document_title: When Calls the Heart

question_text: who played tom thornton in when calls the heart

text: When Calls the Heart

text: Plot[edit]

text: When Calls the Heart tells the story of Elizabeth Thatcher (Erin Krakow), a young teacher accustomed to her high-society life. She receives her first classroom assignment in Coal Valley, a small coal-mining town in Western Canada which is located just south of Robb, Alberta. There, life is simple—but often fraught with challenges. Elizabeth charms most everyone in Coal Valley, except Royal North West Mounted Police Constable Jack Thornton (Daniel Lissing). He believes Thatcher’s wealthy father has doomed the lawman's career by insisting he be assigned in town to protect the shipping magnate’s daughter. The town of Coal Valley was renamed Hope Valley in Episode 1, Season 2 after the coal mine was closed.

text: Living in this 1910 coal town, Elizabeth must learn the ways of the Canadian frontier movement if she wishes to thrive in the rural west on her own. Lori Loughlin portrays Abigail Stanton, whose husband, the foreman of the mine, and her only son—along with 45 other miners—have recently been killed in an explosion, which turns out to have been a tragic accident waiting to happen—a result of the mining-company site manager's irresponsible management and lack of due care in his management of the mine. The newly widowed women find their faith tested when they must go to work in the mine to keep a roof over their heads, food on the table, and compile a wage for the town's teacher.[10]

text: Episodes[edit]

text: SeasonEpisodesOriginally airedFirst airedLast aired112January 11, 2014 (2014-01-11)March 29, 2014 (2014-03-29)27April 25, 2015 (2015-04-25)June 13, 2015 (2015-06-13)New Year's WishDecember 26, 2015 (2015-12-26)38February 21, 2016 (2016-02-21)April 10, 2016 (2016-04-10)ChristmasDecember 25, 2016 (2016-12-25)410February 19, 2017 (2017-02-19)April 23, 2017 (2017-04-23)The Christmas Wishing TreeDecember 25, 2017 (2017-12-25)510February 18, 2018 (2018-02-18)April 22, 2018 (2018-04-22)

text: Cast[edit]

text: Main[edit]

text:
Erin Krakow as Elizabeth Thatcher Thornton
Daniel Lissing as Jack Thornton (Seasons 1-5)
Lori Loughlin as Abigail Stanton
Jack Wagner as Bill Avery
Martin Cummins as Henry Gowen
Pascale Hutton as Rosemary LeVeaux Coulter
Kavan Smith as Leland Coulter

text: Recurring[edit]

text:
Paul Greene as Carson Shepherd
Andrea Brooks as Faith Carter
Eva Bourne as Clara Weller Stanton
Aren Buchholz as Jesse Flynn
Carter Ryan Evancic as Cody Hastings
Loretta Walsh as Florence Blakeley
Erica Carroll as Dottie Ramsey
Johannah Newmarch as Molly Sullivan
Mark Humphrey as Frank Hogan
Chelah Horsdal as Cat Montgomery
Mitchell Kummen as Gabe Montgomery
Gracyn Shinyei as Emily Montgomery
Logan Williams as Miles Montgomery
Ben Rosenbaum as Mike Hickam
Ava Grace Cooper as Opal
Charlotte Hegele as Julie Thatcher
Max Lloyd-Jones as Tom Thornton
Brooke Shields as Charlotte Thornton
Ali Skovbye as Becky Hastings
Garwin Sanford as William Thatcher
Lynda Boyd as Grace Thatcher
Devon Weigel as Viola Thatcher
Marcus Rosner as Charles Kensington
Josie Bissett as AJ Foster
Steve Bacic as Charles Spurlock
Kristina Wagner as Nora Avery
Mamie Laverock as Rosaleen Sullivan
Adrian Hough as Reverend Anderson
Will Verchere-Gopaulsingh as Caleb Dunbar
Laura Bertram as Mary Dunbar
Derek Hamilton as Dewitt Graves
Niall Matter as Shane Cantrell (season 4)
Spencer Drever as Cyrus Rivera (season 4)

text: Characters[edit]

text: This section may contain an excessive amount of intricate detail that may interest only a particular audience. Please help by spinning off or relocating any relevant information, and removing excessive detail that may be against Wikipedia's inclusion policy. (April 2018) (Learn how and when to remove this template message)

text:
Elizabeth Thatcher Thornton is an independent, strong-minded, passionate and dedicated young teacher from the city. The middle daughter of William and Grace Thatcher, Elizabeth has two sisters, older sister Viola and younger sister Julie.  Elizabeth finds herself in Coal Valley, a small community on the Canadian frontier in need of a teacher, and quickly discovers it is not an easy place to live, lacking the creature comforts and luxuries of her privileged life with her family. She soon meets the newly appointed and charismatic Mountie Jack Thornton and develops an immediate dislike for him. However, over time they become good friends, and develop an obvious attraction to one another. In the final episode of season 1, "Prelude to a Kiss" (also titled as "Final Adieu"), after overcoming many obstacles throughout the season, Jack tells Elizabeth "You're the one, you're the only one" and they share a kiss. Throughout season 2, Elizabeth's feelings for Jack are high at times as well as low. Finally, in the season 2 finale, she admits that his job as a Mountie scares her. After being comforted both admitting that they love each other, Jack and Elizabeth kiss.
Jack Thornton is a laid back country boy. Jack is the son of Mountie Thomas Thornton and his wife Charlotte Thornton. Jack has a younger brother, Tom (named after his father). As a Mountie and a man of stout character and integrity, he often finds himself protecting and saving people. In season 1's "A Telling Silence," Jack finds a basset hound whom he names Rip (after Rip Van Winkle) and takes home with him. A source of comfort and companion in the small town, Jack often goes to Rip when times in his life are difficult. In season 2's "With All My Heart," Rip, who's afraid of thunder, hides in the mine shafts during a storm. Jack and Elizabeth search for him; in their search, their relationship grows stronger. Upon his first meeting of Elizabeth, Jack developed an instant dislike and it appeared she irritated him. However, he grew to like and then fall madly and completely in love with her over time. In "Rules of Engagement" (S.1), it is revealed that Jack was briefly engaged to Rosemary LeVeaux when she comes looking for him. However, they have both changed and realize that they cannot have a relationship as they once did ever again. In "Prelude to a Kiss" (S.1), Jack found out that Elizabeth may be leaving Coal Valley. Taking her on a walk and giving her a framed picture of them that he had sketched, he asks her not to leave Coal Valley and tells her, "You're the one, you're the only one." She replied that she was "not going anywhere", Coal Valley was where she belonged before they share a kiss. In season 2, Elizabeth and Jack share a hot-and-cold relationship until the finale, "With All My Heart." They both admit that they love each other and share another kiss. Jack's brother, Tom, is introduced season 2's "Trials of the Heart," and their rocky relationship continues until "Coming Together, Coming Apart." Jack gently reminds his younger brother how their father was so proud of him, but he wouldn't be proud of the way he was currently living. Both in tears, Jack tells his younger brother that he believes in him and that he can turn his life around. More recently, Jack has become good friends with the sawmill operator, Lee Coulter. In season 3, Jack begins the new year knowing that Elizabeth only has eyes for him and that her relationship with Charles is over for good. In "Hearts In Question," Jack's mother Charlotte shows up unexpectedly. She meets Elizabeth and is suspicious of her, but through staying her sees Elizabeth for who she really is: a trustworthy, dedicated teacher. In the season finale, "Prayers From The Heart," Jack is injured in a flood. But he miraculously recovers in time to serve as Lee's best man at his wedding.
Abigail Stanton is a Coal Valley woman who tragically lost her husband and son in the mining accident. Abigail is a very kind woman, and she stands strongly for the things she believes in. She is one of the first women to welcome Elizabeth and the two women quickly become friends.  When Elizabeth accidentally burns down the little teacherage, Abigail gladly welcomes her into her home to live. After being complimented on her cooking, Abigail decides to open a cafe in Coal Valley. Together, Abigail and Elizabeth move into the rooms above the cafe. At the end of season 1, Abigail enjoys the company of Bill Avery, a Mountie, serving as a Forensic Investigator and friend of Jack Thornton's. In season 2, Abigail takes in her daughter-in-law, Clara, the wife of her late son Peter whom Abigail sees as the daughter she never had. With Bill's past being revealed, Abigail ends their friendship and spends more time with the new pastor, Frank Hogan.  Also, she is a strong independent woman that is set on doing the things that are right and tries to help Elizabeth.
Bill Avery is a mysterious, quiet man. He first appears in season 1's "Rules of Engagement," in order to help Jack expose Mr. Gowen's wrongdoings. Bill is immediately attracted to widow Abigail Stanton. Things are going well until Abigail discovers a picture of Bill's family and his wedding ring. He later tells her that his son died, as well as his wife. However, his wife, Nora, comes to confront him in season 2's "Heart's Desire."
Henry Gowen is a cold, cynical man who formerly owned the coal mine. After the mine was shut down, Henry became the mayor of Hope Valley and still creates a cold, cynical presence whenever people are around him. Henry is highly disliked and feared in the town. He frequently uses bribery to get what he wants, which is never for the good of the town.
Rosemary "Rosie" LeVeaux Coulter is a flamboyant, enthusiastic actress from New York. She was briefly engaged to Jack Thornton, but they both realized that it wouldn't work out. Rosie immediately disliked Elizabeth and viewed her as "the competition," but eventually came to really care about Elizabeth, even if she has a hard time showing it. At the beginning of season 2, Rosemary began working at the cafe with Abigail and the two quickly became friends. Spending time with Abigail helped tone down some of Rosemary's enthusiasm and made her a more likable person. Rosemary even came to like Elizabeth, even if only on an acquaintance level. Truthfully, she cares about everyone in Hope Valley, especially Lee, with whom she shares an mutual attraction. When Rosie is not spending time with Lee, talking to Abigail, or dreaming about the glamorous life of an actress, she can often be found somewhere writing her weekly advice column for Hope Valley's newspaper! In season 3, Rosemary's friendship with Elizabeth deepened. Instead of viewing her as an adversary, she finds a friend in Elizabeth. Throughout season 3, Rosemary's relationship with Lee becomes more romantic. In "Heart Of A Hero," seeing that Lee needs to spend more time at the sawmill to help the new settlers find jobs, Rosemary tells Lee that the theatre doesn't have to be built. He insists, but she says how important his job is. He smiles and tells her he will one day build her theatre, telling her that she is "the best part of his life." The couple shares in their first kiss. In "A Gentle Heart," Lee is injured. Thinking he is asleep, Rosemary pours out her heart to him, telling how much she loves him. In "Heartbreak," Rosemary is offered a job in Hollywood filming. This has always been Rosemary's dream, to be an actress. Lee unselfishly tells her to do whatever she feels best, but it is obvious that the thought of her leaving Hope Valley hurts him. Rosemary considers her options and realizes that her place is in Hope Valley, with Lee. Lee then tells her that he has another "role" that he thinks would be perfect for her and proposes marriage. She happily accepts. In "Hearts In Question," Rosemary enthusiastically plans for their wedding. The couple weds in the season 3 finale "Prayers From The Heart," with Elizabeth and Abigail as her maids of honor.
Leland "Lee" Coulter is a kind, laidback, patient man who opens a sawmill in Hope Valley. When timber becomes Coal Valley's major source of natural resources, the town is renamed Hope Valley.  He shares a mutual attraction to Rosemary and proves to be one of the few people who can outwit her.  When she declines his romantic intentions, Lee recruits his friend, Molly Sullivan, to make Rosemary jealous; the ploy succeeds and Rosemary accepts his suit, appreciating Lee's good qualities.  Despite her dramatic and occasionally prickly personality, Lee's compassion and patience never fails with her.  With Rosemary's help, Lee beat Mr. Gowen at his own game in "Heart and Home."  When not at work, Lee enjoys being with friends, including Jack Thornton, who shares Lee's simple and laidback outlook, allowing the men to discuss their lives and exchange romantic advice. In season 3, Lee's mill is unfortunately sabotaged by a man inside. Through Bill and Jack's investigation, they find the culprit. In season 3's "Heart Of A Hero," Rosemary unselfishly gives up the theatre that Lee promised to build her. Lee promises that one day, he will build her the theatre at a time when he isn't so involved with the sawmill and finding people jobs. In "A Gentle Heart," Lee is injured. Thinking Lee is asleep, Rosemary pours out her heart to Lee, telling him how afraid she was when she heard he had been injured. He however hears each and every word. She told him how much she loves him and to never leave her. In the episode "Heartbreak," Lee thinks Rosemary may leave Hope Valley when she is offered a movie job in Hollywood. When she gives up the movie, seeing her future in Hope Valley with him, he asks her to marry him. The couple weds in the season 3 finale, "Prayers From The Heart." Jack serves the role of Lee's best man.
Julie Thatcher is Elizabeth's hopeless romantic younger sister. She often gets herself into sticky situations by falling head over heels for men who aren't quite what they seem. In season 2 she gets involved with Jack's brother Tom, which causes trouble with her family and for Jack and Elizabeth's relationship.
Cat Montgomery is a kind, encouraging woman in Coal Valley. She is a widow and mother of three: Gabe, Miles, and Emily. Cat was one of the first mothers to show kindness to Elizabeth when she first came. She desperately wants her children to remember the good memories of their father as seen by her self-sacrificing acts in "Secrets and Lies."  Possessing a great sense of teamwork and encouragement, Cat supports the women of Coal Valley while working in the mines in "Cease and Desist." She is good friends with Elizabeth and Abigail. In "These Games," she also helps Jack catch a thief.
Florence Blakeley is a feisty gossip in Hope Valley. She often has a pessimistic perspective and always seems to find the negative, even in a very positive situation. In "Heart and Home," Abigail told Florence what she really thought about her, which causes Florence to rein in her negativity somewhat, though she remains fairly outspoken.  While not always likable, Florence adds spice to life in Hope Valley.
Molly Sullivan is a friend of Lee Coulter and Elizabeth Thatcher. Molly's husband was killed in the mine disaster. She has a daughter Rosaleen. In season 1's "A Telling Silence," Rosaleen has trouble in school because she misses her father so much. When she runs away, Elizabeth finds her in the mine, feeling guilty that she didn't bring her father his lunch the day of the disaster because she wanted to play with a friend instead. She fears her mother will blame her, but Elizabeth convinces her that Molly will "say that she loves her more than life itself." Molly is reunited with her daughter, to the joy of the town's people. In season 2's "With All My Heart," Lee feels it's time to "play hard to get" with Rosemary, so he enlists help from Molly. She pretends to be interested in him romantically. This ploy works and Rosemary admits that she does in fact like him. Molly is a kind woman and was among the first to welcome Elizabeth to town.
Clara Stanton is the wife of Abigail's late son Peter, and is a sweet, quiet, and sensitive young woman.  Abigail never knew she had a daughter-in-law until season 2's "Trials of the Heart;" with Peter having married Clara only three days before he was killed. In "Heart's Desire," Abigail invites Clara to come live with her in Hope Valley, an offer that Clara accepts.
Charles Kensington III is an old friend of Elizabeth with whom she reconnects while in Hamilton. He is interested in her, though her feelings for Jack get in the way of their relationship.

