document_title: List of countries by GDP (nominal)

question_text: who has the 6th largest economy in the world

text: List of countries by GDP (nominal)

text: Lists

text:
Per the International Monetary Fund (2017)[1]
Per the World Bank (2016)[20]
Per the United Nations (2016)[21][22]

Rank
Country
GDP
(US$MM)

 World[19]
79,865,481

1
 United States
19,390,600

—
 European Union[n 1][19]
17,308,862

2
 China[n 2]
12,014,610

3
 Japan
4,872,135

4
 Germany
3,684,816

—
 Mercosur[n 3]
2,780,720

5
 United Kingdom
2,624,529

6
 India
2,611,012

7
 France
2,583,560

8
 Brazil
2,054,969

9
 Italy
1,937,894

—
 Eurasian Economic Union[n 4]
1,760,842

10
 Canada
1,652,412

11
 South Korea
1,538,030

12
 Russia[n 5]
1,527,469

—
 Gulf Cooperation Council[n 6]
1,457,108

13
 Australia
1,379,548

14
 Spain
1,313,951

15
 Mexico
1,149,236

16
 Indonesia
1,015,411

17
 Turkey
849,480

18
 Netherlands
825,745

19
 Saudi Arabia
683,827

20
  Switzerland
678,575

21
 Argentina
637,717

22
 Taiwan
579,302

23
 Sweden
538,575

24
 Poland
524,886

25
 Belgium
494,733

26
 Thailand
455,378

27
 Iran
431,920

28
 Austria
416,845

29
 Norway
396,457

30
 United Arab Emirates
377,435

31
 Nigeria
376,284

32
 Israel
350,609

33
 South Africa
349,299

34
 Hong Kong
341,659

35
 Ireland
333,994

36
 Denmark
324,484

37
 Singapore
323,902

38
 Malaysia
314,497

39
 Philippines
313,419

40
 Colombia
309,197

41
 Pakistan
303,993

42
 Chile
277,042

—
 SICA - Central American Monetary Council[n 7]
273,425

43
 Bangladesh
261,374

44
 Finland
253,244

45
 Egypt
237,073

46
 Vietnam
220,408

47
 Portugal
218,064

48
 Peru
215,224

49
 Czech Republic
213,189

50
 Romania
211,315

51
 Venezuela
210,085

52
 New Zealand
201,485

53
 Greece
200,690

54
 Iraq
197,699

55
 Algeria
178,287

56
 Qatar
166,326

57
 Kazakhstan
160,839

58
 Hungary
152,284

59
 Angola
124,209

60
 Kuwait
120,351

61
 Morocco
109,824

62
 Ukraine
109,321

63
 Ecuador
102,311

64
 Puerto Rico
98,805

65
 Slovakia
95,938

66
 Sri Lanka
87,591

67
 Ethiopia
80,874

68
 Kenya
79,511

—
 Syria[n 8]
77,460/Na

69
 Guatemala
75,661

70
 Dominican Republic
75,018

71
 Oman
74,274

72
 Myanmar
66,537

73
 Luxembourg
62,393

74
 Uruguay
58,415

75
 Panama
61,838

76
 Costa Rica
58,056

77
 Sudan
58,239

78
 Bulgaria
56,943

—
 CARICOM Single Market and Economy[n 9]
55,211

79
 Croatia
54,516

80
 Belarus
54,436

81
 Tanzania
51,725

82
 Lebanon
51,457

83
 Macau
49,802

