brother.

text:
Celebrity Big Brother

Chloe Goodman – Series 15 (2015) – Thirteenth
Megan McKenna – Series 17 (2016) – Tenth
Stephen Bear – Series 18 (2016) – Winner
Jemma Lucy – Series 20 (2017) – Sixth
Jordan Davies – Series 20 (2017) – Twelfth

Big Brother

Chanelle McCleary - Series 18 (2017) – Tenth
Kayleigh Morris – Series 18 (2017) – Eighteenth (Ejected)
Kieran Lee – Series 18 (2017) – Sixth

text: International versions[edit]

text:
Country
Channel
Title
Year
Reference

 Sweden
Kanal 11
Ex on the Beach
2015–
[31]

 France
NRJ 12
La Revanche des Ex
2016–
[32]

 Netherlands  Belgium
MTV Netherlands MTV Flanders
Ex on the Beach: Double Dutch
2016–
[33]

 Russia
Pyatnica!
Ex on the Beach
2016–
[34]

 Brazil
MTV
De Férias com o Ex
2016–
[35]

 Poland
MTV
Ex on the Beach
2016–
[36]

 Hungary
Viasat 3
Exek az Édenben
2017–
[37]

text: Ex on the Beach: Body SOS[edit]

text: On 12 December 2017 it was announced that Vicky Pattison would host a spin-off show entitled "Ex on the Beach: Body SOS" where she will attempt to help members of the public to get into shape.[38] The first series will begin airing on 17 January 2018 and features Joss Mooney, who rose to fame by appearing in the first series of Ex on the Beach.


document_title: The Lottery

question_text: who wins the lottery in the story the lottery

text: The Lottery

text: Plot[edit]

text: Details of contemporary small-town American life are embroidered upon a description of an annual ritual known as "the lottery". In a small village of about 300 residents, the locals are in an excited yet nervous mood on June 27. Children gather stones as the adult townsfolk assemble for their annual event, which in the local tradition is practiced to ensure a good harvest (Old Man Warner quotes an old proverb: "Lottery in June, corn be heavy soon"), though there are some rumors that nearby communities in the north are talking about giving up the lottery, and some have done so.

text: The lottery preparations start the night before with Mr. Summers and Mr. Graves making the paper slips and the list of all the families. Once the slips are finished, they are put into a black box, which is stored overnight in a safe place at the coal company. The story briefly mentions how the ballot box has been stored other years in various places in the town.

text: On the morning of the lottery, the townspeople gather close to 10 a.m. in order to have everything done in time for lunch. First, the heads of the extended families draw slips until every family has a slip. Bill Hutchinson gets the one slip with a black spot, meaning that his family has been chosen. The second round would ordinarily be to select one household within the family, but since there is only one Hutchinson household (Bill's adult sister and daughter are counted with their husbands' families), the second round is skipped.

text: The final round is for the individual family members within the winning household to draw, no matter their age. Bill's wife Tessie gets the marked slip. After the drawing is over and Tessie is picked, the slips are allowed to fly off into the wind. In keeping with tradition, each villager obtains a stone and begins to surround Tessie. The story ends as Tessie is stoned to death while she bemoans the unfairness of the situation.

text: Themes[edit]

text: One of the major ideas of "The Lottery" is that of a scapegoat, or someone who is blamed for society's evils and is banished in a sort of renewal ritual. The act of stoning someone to death yearly purges the town of the bad and allows for the good. This is hinted in the references to agriculture.

text: The story also speaks of mob psychology and the idea that people can abandon reason and act cruelly if they are part of a large group of people behaving in the same manner. The idyllic setting of the story also demonstrates that violence and evil can take place anywhere and in any context. This also shows how people can turn on each other so easily.

text: Alongside the mob mentality, the story speaks about people who blindly follow traditions without thinking of the consequences of those traditions.[5]

text: Reception[edit]

text: Readers[edit]

text: Many readers demanded an explanation of the situation in the story, and a month after the initial publication, Shirley Jackson responded in the San Francisco Chronicle (July 22, 1948):

text: Explaining just what I had hoped the story to say is very difficult. I suppose, I hoped, by setting a particularly brutal ancient rite in the present and in my own village to shock the story's readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives.

text: Jackson lived in North Bennington, Vermont, and her comment reveals that she had Bennington in mind when she wrote "The Lottery". In a 1960 lecture (printed in her 1968 collection, Come Along with Me), Jackson recalled the hate mail she received in 1948:

text: One of the most terrifying aspects of publishing stories and books is the realization that they are going to be read, and read by strangers. I had never fully realized this before, although I had of course in my imagination dwelt lovingly upon the thought of the millions and millions of people who were going to be uplifted and enriched and delighted by the stories I wrote. It had simply never occurred to me that these millions and millions of people might be so far from being uplifted that they would sit down and write me letters I was downright scared to open; of the three-hundred-odd letters that I received that summer I can count only thirteen that spoke kindly to me, and they were mostly from friends. Even my mother scolded me: "Dad and I did not care at all for your story in The New Yorker," she wrote sternly; "it does seem, dear, that this gloomy kind of story is what all you young people think about these days. Why don't you write something to cheer people up?"[3]

text: The New Yorker kept no records of the phone calls, but letters addressed to Jackson were forwarded to her. That summer she regularly took home 10 to 12 forwarded letters each day. She also received weekly packages from The New Yorker containing letters and questions addressed to the magazine or editor Harold Ross, plus carbon copies of the magazine's responses mailed to letter writers.