text: Production[edit]

text: The series, originally planned to be filmed in Colorado, is filmed south of Vancouver, British Columbia, on a farm surrounded by vineyards. The fictional frontier town of Coal Valley was erected in late 2013. Some of the set trimmings and a stage coach came from the Hell on Wheels set.[11] The Thatcher home is the University Women's Club of Vancouver.[12]

text: The series was renewed for a second season,[13] which aired from April 25 to June 13, 2015. Hallmark Channel announced in July 2015 that the series had been renewed for a third season, which aired from February 21 to April 10, 2016,[14] with a sneak peek airing during the 2015 Christmas season.[15]

text: In mid-2016, it was announced that Season 4 would premiere on the Hallmark Channel Christmas Day with a two-hour special. On April 11, 2016, Lissing and Krakow announced via the series' Facebook page that Hallmark Channel had renewed the series for a fourth season, which aired from February 19 to April 23, 2017.[16][17]

text: Filming for season five began in Vancouver on August 22, 2017, and ended on December 21, 2017.[18][19]

text: Broadcast[edit]

text: The first season of the series was subsequently picked up by CBC Television for rebroadcast as a summer series in 2015.[20] The network has since aired all five seasons.[21][22] The series became available internationally on Netflix in August 2017.


document_title: Rokka: Braves of the Six Flowers

question_text: rokka braves of the six flowers who is the seventh brave

root

text: Rokka: Braves of the Six Flowers

text: Plot[edit]

text: Six people called Braves of the Six Flowers are chosen by the Goddess of Fate to defeat the Demon God (魔神, Majin). However, when they gather, there are seven heroes present, leading them to believe that one is an impostor and on the side of the Demon God.

tag: p

text: Characters[edit]

text: Braves[edit]

text: Kyōma[edit]

text: Media[edit]

text: Light novels[edit]

text: Rokka no Yūsha began as a light novel series written by Ishio Yamagata, with illustrations by Miyagi. Shueisha published the first novel on August 25, 2011 under their Super Dash Bunko imprint.[2] With the introduction of Dash X Bunko on November 11, 2014, the fifth volume of the light novel was released. Six volumes have been released as of July 24, 2015. North American publisher Yen Press announced their license to the series at Anime Expo 2016.[3]

text:
No.
Original release date
Original ISBN
English release date
English ISBN

1
August 25, 2011[2]
ISBN 978-4-08-630633-1
April 18, 2017[4]
ISBN 978-0-31-650141-5

2
April 25, 2012[5]
ISBN 978-4-08-630671-3
August 22, 2017[6]
ISBN 978-0-31-655619-4

3
November 22, 2012[7]
ISBN 978-4-08-630710-9
December 12, 2017[8]
ISBN 978-0-31-655620-0

4
July 25, 2013[9]
ISBN 978-4-08-630745-1
April 24, 2018[10]
ISBN 978-0-31-655622-4

5
November 21, 2014[11]
ISBN 978-4-08-631008-6
—
—

6
July 24, 2015[12]
ISBN 978-4-08-631056-7
—
—

tag: table

text: Manga[edit]

text: A manga adaptation, illustrated by Kei Toru, began serialization in Shueisha's Super Dash & Go! with the April 2012 issue sold on February 25.[13] After the magazine ended its publication in print in April 2013, the manga continued serialization online.[14][15] The first tankōbon volume was published on October 25, 2012.[16] Yen Press announced their license to the manga adaptation at Anime Expo 2016.[3]

text:
No.
Original release date
Original ISBN
English release date
English ISBN

1
October 25, 2012[16]
ISBN 978-4-08-782468-1
January 24, 2017[17]
ISBN 978-0-31-650142-2

2
July 25, 2013[18]
ISBN 978-4-08-782656-2
May 23, 2017[19]
ISBN 978-0-31-655625-5

3
November 21, 2014[20]
ISBN 978-4-08-782798-9
—
—

4
July 24, 2015[21]
ISBN 978-4-08-782853-5
—
—

text: Anime[edit]

text: An anime television series adaptation produced by Passione and directed by Takeo Takahashi[22] aired from July 4 to September 19, 2015. The series is licensed in North America by Ponycan USA[23] and by Anime Limited in the UK.[24] Five pieces of theme music were used for the episodes: two opening themes and three ending themes. From episodes 1-4 and 12, "Cry for the Truth" was used as the first opening theme, and from episodes 1-3, 8 and 12, "Secret Sky" was used as the first ending theme, both performed by Michi.[25] The second opening theme "Black Swallowtail" by Uroboros was used from episodes 5-11, and the second ending theme used from episodes 4-5 and 10 is "Dance in the Fake" by Yoko Hikasa.[1][25] From episodes 6-7, 9 and 11, "Nameless Heart" by Aoi Yūki was used as the third ending theme.[25]

text: Episode list[edit]

text:
No.
Title
Original air date

1
"The Strongest Man in the World"
"Chijō Saikyō no Otoko" (地上最強の男)
July 4, 2015

A mysterious man named Adlet Myer, proclaiming himself to be the strongest in the world, interrupts a holy semifinal competition between two warriors. After incapacitating both warriors and the royal guards, he finds himself thrown into jail. He believes he will become a Brave, one of the six chosen warriors to fight the Demon God, and he wishes to fight alongside Princess Nachetanya, already chosen as a Brave. After moved to his prison cell, he's chosen as a Brave during one night, and Nachetanya comes and rescues him from his cell. The two of them leave the city on horseback, making their way west.

2
"The First Journey"
"Hajimete no Tabi" (初めての旅)
July 11, 2015

After picking up a case from Adlet's hideout, Aldet and Nachetanya travel and then stop in an orchard, where Nachetanya shows the abilities of a Saint of Blades, a woman who's been blessed with special abilities by a god. As they continue travelling, they talk about Nachetanya's past and the Brave-Killer. They come across a village that's been terrorized by fiends, and they defeat the fiends. Adlet travels into the village to rescue someone, and meets a dangerous woman named Flamie Speeddraw. The knight Goldov appears to tell Nachetanya that Flamie is the Brave-Killer.

3
"The Girl Who Kills Braves"
"Rokka-goroshi no Shōjo" (六花殺しの少女)
July 18, 2015

Flamie tells Adlet to leave her alone, stating she must fight the Demon God by herself. However, Adlet chases after her until she is forced to travel together with him. He sends a message to Nachetanya with his horse, telling her to continue towards the peninsula—where the Demon God is—without him or Flamie. Adlet and Flamie eventually run into a fortress, where soldiers explain to them about a barrier that should help the Braves in a nearby temple. As Adlet and Flamie continue to travel, they are suddenly attacked by Nachetanya and Goldov, with Nachetanya warning Adlet to stay away from Flamie.