84
 Slovenia
48,868

85
 Uzbekistan
47,883

86
 Lithuania
47,263

87
 Ghana
47,032

88
 Serbia
41,471

89
 Democratic Republic of the Congo
41,441

90
 Azerbaijan
40,670

91
 Jordan
40,487

92
 Côte d'Ivoire
40,360

93
 Tunisia
40,275

94
 Turkmenistan
37,926

95
 Bolivia
37,122

96
 Bahrain
34,895

97
 Cameroon
34,006

98
 Libya
31,331

99
 Latvia
30,319

100
 Paraguay
29,619

101
 El Salvador
28,023

102
 Uganda
26,349

103
 Estonia
25,973

104
 Zambia
25,504

105
   Nepal
24,472

106
 Iceland
23,909

107
 Papua New Guinea
23,617

108
 Honduras
22,975

109
 Cambodia
22,252

110
 Cyprus
21,310

111
 Afghanistan
20,889

112
 Trinidad and Tobago
20,300

113
 Bosnia and Herzegovina
17,457

114
 Laos
17,152

115
 Zimbabwe
17,105

116
 Botswana
16,725

117
 Yemen
16,511

118
 Senegal
16,057

119
 Georgia
15,230

120
 Mali
14,998

121
 Gabon
14,467

122
 Jamaica
14,290

123
 Nicaragua
13,692

124
 Burkina Faso
13,187

125
 Albania
13,001

126
 Namibia
12,558

127
 Mozambique
12,345

128
 Mauritius
12,273

129
 Malta
12,011

130
 Brunei
11,963

131
 Macedonia
11,416

132
 Armenia
11,037

133
 Mongolia
10,869

134
 Madagascar
10,557

135
 Equatorial Guinea
10,069

136
 Chad
9,740

137
 Benin
9,410

138
 Guinea
9,183

139
 Bahamas
9,127

140
 Rwanda
8,918

141
 Kosovo
8,883

142
 Haiti
8,360

143
 Moldova
7,945

144
 Niger
7,892

145
 Republic of Congo
7,799

146
 Tajikistan
7,234

147
 Kyrgyzstan
7,061

148
 Malawi
6,261

149
 Eritrea
6,050

150
 Fiji
5,054

151
 Mauritania
4,985

152
 Barbados
4,821

153
 Togo
4,797

154
 Maldives
4,520

155
 Montenegro
4,405

156
 Swaziland
4,030

157
 Sierra Leone
3,897

158
 Suriname
3,665

159
 Guyana
3,591

160
 Burundi
3,393

161
 South Sudan
2,870

162
 Lesotho
2,721

163
 Timor-Leste
2,716

164
 Bhutan
2,321

165
 Liberia
2,140

166
 Djibouti
2,082

167
 Central African Republic
1,992

168
 Belize
1,819

169
 Cape Verde
1,728

170
 St. Lucia
1,717

171
 San Marino
1,592

172
 Antigua and Barbuda
1,535

173
 Seychelles
1,479

174
 Guinea-Bissau
1,295

175
 Solomon Islands
1,273

176
 Grenada
1,111

177
 The Gambia
1,038

178
 St. Kitts and Nevis
939

179
 Samoa
844

180
 Vanuatu
837

181
 St. Vincent and the Grenadines
815

182
 Comoros
659

183
 Dominica
608

184
 Tonga
437

185
 São Tomé and Príncipe
372

186
 Federated States of Micronesia
329

187
 Palau
321

188
 Marshall Islands
199

189
 Kiribati
186

190
 Tuvalu
40

191
  Vatican City
2

Rank
Country
GDP
(US$MM)