text: Curiously, there are three main themes which dominate the letters of that first summer—three themes which might be identified as bewilderment, speculation and plain old-fashioned abuse. In the years since then, during which the story has been anthologized, dramatized, televised, and even—in one completely mystifying transformation—made into a ballet, the tenor of letters I receive has changed. I am addressed more politely, as a rule, and the letters largely confine themselves to questions like what does this story mean? The general tone of the early letters, however, was a kind of wide-eyed, shocked innocence. People at first were not so much concerned with what the story meant; what they wanted to know was where these lotteries were held, and whether they could go there and watch.[3]

text: Critical interpretations[edit]

text: Helen E. Nebeker's essay, "'The Lottery': Symbolic Tour de Force", in American Literature (March 1974), claims that every major name in the story has a special significance.

text: By the end of the first two paragraphs, Jackson has carefully indicated the season, time of ancient excess and sacrifice, and the stones, most ancient of sacrificial weapons. She has also hinted at larger meanings through name symbolism. "Martin", Bobby's surname, derives from a Middle English word signifying ape or monkey. This, juxtaposed with "Harry Jones" (in all its commonness) and "Dickie Delacroix" (of-the-Cross) urges us to an awareness of the Hairy Ape within us all, veneered by a Christianity as perverted as "Delacroix," vulgarized to "Dellacroy" by the villagers. Horribly, at the end of the story, it will be Mrs. Delacroix, warm and friendly in her natural state, who will select a stone "so large she had to pick it up with both hands" and will encourage her friends to follow suit ... "Mr. Adams," at once progenitor and martyr in the Judeo-Christian myth of man, stands with "Mrs. Graves"—the ultimate refuge or escape of all mankind—in the forefront of the crowd.

text: Fritz Oehlshlaeger, in "The Stoning of Mistress Hutchinson Meaning of Context in 'The Lottery'" (Essays in Literature, 1988), wrote:

text: The name of Jackson's victim links her to Anne Hutchinson, whose Antinomian beliefs, found to be heretical by the Puritan hierarchy, resulted in her banishment from Massachusetts in 1638. While Tessie Hutchinson is no spiritual rebel, to be sure, Jackson's allusion to Anne Hutchinson reinforces her suggestions of a rebellion lurking within the women of her imaginary village. Since Tessie Hutchinson is the protagonist of "The Lottery," there is every indication that her name is indeed an allusion to Anne Hutchinson, the American religious dissenter. She was excommunicated despite an unfair trial, while Tessie questions the tradition and correctness of the lottery as well as her humble status as a wife. It might as well be this insubordination that leads to her selection by the lottery and stoning by the angry mob of villagers.

text: The 1992 episode of The Simpsons, "Dog of Death", features a scene referencing "The Lottery". During the peak of the lottery fever in Springfield, news anchor Kent Brockman announces on television that people hoping to get tips on how to win the jackpot have borrowed every available copy of Shirley Jackson's book The Lottery at the local library. One of them is Homer, who throws the book into the fireplace after Brockman reveals that, "Of course, the book does not contain any hints on how to win the lottery. It is, rather, a chilling tale of conformity gone mad."[6] In her book Shirley Jackson: Essays on the Literary Legacy, Bernice Murphy comments that this scene displays some of the most contradictory things about Jackson: "It says a lot about the visibility of Jackson's most notorious tale that more than 50 years after its initial creation it is still famous enough to warrant a mention in the world's most famous sitcom. The fact that Springfield's citizenry also miss the point of Jackson's story completely ... can perhaps be seen as an indication of a more general misrepresentation of Jackson and her work."[6]

text: Dramatizations[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2017) (Learn how and when to remove this template message)

text: In addition to numerous reprints in magazines, anthologies and textbooks, "The Lottery" has been adapted for radio, live television, a 1953 ballet, films in 1969 and 1997, a TV movie, an opera, and a one-act play by Thomas Martin.

text: 1951 radio version[edit]

text: NBC's radio adaptation was broadcast March 14, 1951, as an episode of the anthology series NBC Presents: Short Story. Writer Ernest Kinoy[7][8] expanded the plot to include scenes at various characters' homes before the lottery and a conversation between Bill and Tessie Hutchinson (Bill suggests leaving town before the lottery happens, but Tessie refuses because she wants to go shopping at Floyd Summers's store after the lottery is over). Kinoy deleted certain characters, including two of the Hutchinsons' three children, and added at least one character, John Gunderson, a schoolteacher who publicly objects to the lottery being held, and at first refuses to draw. Finally, Kinoy included an ending scene describing the townspeople's post-lottery activities, and an afterword in which the narrator suggested, "Next year, maybe there won't be a Lottery. It's up to all of us. Chances are, there will be, though."[8] The production was directed by Andrew C. Love.[7][9]

text: Television adaptation[edit]

text: Ellen M. Violett wrote the first television adaptation, seen on Albert McCleery's Cameo Theatre (1950–55).

text: 1969 film[edit]

text: Larry Yust's short film, The Lottery (1969), produced as part of Encyclopædia Britannica's 'Short Story Showcase' series, was ranked by the Academic Film Archive "as one of the two bestselling educational films ever". It has an accompanying ten-minute commentary film, Discussion of "The Lottery" by University of Southern California English professor Dr. James Durbin. Featuring the film debut of Ed Begley, Jr., Yust's adaptation has an atmosphere of naturalism and small town authenticity with its shots of pick-up trucks and townspeople in Fellows, California.

text: 1996 TV film[edit]

text: Anthony Spinner's feature-length TV film, The Lottery, which premiered September 29, 1996, on NBC, is a sequel loosely based on the original Shirley Jackson story. It was nominated for a 1997 Saturn Award for Best Single Genre Television Presentation.