4
"The Heroes Gather"
"Yūsha Shūketsu" (勇者集結)
July 25, 2015

Flamie reveals herself to be the Brave-Killer, but that she now wishes to defeat the Demon God. Adlet convinces Nachetanya and Goldov to accept her as a Brave, and they travel onwards. They find a large number of fiends blocking the way to the barrier temple. After they defeated the fiends and reached the temple, they found the barrier already activated, trapping them. Then, 3 other Braves arrive (Chamot, Maura, and Hans) at the temple. All 7 of them stand and face each other, confused. There has always only been 6 Braves, never 7. They deduce one must be a fake, and their enemy.

5
"The Seventh Brave"
"Nana Ninme no Yūsha" (七人目の勇者)
August 1, 2015

Adlet and Hans went outside to find an escape to the barrier, but unfortunately, they went in circles. When they went back, they saw Flamie cuffed and tied as the initial Seventh Brave, and the prime suspect of the activation of the barrier. Maura then suggested to introduce themselves in order to gather information about each other. During Flamie's introduction, she revealed herself as a half-human, half-fiend entity, born from a human father and a fiend mother. Adlet then explained his side of the story, but Hans saw a flaw in it like those 'locked room' mysteries, therefore making him the prime suspect.

6
"A Trap and a Rout"
"Wana to Kaisō" (罠と潰走)
August 8, 2015

Adlet, in his confusion and anxiety, took Flamie as his hostage, poisoned her, and escaped the temple, but Hans threw a dagger on him to slow him down. He then passed out because of the blood loss while escaping. While he was down, he remembered how he went to his master, Atro Spiker, and begged to take him as his student. His first lesson was to smile in despair. As he regained his consciousness, he noticed that he had bandages, and Flamie patched him up. They both talked about their pasts, and as they open up to each other, he then speculated that there might be an Eighth Brave, and they needed to find that out.

7
"The Reason of the Two"
"Futari no Riyū" (二人の理由)
August 15, 2015

Adlet talked about his past, on how he was taught to fight and even learn science by Atro Spiker, his master. He also talked about a lizard-like humanoid kyoma who had three wings who went to their village when he was young. Flamie then confirmed that it was the same fiend who convinced her mother to give birth to her. Because of this, his best friend and his sister died, leaving him behind. Flamie then told her story that her mother tried to kill her, making her furious of her kind, especially the Demon King. They then parted ways, and Flamie headed back. Inside the temple, the other Braves devised a plan to capture and kill Adlet. As the group divided themselves, Adlet went to the temple, but Hans was able to injure Adlet.

8
"The Average Man and the Genius"
"Bonjin to Tensai" (凡人と天才)
August 22, 2015

Adlet was able to escape, but then engaged in a battle with Hans in the forest. Adlet is trying to convince Hans somehow, but Hans thought that it was not enough. As Adlet tried to trick Hans, he did not kill him to prove that he is not the impostor. Hans then told Adlet that he is the Seventh Brave, slicing his throat open. Adlet then realized that it was a hallucination, and Hans believed him as he saw his dying reaction. Meanwhile, Nachetanya speculated that Hans might be the Seventh Brave, and is asking Goldov for help. Adlet and Hans went back to the temple to find clues, but then Chamot was outside, and she attacked both of them by summoning fiends which were inside her.

9
"Blossoms of Doubt"
"Giwaku no Tsubomi" (疑惑の蕾)
August 29, 2015

Adlet and Hans battled Chamot, but her fiends would always regenerate, making them hard to incapacitate. They then thought of incapacitating Chamot to stop the fiends. It was a success, and they captured Chamot. They asked her if she knows anything about the activation of the barrier, and she nodded no. Adlet went to search for more clues, and used the bomb that Flamie gave to give a signal to her. Flamie noticed and met each other. Adlet hypothesized about a saint's involvement on the matter and their possible uses, but Flamie rebuked them. Back at the temple, Hans told Maura and Chamot the same thing, but Maura refused to take them. Meanwhile, Nachetanya confirms with Goldov if someone died by checking her crest.

10
"Desperate Situation"
"Zettai Zetsumei" (絶体絶命)
September 5, 2015

Adlet told her his hypothesis, and then confessed his feelings to Flamie, but it made her more doubtful, thinking that Adlet is deceiving her. Hans told Maura and Chamot the same thing, which made Maura call for Nachetanya and Goldov. She told them that Hans was killed by Adlet, making Nachetanya snap and furious. Flamie pursued the escaping Adlet, and made a signal to the others of their location. Maura caught up and the three engaged in a battle, but then Adlet surrendered and convinced Maura about Flamie's innocence so the others won't suspect her if he dies. Maura tried to kill Adlet, but Flamie was able to stop her. Adlet and Flamie escaped, but was cornered by Nachetanya and Goldov.

11
"Counter Attack"
"Hankō" (反攻)
September 12, 2015

Adlet and Flamie were cornered by Maura, Nachetanya, and Goldov. Adlet tried to go back to the temple to meet with Hans while Flamie backed him up, but Maura and Goldov stopped Flamie, and Nachetanya pursued and incapacitated Adlet in the process. He felt the chills as Nachetanya gave the final blow, and blocked her weapon using his hands and kicked her to escape. Goldov followed him until they went back to the place where they fought the fiends near the temple. As Goldov, Nachetanya, Maura, and the captured Flamie got back together, Nachetanya was shocked to see Chamot with Hans, alive. She then apologized to Adlet for attacking him. Adlet finally made a conclusion as to how he/she might have done it. His theory involved the Sun Saint, Riura, being kidnapped, and was told to raise the temperature for over a week. As soon as one of the Braves opened the temple, they killed her, dropping the temperature, and a fiend ate her body. Hans was able to find the body, which then concludes as to who the Seventh Brave was.

12
"The Time to Reveal the Answer"
"Kaimei no Toki" (解明の時)
September 19, 2015

Adlet confirmed that Maura might have been the Seventh Brave if his deductions were correct, but Chamot rebuked his conclusion. She and Hans were able to find copies of the tablet and tools that might have been used for the real activation of the barrier. On the second tablet were instructions to reactivate the fog barrier, which was by removing the knife and shattered tablet, drip blood all over the stand, recite the spell, and break the tablet. This made everyone think that the person who broke the tablet was the Seventh Brave. Flamie confirmed that it was Nachetanya, and everyone was surprised. By deduction, Adlet also thought that the person who sent him to the temple was the one who planned everything from the very beginning, and it was her. As he confirmed it, she then surrendered and claimed that she really is the Seventh Brave, and Goldov was shocked. Nachetanya told them that she wanted to kill them all because she believed that humans and fiends could live together in peace, but around 500,000 humans might die in the process. Adlet then ordered everyone to kill her, but she escaped. He fainted due to the loss of blood. As he regained consciousness, Maura apologized to him for not being able to know who the Seventh Brave was. She also took care of his wounds. After resting, they all went outside to go to the Demon King, but to their surprise, they met Rolonia, Adlet's childhood friend and the Saint of Blood, apologizing for being late because of the fog and claiming that she is one of the Braves. During the confusion, troops from Gwenbyer went to the temple to tell everyone that more than a thousand fiends would gather there to go back to the Land of the Howling Demons. They stopped thinking first as to who might be the Seventh Brave, and strategized to kill the Demon King.


document_title: Katy Trail (Dallas)

question_text: where does the katy trail dallas start and end

text: Katy Trail (Dallas)

text: About[edit]

text: In Dallas, abandoned railroad tracks that had once divided the downtown core are rapidly being transformed into the unifying Katy Trail, a linear 3.5-mile-long (5.6 km), landscaped pedestrian, inline skating and bicycle trail system that runs through the most densely developed section of the city. Construction was started in spring 2000. Several features have already been completed, including the 12-foot-wide (3.7 m) primary trail, two of four new entrance plazas and four of the six planned pedestrian bridges. Construction was completed in 2007 on the Thomsen Overlook plaza, overlooking Reverchon Park. An 8-foot-wide (2.4 m) secondary jogging trail has 1 mile (1.6 km) left of construction, which will be completed once more funding is secured. The work is being carried out by The Friends of Katy Trail under a master plan created by The SWA Group office, in Dallas.[1]

text: The trail consists of a 12-foot-wide (3.7 m) concrete path[2] for pedestrians and cyclists that runs 3.5 miles (5.6 km)[2] from the American Airlines Center in Victory Park to Mockingbird Station (a DART light rail station) near Southern Methodist University. Next to the concrete path, a parallel soft recycled-rubber track is built for runners.

text: This adaptive re-use of unused railroad tracks—long a public eyesore and nuisance—unifies several important Dallas districts and provides a major recreational amenity for the more than 300,000 people who live and work within a mile of the trail (the southernmost trailhead is 0.5 miles (800 m) from downtown Dallas at the American Airlines Center). This new, partly completed linear greenway already attracts pedestrians and nature-lovers, both Dallas residents and visitors.

text: The Katy Trail is also directly responsible for an upsurge in property values and retail-restaurant sales in adjacent neighborhoods and developments.[citation needed] The April 21, 2006, The Dallas Morning News called Katy Trail “one of our city’s favorite outdoor spaces”. Katy Trail has become such a popular jogging location that some Dallasites quip, “The trains don’t run here any more...Dallas does.”[This quote needs a citation]

text: History[edit]

text:
The trail's life began when the Union Pacific Railroad, which had bought the Katy, donated the abandoned lines to the city in 1993.
The train tracks that are now the location of the Katy Trail formed the major east-bound route through Dallas of the former Missouri-Kansas-Texas (MKT or “Katy”) Railroad, which shut down this segment of its network in the late 1980s. The stations, which had served Dallas residents on their trips east for so many years, were torn down, but the tracks remained.

text: In the early 1980s The Katy was initially considered for DART's Red and Blue lines to the Northeast, but the current route beneath Central Expressway was chosen instead.

text: By the early 1990s, Dallas residents, business people, and city and county officials proposed restoring the greenbelt along the railroad route and creating an urban park as part of the national Rails-to-Trails Conservancy program, established in 1986 and based in Washington, D.C.

text: Initial funding for the project came through Dallas County and state grants. The Friends of the Katy Trail, a nonprofit organization, was founded in 1997 to organize public and private support for development and maintenance of the Katy Trail. Their capital campaign has since raised $11 million from government sources and $12 million from private funding and land donations.[citation needed]

text: The Katy Trail is intended to provide an effective way of connecting the various Dallas city parks running from White Rock Lake to the Trinity River Project park system along the Trinity River. The rail trail runs alongside Reverchon Park and the parks system along Turtle Creek, a tributary of the Trinity River.