 World
7007755435430000000♠75,543,543

1
 United States
7007186244750000000♠18,624,475

—
 European Union[n 1][23]
7007163979800000000♠16,397,980

2
 China[n 10]
7007111991450000000♠11,199,145

3
 Japan
7006494015800000000♠4,940,158

4
 Germany
7006347779600000000♠3,477,796

5
 United Kingdom
7006264789800000000♠2,647,898

6
 France
7006246545300000000♠2,465,453

—
 Mercosur[n 3]
7006242191300000000♠2,421,913

7
 India
7006226379200000000♠2,263,792

8
 Italy
7006185891300000000♠1,858,913

9
 Brazil
7006179618600000000♠1,796,186

10
 Canada
7006152976000000000♠1,529,760

—
 Eurasian Economic Union[n 4]
7006148135000000000♠1,481,350

11
 South Korea
7006141124600000000♠1,411,246

—
 Gulf Cooperation Council[n 6]
7006135861400000000♠1,358,614

12
 Russia[n 5]
7006128316200000000♠1,283,162

13
 Spain
7006123725500000000♠1,237,255

14
 Australia
7006120461600000000♠1,204,616

15
 Mexico
7006104692200000000♠1,046,922

16
 Indonesia
7005932259000000000♠932,259

17
 Turkey
7005857711000000000♠857,711

18
 Netherlands
7005777227000000000♠777,227

19
  Switzerland
7005668851000000000♠668,851

20
 Saudi Arabia
7005646438000000000♠646,438

21
 Argentina
7005545866000000000♠545,866

22
 Sweden
7005511000000000000♠511,000

23
 Poland
7005469509000000000♠469,509

24
 Belgium
7005466366000000000♠466,366

25
 Iran
7005425326000000000♠425,326

26
 Thailand
7005406840000000000♠406,840

27
 Nigeria
7005405083000000000♠405,083

28
 Austria
7005386428000000000♠386,428

29
 Venezuela
7005371337000000000♠371,337

30
 Norway
7005370557000000000♠370,557

31
 United Arab Emirates
7005348743000000000♠348,743

32
 Egypt
7005336297000000000♠336,297

33
 Hong Kong
7005320912000000000♠320,912

34
 Israel
7005318744000000000♠318,744

35
 Denmark
7005306143000000000♠306,143

36
 Philippines
7005304905000000000♠304,905

37
 Singapore
7005296966000000000♠296,966

38
 Malaysia
7005296359000000000♠296,359

39
 South Africa
7005294841000000000♠294,841

40
 Ireland
7005294054000000000♠294,054

41
 Pakistan
7005283660000000000♠283,660

42
 Colombia
7005282463000000000♠282,463

—
 SICA - Central American Monetary Council[n 7]
259,328

43
 Chile
7005247028000000000♠247,028

44
 Finland
7005236785000000000♠236,785

45
 Bangladesh
7005221415000000000♠221,415

46
 Portugal
7005204565000000000♠204,565

47
 Vietnam
7005202616000000000♠202,616

48
 Greece
7005194559000000000♠194,559

49
 Czech Republic
7005192925000000000♠192,925

50
 Peru
7005192094000000000♠192,094

51
 Romania
7005186691000000000♠186,691

52
 New Zealand
7005185017000000000♠185,017

53
 Iraq
7005171489000000000♠171,489

54
 Algeria
7005156080000000000♠156,080

55
 Qatar
7005152469000000000♠152,469

56
 Kazakhstan
7005133657000000000♠133,657

57
 Hungary
7005124343000000000♠124,343

58
 Kuwait
7005112812000000000♠112,812

59
 Puerto Rico
7005103135000000000♠103,135

60
 Morocco[n 11]
7005101445000000000♠101,445

61
 Ecuador
7004978020000000000♠97,802

62
 Sudan
7004955840000000000♠95,584

63
 Ukraine
7004932700000000000♠93,270

64
 Angola
7004896330000000000♠89,633

65
 Slovakia
7004895520000000000♠89,552

66
 Sri Lanka
7004813220000000000♠81,322

67
 Ethiopia
7004723740000000000♠72,374

68
 Dominican Republic
7004715840000000000♠71,584

69
 Kenya
7004705290000000000♠70,529

70
 Guatemala
7004687630000000000♠68,763

71
 Myanmar
7004674300000000000♠67,430

72
 Uzbekistan
7004672200000000000♠67,220

73
 Oman
7004662930000000000♠66,293

74
 Luxembourg
7004599480000000000♠59,948

75
 Costa Rica
7004574360000000000♠57,436

76
 Panama
7004551880000000000♠55,188

—
 CARICOM Single Market and Economy[n 9]
7004544930000000000♠54,493

77
 Uruguay
7004524200000000000♠52,420

78
 Bulgaria
7004523950000000000♠52,395

79
 Croatia
7004504250000000000♠50,425

80
 Lebanon
7004475370000000000♠47,537

81
 Belarus
7004474330000000000♠47,433

82
 Tanzania[n 12]
7004474310000000000♠47,431

83
 Macau
7004448030000000000♠44,803

84
 Slovenia
7004439910000000000♠43,991

85
 Lithuania
7004427390000000000♠42,739

86
 Ghana
7004426900000000000♠42,690

87
 Tunisia
7004420630000000000♠42,063

88
 Jordan
7004386550000000000♠38,655

89
 Azerbaijan