text: Master plan[edit]

text: Originally, the Dallas Park & Recreation Department planned a basic concrete pathway system along the railroad right of way. The Friends of the Katy Trail have greatly expanded that vision by hiring The SWA Group, an international landscape architecture, planning, and urban design firm, to create a $23 million master plan for two trails and an urban park connecting the West End district to Mockingbird Station.

text: When completed over the next few years,[when?] Katy Trail will have a 3.5-mile-long (5.6 km), 12-foot-wide (3.7 m) concrete path for bicyclists and in-line skaters, an adjacent 3.1-mile-long (5.0 km), 8-foot-wide (2.4 m) soft-surface track for pedestrians, four major entrance plazas, ADA-compliant entrances, benches, landscaping, and drinking fountains for all users, including pets. It will be connected to the Trinity Strand Trail.[3]

text: The planting plan is dominated by native Texas trees and plants, including  chinkapin and Lacey oaks, perennial grasses, Flame Acanthus, and numerous species of native salvias and other plans which support water conservation.

text: For years, the abandoned railroad tracks had been populated by the homeless, drug dealers, and gangs.[citation needed] The master plan includes strategies to transform negative public perceptions of the Katy Trail through landscaping, lighting, and particularly in the design of nine public spaces at important crossings and intersections. For night-time safety without adding light pollution, reflective shield lamps atop 25-foot (7.6 m) poles direct light onto the trail. The public spaces have more intimate lighting and distinctive light fixtures.


document_title: Ode on a Grecian Urn

question_text: what is the rhyme scheme of ode on a grecian urn

text: Ode on a Grecian Urn

text: Background[edit]

text: By the spring of 1819, Keats had left his job as dresser, or assistant house surgeon, at Guy's Hospital, Southwark, London, to devote himself entirely to the composition of poetry. Living with his friend Charles Brown, the 23-year-old was burdened with money problems and despaired when his brother George sought his financial assistance. These real-world difficulties may have given Keats pause for thought about a career in poetry, yet he did manage to complete five odes, including "Ode to a Nightingale", "Ode to Psyche", "Ode on Melancholy", "Ode on Indolence", and "Ode on a Grecian Urn".[2] The poems were transcribed by Brown, who later provided copies to the publisher Richard Woodhouse. Their exact date of composition is unknown; Keats simply dated "Ode on a Grecian Urn" May 1819, as he did its companion odes. While the five poems display a unity in stanza forms and themes, the unity fails to provide clear evidence of the order in which they were composed.[3]

text: In the odes of 1819 Keats explores his contemplations about relationships between the soul, eternity, nature, and art. His idea of using classical Greek art as a metaphor originated in his reading of Haydon's Examiner articles of 2 May and 9 May 1819. In the first article, Haydon described Greek sacrifice and worship, and in the second article, he contrasted the artistic styles of  Raphael and Michelangelo in conjunction with a discussion of medieval sculptures. Keats also had access to prints of Greek urns at Haydon's office,[4] and he traced an engraving of the "Sosibios Vase", a Neo-Attic marble volute krater, signed by Sosibios, in The Louvre,[5] which he found in Henry Moses's A Collection of Antique Vases, Altars, Paterae.[6][7]

text: Keats's inspiration for the topic was not limited to Haydon, but embraced many contemporary sources.[8] He may have recalled his experience with the Elgin Marbles[9] and their influence on his sonnet "On Seeing the Elgin Marbles".[10] Keats was also exposed to the Townley, Borghese, and Holland House vases and to the classical treatment of subjects in Robert Burton's The Anatomy of Melancholy. Many contemporary essays and articles on these works shared Keats's view that classical Greek art was both idealistic and captured Greek virtues. Although he was influenced by examples of existing Greek vases, in the poem he attempted to describe an ideal artistic type, rather than a specific original vase.[11]

text: Although "Ode on a Grecian Urn" was completed in May 1819, its first printing came in January 1820 when it was published with "Ode to a Nightingale" in the Annals of Fine Art, an art magazine that promoted views on art similar to those Keats held.[12] Following the initial publication, the Examiner published Keats's ode together with Haydon's two previously published articles.[13] Keats also included the poem in his 1820 collection Lamia, Isabella, The Eve of St Agnes, and Other Poems.[14]

text: Structure[edit]

text: In 1819, Keats had attempted to write sonnets, but found that the form did not satisfy his purpose because the pattern of rhyme worked against the tone that he wished to achieve. When he turned to the ode form, he found that the standard Pindaric form used by poets such as John Dryden was inadequate for properly discussing philosophy.[15] Keats developed his own type of ode in "Ode to Psyche", which preceded "Ode on a Grecian Urn" and other odes he wrote in 1819. Keats's creation established a new poetic tone that accorded with his aesthetic ideas about poetry. He further altered this new form in "Ode to a Nightingale" and "Ode on a Grecian Urn" by adding a secondary voice within the ode, creating a dialogue between two subjects.[16] The technique of the poem is ekphrasis, the poetic representation of a painting or sculpture in words. Keats broke from the traditional use of ekphrasis found in Theocritus's Idyll, a classical poem that describes a design on the sides of a cup. While Theocritus describes both motion found in a stationary artwork and underlying motives of characters, "Ode on a Grecian Urn" replaces actions with a series of questions and focuses only on external attributes of the characters.[17]

text: "Ode on a Grecian Urn" is organized into ten-line stanzas, beginning with an ABAB rhyme scheme and ending with a Miltonic sestet (1st and 5th stanzas CDEDCE, 2nd stanza CDECED, and 3rd and 4th stanzas CDECDE). The same overall pattern is used in "Ode on Indolence", "Ode on Melancholy", and "Ode to a Nightingale" (though their sestet rhyme schemes vary), which makes the poems unified in structure as well as theme.[3] The word "ode" itself is of Greek origin, meaning "sung". While ode-writers from antiquity adhered to rigid patterns of strophe, antistrophe, and epode, the form by Keats's time had undergone enough transformation that it represented a manner rather than a set method for writing a certain type of lyric poetry. Keats's odes seek to find a "classical balance" between two extremes, and in the structure of "Ode on a Grecian Urn", these extremes are the symmetrical structure of classical literature and the asymmetry of Romantic poetry. The use of the ABAB structure in the beginning lines of each stanza represents a clear example of structure found in classical literature, and the remaining six lines appear to break free of the traditional poetic styles of Greek and Roman odes.[18]

text: Keats's metre reflects a conscious development in his poetic style. The poem contains only a single instance of medial inversion (the reversal of an iamb in the middle of a line), which was common in his earlier works. However, Keats incorporates spondees in 37 of the 250 metrical feet. Caesurae are never placed before the fourth syllable in a line. The word choice represents a shift from Keats's early reliance on Latinate polysyllabic words to shorter, Germanic words. In the second stanza, "Ode on a Grecian Urn", which emphasizes words containing the letters "p", "b", and "v", uses syzygy, the repetition of a consonantal sound. The poem incorporates a complex reliance on assonance, which is found in very few English poems. Within "Ode on a Grecian Urn", an example of this pattern can be found in line 13 ("Not to the sensual ear, but, more endear'd") where the "e" of "sensual" connects with the "e" of "endear'd" and the "ea" of "ear" connects with the "ea" of "endear'd". A more complex form is found in line 11 ("Heard melodies are sweet, but those unheard") with the "ea" of "Heard" connecting to the "ea" of "unheard", the "o" of "melodies" connecting to the "o" of "those" and the "u" of "but" connecting to the "u" of "unheard".[19]

text: Poem[edit]

text: The poem begins with the narrator's silencing the urn by describing it as the "bride of quietness", which allows him to speak for it using his own impressions.[20] The narrator addresses the urn by saying:

text:
Thou still unravish'd bride of quietness!
Thou foster-child of silence and slow time (lines 1–2)

text: The urn is a "foster-child of silence and slow time" because it was created from stone and made by the hand of an artist who did not communicate through words. As stone, time has little effect on it and ageing is such a slow process that it can be seen as an eternal piece of artwork. The urn is an external object capable of producing a story outside the time of its creation, and because of this ability the poet labels it a "sylvan historian" that tells its story through its beauty:[21]

text:
Sylvan historian, who canst thus express
A flow'ry tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy? (lines 3–10)

text: The questions presented in these lines are too ambiguous to allow the reader to understand what is taking place in the images on the urn, but elements of it are revealed: there is a pursuit with a strong sexual component.[22] The melody accompanying the pursuit is intensified in the second stanza:[23]

text:
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone: (lines 11–14)

text: There is a hint of a paradox in that indulgence causes someone to be filled with desire and that music without a sound is desired by the soul. There is a stasis that prohibits the characters on the urn from ever being fulfilled:[23]

text:
Bold Lover, never, never canst thou kiss,
Though winning near the goal – yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair! (lines 17–20)

text: In the third stanza, the narrator begins by speaking to a tree, which will ever hold its leaves and will not "bid the Spring adieu". The paradox of life versus lifelessness extends beyond the lover and the fair lady and takes a more temporal shape as three of the ten lines begin with the words "for ever". The unheard song never ages and the pipes are able to play forever, which leads the lovers, nature, and all involved to be:[23]

text:
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloyed,
A burning forehead, and a parching tongue. (lines 27–30)

text: A new paradox arises in these lines because these immortal lovers are experiencing a living death.[24] To overcome this paradox of merged life and death, the poem shifts to a new scene with a new perspective.[24] The fourth stanza opens with the sacrifice of a virgin cow, an image that appeared in the Elgin Marbles, Claude Lorrain's Sacrifice to Apollo, and Raphael's The Sacrifice at Lystra[25][A 1]

text:
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of its folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return. (lines 31–40)

text: All that exists in the scene is a procession of individuals, and the narrator conjectures on the rest. The altar and town exist as part of a world outside art, and the poem challenges the limitations of art through describing their possible existence. The questions are unanswered because there is no one who can ever know the true answers, as the locations are not real. The final stanza begins with a reminder that the urn is a piece of eternal artwork:[26]

text:
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold pastoral! (lines 41–45)

text: The audience is limited in its ability to comprehend the eternal scene, but the silent urn is still able to speak to them. The story it tells is both cold and passionate, and it is able to help mankind. The poem concludes with the urn's message:[27]

text:
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou sayst,
"Beauty is truth, truth beauty," – that is all
Ye know on earth, and all ye need to know. (lines 46–50)

text: Themes[edit]

text: Like many of Keats's odes, "Ode on a Grecian Urn" discusses art and art's audience. He relied on depictions of natural music in earlier poems, and works such as "Ode to a Nightingale" appeal to auditory sensations while ignoring the visual. Keats reverses this when describing an urn within "Ode on a Grecian Urn" to focus on representational art. He previously used the image of an urn in "Ode on Indolence", depicting one with three figures representing Love, Ambition and Poesy. Of these three, Love and Poesy are integrated into "Ode on a Grecian Urn" with an emphasis on how the urn, as a human artistic construct, is capable of relating to the idea of "Truth". The images of the urn described within the poem are intended as obvious depictions of common activities: an attempt at courtship, the making of music, and a religious rite. The figures are supposed to be beautiful, and the urn itself is supposed to be realistic.[28] Although the poem does not include the subjective involvement of the narrator, the description of the urn within the poem implies a human observer that draws out these images.[29] The narrator interacts with the urn in a manner similar to how a critic would respond to the poem, which creates ambiguity in the poem's final lines: "'Beauty is truth, truth beauty,' – that is all / Ye know on earth, and all ye need to know." The lack of a definite voice of the urn causes the reader to question who is really speaking these words, to whom they are speaking, and what is meant by the words, which encourages the reader to interact with the poem in an interrogative manner like the narrator.[30]

text: As a symbol, an urn cannot completely represent poetry, but it does serve as one component in describing the relationship between art and humanity.[31] The nightingale of "Ode to a Nightingale" is separated from humanity and does not have human concerns. In contrast, being a piece of art, the urn requires an audience and is in an incomplete state on its own. This allows the urn to interact with humanity, to put forth a narrative, and allows for the imagination to operate. The images on the urn provoke the narrator to ask questions, and the silence of the urn reinforces the imagination's ability to operate. This interaction and use of the imagination is part of a greater tradition called ut pictura poesis – the contemplation of art by a poet – which serves as a meditation upon art itself.[32] In this meditation, the narrator dwells on the aesthetic and mimetic features of art. The beginning of the poem posits that the role of art is to describe a specific story about those with whom the audience is unfamiliar, and the narrator wishes to know the identity of the figures in a manner similar to "Ode on Indolence" and "Ode to Psyche". The figures on the urn within "Ode on a Grecian Urn" lack identities, but the first section ends with the narrator believing that if he knew the story, he would know their names. The second section of the poem, describing the piper and the lovers, meditates on the possibility that the role of art is not to describe specifics but universal characters, which falls under the term "Truth". The three figures would represent how Love, Beauty, and Art are unified together in an idealised world where art represents the feelings of the audience. The audience is not supposed to question the events but instead to rejoice in the happy aspects of the scene in a manner that reverses the claims about art in "Ode to a Nightingale". Similarly, the response of the narrator to the sacrifice is not compatible with the response of the narrator to the lovers.[33]

text: The two contradictory responses found in the first and second scenes of "Ode on a Grecian Urn" are inadequate for completely describing art, because Keats believed that art should not provide history or ideals. Instead, both are replaced with a philosophical tone that dominates the meditation on art. The sensual aspects are replaced with an emphasis on the spiritual aspects, and the last scene describes a world contained unto itself. The relationship between the audience with the world is for benefiting or educating, but merely to emphatically connect to the scene. In the scene, the narrator contemplates where the boundaries of art lie and how much an artist can represent on an urn. The questions the narrator asks reveal a yearning to understand the scene, but the urn is too limited to allow such answers. Furthermore, the narrator is able to visualise more than what actually exists on the urn. This conclusion on art is both satisfying, in that it allows the audience to actually connect with the art, and alienating, as it does not provide the audience the benefit of instruction or narcissistic fulfilment.[34] Besides the contradictions between the various desires within the poem, there are other paradoxes that emerge as the narrator compares his world with that of the figures on the urn. In the opening line, he refers to the urn as a "bride of quietness", which serves to contrast the urn with the structure of the ode, a type of poem originally intended to be sung. Another paradox arises when the narrator describes immortals on the side of an urn meant to carry the ashes of the dead.[35]

text: In terms of the actual figures upon the urn, the image of the lovers depicts the relationship of passion and beauty with art. In "Ode to a Nightingale" and "Ode on Melancholy", Keats describes how beauty is temporary. However, the figures of the urn are able to always enjoy their beauty and passion because of their artistic permanence.[36] The urn's description as a bride invokes a possibility of consummation, which is symbolic of the urn's need for an audience. Charles Patterson, in a 1954 essay, explains that "It is erroneous to assume that here Keats is merely disparaging the bride of flesh wed to man and glorifying the bride of marble wed to quietness. He could have achieved that simple effect more deftly with some other image than the richly ambivalent unravished bride, which conveys ... a hint of disparagement: It is natural for brides to be possessed physically ... it is unnatural for them not to be."[37] John Jones, in his 1969 analysis, emphasises this sexual dimension within the poem by comparing the relationship between "the Eve Adam dreamed of and who was there when he woke up" and the "bridal urn" of "Ode on a Grecian Urn".[38] Helen Vendler expands on the idea, in her 1983 analysis of Keats's odes, when she claimed "the complex mind writing the Urn connects stillness and quietness to ravishment and a bride".[39] In the second stanza, Keats "voices the generating motive of the poem – the necessary self-exhaustion and self-perpetuation of sexual appetite."[40] To Vendler, desire and longing could be the source of artistic creativity, but the urn contains two contradicting expressions of sexuality: a lover chasing after a beloved and a lover with his beloved. This contradiction reveals Keats's belief that such love in general was unattainable and that "The true opponent to the urn-experience of love is not satisfaction but extinction."[41]

text: Critical response[edit]

text: The first response to the poem came in an anonymous review in the July 1820 Monthly Review, which claimed, "Mr Keats displays no great nicety in his selection of images. According to the tenets of that school of poetry to which he belongs, he thinks that any thing or object in nature is a fit material on which the poet may work ... Can there be a more pointed concetto than this address to the Piping Shepherds on a Grecian Urn?"[42] Another anonymous review followed in the 29 July 1820 Literary Chronicle and Weekly Review that quoted the poem with a note that said that "Among the minor poems, many of which possess considerable merit, the following appears to be the best".[43] Josiah Conder, in a September 1820 Eclectic Review, argues that:

text: Mr Keats, seemingly, can think or write of scarcely any thing else than the 'happy pieties' of Paganism. A Grecian Urn throws him into an ecstasy: its 'silent form,' he says, 'doth tease us out of thought as doth Eternity,'—a very happy description of the bewildering effect which such subjects have at least had upon his own mind; and his fancy having thus got the better of his reason, we are the less surprised at the oracle which the Urn is made to utter:

text:
'Beauty is truth, truth beauty,'—that is all
Ye know on earth, and all ye need to know.

text: That is, all that Mr Keats knows or cares to know.—But till he knows much more than this, he will never write verses fit to live.[44]

text: George Gilfillan, in an 1845 essay on Keats, placed the poem among "The finest of Keats' smaller pieces" and suggested that "In originality, Keats has seldom been surpassed. His works 'rise like an exhalation.' His language has been formed on a false system; but, ere he died, was clarifying itself from its more glaring faults, and becoming copious clear, and select. He seems to have been averse to all speculative thought, and his only creed, we fear, was expressed in the words— Beauty is truth,—truth beauty".[45] The 1857 Encyclopædia Britannica contained an article on Keats by Alexander Smith, which stated: "Perhaps the most exquisite specimen of Keats' poetry is the 'Ode to the Grecian Urn'; it breathes the very spirit of antiquity,—eternal beauty and eternal repose."[46] During the mid-19th century, Matthew Arnold claimed that the passage describing the little town "is Greek, as Greek as a thing from Homer or Theocritus; it is composed with the eye on the object, a radiancy and light clearness being added."[47]

text: 'Beauty is truth' debate[edit]

text: The 20th century marked the beginning of a critical dispute over the final lines of the poem and their relationship to the beauty of the whole work. Poet laureate Robert Bridges sparked the debate when he argued:

text: The thought as enounced in the first stanza is the supremacy of ideal art over Nature, because of its unchanging expression of perfect; and this is true and beautiful; but its amplification in the poem is unprogressive, monotonous, and scattered ... which gives an effect of poverty in spite of the beauty. The last stanza enters stumbling upon a pun, but its concluding lines are very fine, and make a sort of recovery with their forcible directness.[48]

text: Bridges believed that the final lines redeemed an otherwise bad poem. Arthur Quiller-Couch responded with a contrary view and claimed that the lines were "a vague observation – to anyone whom life has taught to face facts and define his terms, actually an uneducated conclusion, albeit most pardonable in one so young and ardent."[48] The debate expanded when I. A. Richards, an English literary critic who analysed Keats's poems in 1929, relied on the final lines of the "Ode on a Grecian Urn" to discuss "pseudo-statements" in poetry:

text: On the one hand there are very many people who, if they read any poetry at all, try to take all its statements seriously – and find them silly ... This may seem an absurd mistake but, alas! it is none the less common. On the other hand there are those who succeed too well, who swallow 'Beauty is truth, truth beauty ...,' as the quintessence of an aesthetic philosophy, not as the expression of a certain blend of feelings, and proceed into a complete stalemate of muddle-mindedness as a result of their linguistic naivety.[49]

text: Poet and critic T. S. Eliot, in his 1929 "Dante" essay, responded to Richards:

text: I am at first inclined to agree ... But on re-reading the whole Ode, this line strikes me as a serious blemish on a beautiful poem, and the reason must be either that I fail to understand it, or that it is a statement which is untrue. And I suppose that Keats meant something by it, however remote his truth and his beauty may have been from these words in ordinary use. And I am sure that he would have repudiated any explanation of the line which called it a pseudo-statement ... The statement of Keats seems to me meaningless: or perhaps the fact that it is grammatically meaningless conceals another meaning from me.[50]

text: In 1930, John Middleton Murry gave a history of these responses "to show the astonishing variety of opinion which exists at this day concerning the culmination of a poem whose beauty has been acknowledged for many years. Whether such another cause, and such another example, of critical diversity exists, I cannot say; if it does, it is unknown to me. My own opinion concerning the value of those two lines in the context of the poem itself is not very different from Mr. Eliot's."[51]

text: Cleanth Brooks defended the lines from critics in 1947 and argued:

text: We shall not feel that the generalization, unqualified and to be taken literally, is meant to march out of its context to compete with the scientific and philosophical generalizations which dominate our world. 'Beauty is truth, truth beauty' has precisely the same status, and the same justification as Shakespeare's 'Ripeness is all.' It is a speech 'in character' and supported by a dramatic context. To conclude thus may seem to weight the principle of dramatic propriety with more than it can bear. This would not be fair to the complexity of the problem of truth in art nor fair to Keats's little parable. Granted; and yet the principle of dramatic propriety may take us further than would first appear. Respect for it may at least insure our dealing with the problem of truth at the level on which it is really relevant to literature.[52]

text: M. H. Abrams responded to Brooks's view in 1957:

text: I entirely agree, then, with Professor Brooks in his explication of the Ode, that 'Beauty is truth'  ... is to be considered as a speech 'in character' and 'dramatically appropriate' to the Urn. I am uneasy, however, about his final reference to 'the world-view ...'  For the poem as a whole is equally an utterance by a dramatically presented speaker, and none of its statements is proffered for our endorsement as a philosophical generalization of unlimited scope. They are all, therefore, to be apprehended as histrionic elements which are 'in character' and 'dramatically appropriate,' for their inherent interest as stages in the evolution of an artistically ordered ... experience of a credible human being.[53]

text: Earl Wasserman, in 1953, continued the discussion over the final lines and claimed, "the more we tug at the final lines of the ode, the more the noose of their meaning strangles our comprehension of the poem ... The aphorism is all the more beguiling because it appears near the end of the poem, for its apparently climactic position has generally led to the assumption that it is the abstract summation of the poem ... But the ode is not an abstract statement or an excursion into philosophy. It is a poem about things".[54]

text: Walter Evert, discussing the debate in 1965, justified the final lines of the poem to declare "The poem, then, accepts the urn for the immediate meditative imaginative pleasure that it can give, but it firmly defines the limits of artistic truth. In this it is wholly consistent with all the great poetry of Keats's last creative period."[55] Hugh Kenner, in 1971, explained that Keats "interrogates an urn, and answers for it, and its last answer, about Beauty and Truth, may seem almost intolerably enigmatic".[56] To Kenner, the problem with Keats's Beauty and Truth statement arises out of the reader's inability to distinguish between the poet, his reflections on the urn, and any possible statement made by the urn. He concluded that Keats fails to provide his narrator with enough characterization to be able to speak for the urn.[56] Charles Rzepka, in 1986, offered his view on the matter: "The truth-beauty equation at the end of the 'Ode on a Grecian Urn' offers solace but is finally no more convincing than the experience it describes is durable."[57] Rick Rylance picked up the debate again in 1990 and explained that the true meaning of the final lines cannot be discerned merely by studying the language. This posed a problem for the New Critics, who were prone to closely reading a poem's text.[58]

text: Later responses[edit]

text: Not every 20th-century critic opined primarily on the quality of the final lines when discussing the success or failure of the poem; Sidney Colvin, in 1920, explained that "while imagery drawn from the sculptures on Greek vases was still floating through his mind, he was able to rouse himself to a stronger effort and produce a true masterpiece in his famous Ode on a Grecian Urn."[59] In his 1926 analysis, H. W. Garrod felt that the end of the poem did not match with the rest of the poem: "Perhaps the fourth stanza is more beautiful than any of the others—and more true. The trouble is that it is a little too true. Truth to his main theme has taken Keats rather farther than he meant to go ... This pure cold art makes, in fact, a less appeal to Keats than the Ode as a whole would pretend; and when, in the lines that follow these lines, he indulges the jarring apostrophe 'Cold Pastoral' [...] he has said more than he meant—or wished to mean."[60] In 1933, M. R. Ridley described the poem as a "tense ethereal beauty" with a "touch of didacticism that weakens the urgency" of the statements.[61] Douglas Bush, following in 1937, emphasized the Greek aspects of the poem and stated, "as in the Ode to Maia, the concrete details are suffused with a rich nostalgia. The hard edges of classical Greek writing are softened by the enveloping emotion and suggestion. In his classical moments Keats is a sculptor whose marble becomes flesh."[62]

text: In 1954, Charles Patterson defended the poem and claimed, "The meaningfulness and range of the poem, along with its controlled execution and powerfully suggestive imagery, entitle it to a high place among Keats's great odes. It lacks the even finish and extreme perfection of To Autumn but is much superior in these qualities to the Ode to a Nightingale despite the magic passages in the latter and the similarities of over-all structure. In fact, the Ode on a Grecian Urn may deserve to rank first in the group if viewed in something approaching its true complexity and human wisdom."[63] Walter Jackson Bate argued in 1962 that "the Grecian Urn possesses a quiet and constrained composure hardly equaled by the other odes of this month and perhaps even unsurpassed by the ode To Autumn of the following September ... there is a severe repose about the Ode on a Grecian Urn; it is both 'interwoven' and 'complete'; and within its tensely braced stanzas is a potential energy momentarily stilled and imprisoned."[64] In 1964, literary critic David Perkins claimed in his essay "The Ode on a Nightingale" that the symbol of the urn "may possibly not satisfy as the principal concern of poetry ... but is rather an element in the poetry and drama of human reactions".[31]

text: F. W. Bateson emphasized in 1966 the poem's ability to capture truth: "The Ode to a Nightingale had ended with the explicit admission that the 'fancy' is a 'cheat,' and the Grecian Urn concludes with a similar repudiation. But this time it is a positive instead of a negative conclusion. There is no escape from the 'woe' that 'shall this generation waste,' but the action of time can be confronted and seen in its proper proportions. To enable its readers to do this is the special function of poetry."[65] Ronald Sharp followed in 1979 with a claim that the theme of "the relationship between life and art ... receives its most famous, and its most enigmatic and controversial, treatment" within the poem.[66] In 1983, Vendler praised many of the passages within the poem but argued that the poem was unable to fully represent what Keats wanted: "The simple movement of entrance and exit, even in its triple repetition in the Urn, is simply not structurally complex enough to be adequate, as a representational form, to what we know of aesthetic experience – or indeed to human experience generally."[67] Later in 1989, Daniel Watkins claimed the poem as "one of [Keats's] most beautiful and problematic works."[68]

text: Andrew Bennett, in 1994, discussed the poem's effectiveness: "What is important and compelling in this poem is not so much what happens on the urn or in the poem, but the way that a response to an artwork both figures and prefigures its own critical response".[69] In 1999, Andrew Motion claimed that the poem "tells a story that cannot be developed. Celebrating the transcendent powers of art, it creates a sense of imminence, but also registers a feeling of frustration."[6] Ayumi Mizukoshi, in 2001, argued that early audiences did not support "Ode to Psyche" because it "turned out to be too reflexive and internalised to be enjoyed as a mythological picture. For the same reason, the 'Ode on a Grecian Urn' drew neither attention nor admiration. Although the poet is gazing round the surface of the urn in each stanza, the poem cannot readily be consumed as a series of 'idylls'."[70]

text: Notes[edit]

text: Jump up ^ The Raphael is one of the Raphael Cartoons then at Hampton Court Palace. The Claude is now usually called Landscape with the Father of Psyche sacrificing to Apollo, and is now at Anglesey Abbey. It was one of the pair of "Altieri Claudes", among the most famous and expensive paintings of the day. See Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961, and Art and Money Archived July 7, 2011, at the Wayback Machine., by Robert Hughes. Image of the Raphael, and image of the Claude Archived 2011-07-21 at the Wayback Machine.

tag: ol


document_title: Michigan–Michigan State football rivalry

question_text: who won last year's michigan michigan state game

question_tokens: who won last year 's michigan michigan state game

text: Series history[edit]

text: Michigan leads the series 69–36–5. The series record for the Paul Bunyan Trophy (as of 2017) is 36–27–2 for Michigan as the trophy wasn't added until Michigan State became a full member of the Big Ten in 1953, at which point Michigan led 33–9–3. A home-and-home series did not begin until the 1958 season. Through the 1957 season, the game was played in Ann Arbor 46 times and in East Lansing only 6 times. However, Michigan went 5-1 in East Lansing over that time.[2] At the start of the trophy game series, Michigan State began a nearly two-decade period of dominance. From 1950 to 1969, Michigan State went 14–4–2. For the next four decades, Michigan went 30–10. Since the Spartans hired coach Mark Dantonio, Michigan State has won eight of the last eleven games. Michigan State has held a four-game winning streak on four separate occasions (most recently in the 2008–11 seasons) in the series history. Michigan has held winning streaks of fourteen, ten, eight, six and five games throughout the series.

text: Paul Bunyan Trophy[edit]

text: The game's trophy is the "Paul Bunyan – Governor of Michigan Trophy", or simply, the Paul Bunyan Trophy. It is a four foot tall wooden statue of the legendary giant lumberjack Paul Bunyan on a five-foot base. It reflects Michigan's history as a major lumber-producing state. The trophy was first presented in 1953 by governor G. Mennen Williams to commemorate Michigan State's joining the Big Ten Conference.[3]

text: When the trophy was created in 1953, Michigan athletic director and former head coach Fritz Crisler refused to take the trophy if Michigan had won the game. Michigan State won the first game for the Paul Bunyan Trophy in 1953, displaying it proudly in Jenison Fieldhouse.

text: The following year in 1954, the trophy was left on the field for half an hour after Michigan defeated the Spartans 33–7. "We'll find a place for the trophy," Crisler told The Michigan Daily after game. The Paul Bunyan Trophy was stored in the Michigan Stadium locker room in one of the equipment closets.[4]

text: Despite winning in 1954 and 1955, Michigan did not engrave their scores onto the neglected trophy. When the Spartans won in 1956, they engraved the Wolverine victories onto the trophy.[4]

text: The 1958 game was a 12–12 tie. The favored Spartans were so embarrassed that they didn't win, they originally refused to keep the trophy while Michigan refused to take the trophy. Michigan State eventually relented and kept the trophy.[4]

text: Despite its rocky start, the Trophy has become an important icon for both Universities, as a symbol of football supremacy in the State of Michigan.

text: Notable games[edit]

text: 1898: The first game[edit]

text: The first game in the rivalry between Michigan and Michigan State (then known as Michigan Agricultural College) was played in Ann Arbor on October 12, 1898, with Michigan defeating the Aggies 39–0. The Detroit Free Press wrote that the game was "essentially a practice game," as Michigan played 25 different players during the game. Charles Widman scored two touchdowns and was "the strongest ground-gainer" for Michigan. In the second half, Keena also kicked a field goal from a place-kick, "the first time a Michigan eleven has ever scored in that fashion."[5][6] After the 1898 shutout, Michigan sent its freshman team against Michigan Agricultural for the next three years.[7] The two rivals have played each other more than 100 times since the inaugural meeting in 1898.

text: 1902. Michigan's 1902 team finished 11–0, outscored opponents 644 to 12, and became known as the second of head coach Fielding H. Yost's "Point-a-Minute" teams. The Wolverines faced Michigan Agricultural on Wednesday, October 8, 1902, and defeated the Aggies 119–0.[8] Michigan was held on downs only once in the game, and the Aggies made only three first downs.[8] Right halfback Albert Herrnstein ran back a kickoff the length of the field and scored seven touchdowns in the game. Willie Heston and Everett Sweeley did not play in the game, and the Detroit Free Press noted: "The opinion is quite general that if Heston and Sweeley had been in the game the Buffalo record would have been beaten,[9] but, as it was, Michigan was simply fagged out running down the field for touchdowns."[8] The game was played in halves of 20 and 18 minutes. With 119 points in 38 minutes of play, Yost's Point-a-Minute squad averaged 3.1 points per minute against the Aggies. After the game, The Newark Advocate wrote: "Michigan has undoubtedly the fastest scoring team in the world, and the Ann Arbor boys play Yosts' 'hurry up' formations like clock work. It requires a fast team to take the ball, line up and score 119 points, even if they have no opponents in two 20 minute halves."[10]

text: 1908 After losing to the Wolverines in the first three games between the programs, the Aggies played the Wolverines to a scoreless tie on October 10, 1908. The game was played in front of 6,000 spectators at East Lansing's College Field, and the Aggies' fans "went wild with delight" when the game ended.[11][12] In Ann Arbor, the result was met with disbelief among Michigan fans who had expected an easy win.[13] The Detroit Free Press called it "the greatest game of football ever seen in this part of the state."[11] The Michigan Alumnus opined that the Wolverines were outplayed and would have been defeated had it not been for Dave Allerdice repeatedly punting out of danger.[14]

text: 1910. On October 15, 1910, Michigan beat Michigan Agricultural 6–3 at Ferry Field. The 1910 Aggies compiled a record of 6–0 and outscored opponents 165 to 2 against teams other than the Wolverines (including a 17–0 victory over Notre Dame.[15][16] Prior to the Michigan game, the M. A. C. student body adopted the slogan, "On to Michigan."[17] After a scoreless first half, the Aggies blocked two punts in the third quarter. On the second occasion, the punt was blocked and rolled to Michigan's 12-yard line where the Aggies recovered the ball. Leon Hill kicked a field goal from the 21-yard line, and the Aggies' maintained a 3–0 lead into the fourth quarter. With less than five minutes left in the game, Shorty McMillan completed a pass to Stanley Borleske who ran 50 yards to the Aggies' 15-yard line. Due to a penalty, the Wolverines had five unsuccessful chances to score the touchdown after advancing to the three-yard line. Michigan then lined up for a field goal, but the play was a fake. Don Green took the snap from center and ran for the touchdown.[18][19] After the game, the referee, Ralph Hoagland, said: "Yost has certainly taught his men some great things about the forward pass."[18][19]

text: 1912. In the seventh meeting, Blake Miller scored the first touchdown against Michigan in the series history. The Wolverines won 55–7 at Ferry Field, scoring eight touchdowns in the game.[20][21]

text: 1913. On October 18, 1913, the Aggies secured their first victory over Michigan, 12–7. Michigan Agricultural's fullback, George E. Julian, scored two touchdowns, and Blake Miller returned a Michigan fumble 45 yards for a touchdown. One account of the game noted: "The one great feature of the game was the accuracy of the Aggies forward passing which netted a total of 76 yards for the Farmers."[22] The New York Times described the game as "a desperate gruelling struggle."[23] Miller suffered a blow to the head during the game and was hospitalized in serious condition.[24] After the game, The Michigan Alumnus made note of the Aggies' potential as an athletic threat: "This victory with the football tie in 1908, and the Farmers' clean sweep in baseball in 1912, point to the fact that M.A.C. will bear watching by Michigan."[25] In the celebration following the game, two Aggies fans were arrested and jailed for "throwing bottles about the streets" in the early hours of Sunday morning.[26]

text: 1915. The Aggies won their second game against Michigan 24–0. Neno DaPrato scored two touchdowns and kicked a field goal for the Aggies.[27] The victory was the second in three years for the Aggies under head coach John Macklin.

text: 1970 The #12 ranked Wolverines avenged their 1969 loss to the Spartans, winning 34–20 in Ann Arbor. Michigan would establish their dominance in the series with this win, creating an eight-game winning streak against the Spartans, outscoring them 202–70 including consecutive shutouts in the 1972 and 1973 games.

text: 1978 Michigan was ranked #5 in the country when the unranked Spartans visited Ann Arbor. Michigan had won the previous eight series meetings under Bo Schembechler when Michigan State, led by QB Eddie Smith and wide receiver (and future MLB star) Kirk Gibson led the Spartans to a 24–15 upset. Michigan State would end up sharing the Big Ten title that season with the Wolverines.

text: 1990 "No. One vs. No One" was the tag line used by the Michigan faithful leading up to the 1990 meeting in Ann Arbor between the two schools. Michigan came into the game ranked #1 in the country. With six seconds left, Elvis Grbac threw a TD pass to Derrick Alexander to make it 28–27 Michigan State. Michigan coach Gary Moeller elected to go for two and the win. Desmond Howard lined for a pass and was defended by Spartan Eddie Brown. While going out for the pass Desmond became entangled with Brown, appeared to have caught the ball for a moment, before dropping it as he fell to the turf. The play was controversial since Howard got entangled with Brown on the play, but no penalty was called. The Wolverines then attempted an onside kick, which they recovered. Grbac then scrambled and threw a Hail Mary that was tipped and intercepted to end the game.[28] Both schools ended up tied for the Big Ten title, along with Illinois and Iowa; all four schools had identical 6-2 conference records.

text: 1997 In an AP Top-15 match up between both teams which featured ESPN College Gameday in East Lansing, the #5 Michigan Wolverines defeated the #15 Spartans, 23-7. The Wolverine defense had six interceptions, five of which came from Spartan QB Todd Schultz. One of those interceptions included a one-handed interception by eventual 1997 Heisman trophy winner Charles Woodson where he managed to get one foot in bounds on the sideline. Marcus Ray had a pair of interceptions, along with one apiece by DiAllo Johnson and Andre Weathers. Michigan would go 12-0 and win the national championship that season, their first since 1948.

text: 2001 The 2001 game, also known as Clockgate, was hosted by Michigan State. U-M entered the game undefeated and ranked #6 in the nation. With under three minutes left, the Spartans received the ball at midfield down 24–20. A Michigan facemask penalty resulted in 15 yards and an automatic first down. Two plays later, the Wolverines received a penalty for 12 men on the field. Michigan State was incorrectly charged with their final timeout on that play; the Spartans should not have been because of the U-M penalty. Instead, the final MSU timeout was exhausted. 17 seconds remained when Michigan State quarterback Jeff Smoker attempted to scramble for a touchdown but was stopped at the one yard line. The Spartans rushed to the line and spiked the ball with 1 second remaining on the clock. On the next play, Smoker threw a touchdown pass to T.J. Duckett to win the game 26–24. Michigan coaches, players, and the ABC broadcasters argued that the clock should have expired on the play and that the timekeeper, "Spartan Bob" Stehlin, purposely stopped the clock before the ball was grounded.[29] Michigan commentator Frank Beckmann speculated that Michigan State had benefited from its home field advantage, even calling the unfolding controversy "criminal" on the air.[30] Beckmann's reaction to the last-second MSU victory included stating the full name of each game official and saying the Big Ten was out of the national title picture "because of the job that was done here by the men in the striped shirts today". Beckmann also referred to the last tick as "staying on the board for an eternity" and speculated that Dave Parry, then Big Ten coordinator of officials, would soon "no doubt give an apology phone call to (U-M coach) Lloyd Carr." Instead, the Big Ten reviewed the video of the game and concluded that the clock operator acted appropriately. Dave Parry, the Big Ten Coordinator of officials, said "we could find nothing that suggested a mistake had been made". Stehlin observed afterwards that seven different media outlets timed the play and all concluded that time remained in the ball game. Michigan would finish the season 8-4, making Beckmann's complaints moot.[31] Beckmann would publicly insist that U-M was cheated for years afterwards, prompting public speculation that Stehlin might file a lawsuit against Beckmann for slander. Instead, he publicly stated he forgave Beckmann.[32] Nevertheless, the Big Ten changed its timekeeping policy for the 2002 season.[33] Previously, the home team appointed an individual of their choosing to keep the official time in the pressbox. Now, time is kept on the field by a neutral official appointed by the Big Ten.[34]

text: 2007 The 2007 game marked Michigan's sixth straight win over Michigan State. The Wolverines once again narrowly won with a comeback in the fourth quarter, winning 28–24.[35] Michigan quarterback Chad Henne led two touchdown drives in the final 7:35 of the game, completing touchdown passes to Greg Mathews and Mario Manningham, to lead the Wolverines back from a 24–14 deficit. Henne finished the game with 18 completions for 211 yards and four touchdowns, while Manningham had eight receptions for 129 yards and two touchdowns.[36] After the game, Michigan running back Mike Hart called Michigan State Michigan's "little brother." "I was just laughing,” Hart said of Michigan State taking the lead. “I thought it was funny. They got excited. Sometimes you get your little brother excited when you’re playing basketball, and you let him get the lead, and then you come back and take it back." Mark Dantonio later responded to Hart's comment stating "I find a lot of the things they do amusing. They need to check themselves sometimes. But just remember, pride comes before the fall... This game is an important game. So they want to mock us all they want to mock us, I'm telling them: it's not over. So they can print that crap all they want all over their locker room. It's not over. It'll never be over here. It's just starting... I'm going to be a coach here for a long time. It's not over. It's just starting.".[37]

text: 2008 The game on October 25, 2008, in Ann Arbor, was the first Michigan–Michigan State game for new Michigan coach Rich Rodriguez. Early in the game, Michigan scored on a pass to running back Brandon Minor, who was only able to get one foot on a pylon. The pass was initially called incomplete, but the play was reviewed and incorrectly ruled a touchdown. During halftime, ABC-TV displayed the NCAA rule on the broadcast screen and concluded that the Replay Official was incorrect in awarding the touchdown to Michigan; ABC indicated officials on the field had been correct in originally ruling the play incomplete. The Commissioner of the Big Ten later acknowledged that the call was wrong.[38] The two teams traded touchdowns for much of the game before the Spartans finally pulled away in the 4th quarter, winning 35–21.[39]

text: 2012 On October 20, 2012, the Wolverines defeated the Spartans for the first time since 2007, despite not scoring a touchdown. Michigan won in Ann Arbor 12–10 to earn back the Paul Bunyan Trophy. At 10:20 in the second quarter, Brendan Gibbons kicked a FG to put Michigan up 3–0. With 5:03 left, MSU kicker Dan Conroy missed a 38-yard FG attempt. With 1:07 left in the first half, Matt Wile made a 48-yard FG to make the score 6–0 Michigan at halftime. MSU quickly scored a touchdown in their first possession of the second half to go up 7–6. Michigan kicked a third field goal at 13:37 in the fourth quarter to go up 9–7. It appeared that Michigan had MSU stopped towards the end of the fourth by forcing them into a fourth and 9 on their own 30, however the Spartans ran a fake punt and advanced the ball almost to midfield on their way to scoring three more points to go up 10–9. Michigan got the ball back and drove all the way into MSU territory only to be stopped and punt the ball away with 4 minutes left. The Michigan defense forced a three-and-out and they got the ball back at their own 39 with 2:11 left. Denard Robinson completed a 20-yard pass on fourth down to advance Michigan to the MSU 25 yard line and with 9 seconds left Michigan spiked the ball. Brendan Gibbons lined up to kick the game-winning field goal and was iced by Mark Dantonio. Gibbons lined back up and split the uprights to win it for Michigan, 12–10. After the game, the students rushed the field in celebration. This was the 900th all-time win for the Wolverines, making them the first program to reach this level in college football history.

text: 2015 October 17, 2015: the game was played in Ann Arbor for the first time since 2012. The #12 Wolverines, led by first-year coach Jim Harbaugh, entered the game 5–1. The #7 Spartans came into the game 6–0. This was the first meeting of coaches Mark Dantonio and Harbaugh. Michigan scored first and never trailed all the way until the final play of the game. Late in the 4th quarter, with the Wolverines leading 23-21, Michigan State drove into field goal range, but a sack pushed them outside the 40. They failed to convert on 4th and long, giving Michigan the ball and seemingly the victory. However, with 10 seconds left in the game, Michigan was faced with a 4th and short and decided to punt. Michigan State pressured with all 11 defenders while Michigan sent players downfield to cover the punt. The numeric mismatch on the line allowed easy penetration while the Wolverine center quick-snapped a low ball bobbled by the punter. The ball was caught by Spartan Jalen Watts-Jackson, and he ran the ball in 38 yards for a touchdown. Michigan State did not lead at any point in the game until time expired, but they outgained Michigan in the contest 386 to 230 yards.[40][41][42]

text: 2017 October 7, 2017: For the first time, Michigan and Michigan State would meet for a night game in their 110th meeting. The game was held in Ann Arbor at the Big House at 7:30 PM on ABC, Chris Fowler and Kirk Herbstreit on the call. Michigan came into the game as #7 in the AP Poll and 4-0 on the season. The Michigan State Spartans came into the game unranked at 3-1 on the season, with their only loss at that point to Notre Dame in East Lansing. Michigan was 3-0 in night games at Michigan Stadium at the time. In the first quarter, Michigan would take the lead on a 30-yard field goal by Quinn Nordin to make the score 3 to 0. Michigan State would then score on a 14-yard touchdown run by Brian Lewerke. The score was 7 to 3, Spartans with the lead. In the second quarter, Michigan State would score again on a 16-yard pass from Brian Lewerke to Madre London. The score was 14-3 at halftime, with the Spartans leading in Ann Arbor. Towards the middle of the third quarter, it began to rain in Ann Arbor. Strong winds and heavy rain affected the game in the third quarter, making it even more difficult for the offensively challenged teams to move the ball. Tornado warnings were issued throughout lower Michigan but no delays were issued for the game. In the middle of the third quarter, Khalid Hill ran in a 1-yard touchdown for Michigan, cutting the Spartans lead to 4. The score was 14 to 10. Throughout the game, Michigan State forced 5 turnovers (2 fumbles, 3 interceptions) to the Wolverines' zero forced turnovers. Michigan tried a Hail Mary in the closing seconds, but an interception by MSU's Joe Bachie in the endzone would cement the Spartans' upset win at the Big House in Ann Arbor, 14-10. The win marked the 8th win in the last 10 games against Michigan. Michigan would drop to 17th in AP Poll the following week and the Spartans would enter the top 25, finishing the season at 16th in the CFP rankings.

text: Accomplishments by the two rivals[edit]

text:
Team
Michigan[43]
Michigan State[44]

National titles[45]
11
6

Bowl appearances[46][47]
45
26

Postseason bowl record
21–24
11–15

Rose Bowl appearances
20
5

Rose Bowl wins
8
4

Big Ten titles
42
9

Consensus All-Americans[48][49]
81
31

Heisman Trophies[50]
3
0

All-time program record
935–334–36
679–449–44

All-time win percentage
.730
.598

text: Game results[edit]

text:
Michigan victories
Michigan State victories
Tie games

text:
No.
Date
Location
Winner
Score

1
1898
Ann Arbor
Michigan
39–2

2
1902
Ann Arbor
Michigan
119–0

3
1907
Ann Arbor
Michigan
46–0

4
1908
East Lansing
Tie
0–0

5
1910
Ann Arbor
Michigan
6–3

6
1911
East Lansing
Michigan
15–3

7
1912
Ann Arbor
Michigan
55–7

8
1913
Ann Arbor
Michigan Agricultural
12–7

9
1914
East Lansing
Michigan
3–0

10
1915
Ann Arbor
Michigan Agricultural
24–0

11
1916
Ann Arbor
Michigan
9–0

12
1917
Ann Arbor
Michigan
27–0

13
1918
Ann Arbor
Michigan
21–6

14
1919
Ann Arbor
Michigan
26–0

15
1920
Ann Arbor
Michigan
35–0

16
1921
Ann Arbor
Michigan
30–0

17
1922
Ann Arbor
Michigan
63–0

18
1923
Ann Arbor
Michigan
37–0

19
1924
East Lansing
Michigan
7–0

20
1925
Ann Arbor
Michigan
39–0

21
1926
Ann Arbor
Michigan
55–3

22
1927
Ann Arbor
Michigan
21–0

23
1928
Ann Arbor
Michigan
3–0

24
1929
Ann Arbor
Michigan
17–0

25
1930
Ann Arbor
Tie
0–0

26
1931
Ann Arbor
Tie
0–0

27
1932
Ann Arbor
Michigan
26–0

28
1933
Ann Arbor
Michigan
20–6

29
1934
Ann Arbor
Michigan State
16–0

30
1935
Ann Arbor
Michigan State
25–6

31
1936
Ann Arbor
Michigan State
21–7

32
1937
Ann Arbor
Michigan State
19–14

33
1938
Ann Arbor
Michigan
14–0

34
1939
Ann Arbor
Michigan
26–13

35
1940
Ann Arbor
Michigan
21–14

36
1941
Ann Arbor
Michigan
19–7

37
1942
Ann Arbor
Michigan
20–0

38
1945
Ann Arbor
Michigan
40–0

39
1946
Ann Arbor
No. 11 Michigan
55–7

40
1947
Ann Arbor
Michigan
55–0

41
1948
East Lansing
Michigan
13–7

42
1949
Ann Arbor
Michigan
7–3

43
1950
Ann Arbor
No. 19 Michigan State
14–7

44
1951
Ann Arbor
No. 2 Michigan State
25–0

45
1952
Ann Arbor
No. 1 Michigan State
27–13

46
1953
East Lansing
No. 4 Michigan State
14–6

47
1954
Ann Arbor
No. 20 Michigan
33–7

48
1955
Ann Arbor
No. 2 Michigan
14–7

49
1956
Ann Arbor
No. 2 Michigan State
9–0

50
1957
Ann Arbor
No. 2 Michigan State
35–6

51
1958
East Lansing
Tie
12–12

52
1959
Ann Arbor
Michigan State
34–8

53
1960
East Lansing
No. 13 Michigan State
24–17

54
1961
Ann Arbor
No. 2 Michigan State
28–0

55
1962
East Lansing
Michigan State
28–0

56
1963
Ann Arbor
Tie
7–7

No.
Date
Location
Winner
Score

57
1964
East Lansing
No. 4 Michigan
17–10

58
1965
Ann Arbor
No. 4 Michigan State
24–7

59
1966
East Lansing
No. 1 Michigan State
20–7

60
1967
Ann Arbor
Michigan State
34–0

61
1968
Ann Arbor
Michigan
28–14

62
1969
East Lansing
Michigan State
23–12

63
1970
Ann Arbor
No. 6 Michigan
34–20

64
1971
East Lansing
No. 2 Michigan
24–13

65
1972
Ann Arbor
No. 5 Michigan
10–0

66
1973
East Lansing
No. 5 Michigan
31–0

67
1974
Ann Arbor
No. 4 Michigan
21–7

68
1975
East Lansing
No. 8 Michigan
16–6

69
1976
Ann Arbor
No. 1 Michigan
42–10

70
1977
East Lansing
No. 3 Michigan
24–14

71
1978
Ann Arbor
Michigan State
24–15

72
1979
East Lansing
No. 11 Michigan
21–7

73
1980
Ann Arbor
Michigan
27–23

74
1981
East Lansing
No. 6 Michigan
38–20

75
1982
Ann Arbor
Michigan
31–17

76
1983
East Lansing
No. 14 Michigan
42–0

77
1984
Ann Arbor
Michigan State
19–7

78
1985
East Lansing
No. 3 Michigan
31–0

79
1986
Ann Arbor
No. 4 Michigan
27–6

80
1987
East Lansing
Michigan State
17–11

81
1988
Ann Arbor
No. 17 Michigan
17–3

82
1989
East Lansing
No. 5 Michigan
10–7

83
1990
Ann Arbor
Michigan State
28–27

84
1991
East Lansing
No. 5 Michigan
45–28

85
1992
Ann Arbor
No. 3 Michigan
35–10

86
1993
East Lansing
Michigan State
17–7

87
1994
Ann Arbor
No. 9 Michigan
40–20

88
1995
East Lansing
Michigan State
28–25

89
1996
Ann Arbor
No. 9 Michigan
45–29

90
1997
East Lansing
No. 5 Michigan
23–7

91
1998
Ann Arbor
Michigan
29–17

92
1999
East Lansing
No. 11 Michigan State
34–31

93
2000
Ann Arbor
No. 16 Michigan
14–0

94
2001
East Lansing
Michigan State
26–24

95
2002
Ann Arbor
No. 15 Michigan
49–3

96
2003
East Lansing
No. 13 Michigan
27–20

97
2004
Ann Arbor
No. 14 Michigan
45–373OT

98
2005
East Lansing
Michigan
34–31OT

99
2006
Ann Arbor
No. 6 Michigan
31–13

100
2007
East Lansing
No. 14 Michigan
28–24

101
2008
Ann Arbor
Michigan State
35–21

102
2009
East Lansing
Michigan State
26–20OT

103
2010
Ann Arbor
No. 17 Michigan State
34–17

104
2011
East Lansing
No. 23 Michigan State
28–14

105
2012
Ann Arbor
No. 23 Michigan
12–10

106
2013
East Lansing
No. 22 Michigan State
29–6

107
2014
East Lansing
No. 8 Michigan State
35–11

108
2015
Ann Arbor
No. 7 Michigan State
27–23

109
2016
East Lansing
No. 2 Michigan
32–23

110
2017
Ann Arbor
Michigan State
14–10

Series: Michigan leads 69–36–5

text: Big Ten games[edit]

text: In Big Ten Conference play, Michigan leads the series 36–30–2 through the 2017 meeting. Michigan was a charter member of the Big Ten in 1896 before leaving the league after the 1906 football season and returning for the 1917 season. Michigan State joined the Big Ten in 1950 and, in their first game as conference rivals, defeated Michigan 14-7 in Ann Arbor.