7004378480000000000♠37,848

90
 Serbia
7004377450000000000♠37,745

91
 Turkmenistan
7004361800000000000♠36,180

92
Cote d'Ivoire Côte d'Ivoire
7004361650000000000♠36,165

93
 Democratic Republic of the Congo
7004349990000000000♠34,999

94
 Bolivia
7004338060000000000♠33,806

95
 Bahrain
7004318590000000000♠31,859

96
 Libya
7004291530000000000♠29,153

97
 Latvia
7004276770000000000♠27,677

98
 Paraguay
7004274410000000000♠27,441

99
 Yemen
7004273180000000000♠27,318

100
 El Salvador
7004267970000000000♠26,797

101
 Uganda
7004255280000000000♠25,528

102
 Cameroon
7004242040000000000♠24,204

103
 Estonia
7004231370000000000♠23,137

104
 Honduras
7004215170000000000♠21,517

105
   Nepal
7004211440000000000♠21,144

106
 Trinidad and Tobago
7004209890000000000♠20,989

107
 Iceland
7004200470000000000♠20,047

108
 Cambodia
7004200170000000000♠20,017

109
 Cyprus[n 13]
7004198020000000000♠19,802

110
 Zambia
7004195510000000000♠19,551

111
 Afghanistan
7004194690000000000♠19,469

112
 Papua New Guinea
7004169290000000000♠16,929

113
 Bosnia and Herzegovina
7004165600000000000♠16,560

114
 Zimbabwe
7004162890000000000♠16,289

115
 Laos
7004159030000000000♠15,903

116
 Botswana
7004152750000000000♠15,275

117
 Senegal
7004147650000000000♠14,765

118
 Georgia[n 14]
7004143330000000000♠14,333

119
 Gabon
7004142140000000000♠14,214

120
 Mali
7004140450000000000♠14,045

121
 Jamaica
7004140270000000000♠14,027

122
 South Sudan
7004132820000000000♠13,282

123
 Nicaragua
7004132310000000000♠13,231

124
 Mauritius
7004121640000000000♠12,164

125
 Burkina Faso
7004121150000000000♠12,115

126
 Albania
7004119270000000000♠11,927

127
 Brunei
7004114000000000000♠11,400

128
 Mongolia
7004111600000000000♠11,160

129
 Mozambique
7004110150000000000♠11,015

130
 Malta
7004109490000000000♠10,949

131
 Macedonia
7004109000000000000♠10,900

132
 Armenia
7004105470000000000♠10,547

133
 Namibia
7004102670000000000♠10,267

134
 Equatorial Guinea
7004101790000000000♠10,179

135
 Madagascar
7003999100000000000♠9,991

136
 Chad
7003960100000000000♠9,601

137
 The Bahamas
7003904700000000000♠9,047

138
 Benin
7003858300000000000♠8,583

139
 Rwanda
7003837600000000000♠8,376

140
 Haiti
7003802300000000000♠8,023

141
 Republic of the Congo
7003783400000000000♠7,834

142
 Niger
7003750900000000000♠7,509

143
 Kosovo
7003704700000000000♠7,047

144
 Tajikistan
7003695200000000000♠6,952

145
 Moldova[n 15]
7003675000000000000♠6,750

146
 Kyrgyzstan
7003655100000000000♠6,551

147
 Guinea
7003629900000000000♠6,299

148
 Somalia
7003621700000000000♠6,217

149
 Bermuda
7003557400000000000♠5,574

150
 Liechtenstein
7003548800000000000♠5,488

151
 Malawi
7003544200000000000♠5,442

152
 Mauritania
7003463500000000000♠4,635

153
 Fiji
7003463200000000000♠4,632

154
 Barbados
7003458800000000000♠4,588

155
 Togo
7003440000000000000♠4,400

156
 Montenegro
7003417300000000000♠4,173

157
 Swaziland
7003372700000000000♠3,727

158
 Sierra Leone
7003366900000000000♠3,669

159
 Suriname
7003362100000000000♠3,621

160
 Maldives
7003359100000000000♠3,591

161
 Guyana
7003344600000000000♠3,446

162
 Andorra
7003324900000000000♠3,249

163
 Burundi
7003300700000000000♠3,007

164
 Faroe Islands
7003261300000000000♠2,613

165
 Greenland
7003244100000000000♠2,441

166
 Bhutan
7003223700000000000♠2,237

167
 Lesotho
7003220000000000000♠2,200

168
 Liberia
7003210100000000000♠2,101

169
 Belize
7003176500000000000♠1,765

170
 Central African Republic
7003175600000000000♠1,756

171
 Cape Verde
7003161700000000000♠1,617

172
 Djibouti
7003158900000000000♠1,589

173
 Antigua and Barbuda
7003144900000000000♠1,449

174
 Seychelles
7003142700000000000♠1,427

175
 Timor-Leste
7003141700000000000♠1,417

176
 Saint Lucia
7003137900000000000♠1,379

177
 Solomon Islands
7003120200000000000♠1,202

178
 Guinea-Bissau
7003112600000000000♠1,126

179
 Grenada
7003101600000000000♠1,016

180
 The Gambia
7002965000000000000♠965

181
 Saint Kitts and Nevis
7002917000000000000♠917

182
 Samoa
7002786000000000000♠786

183
 Vanuatu
7002774000000000000♠774

184
 Saint Vincent and the Grenadines
7002771000000000000♠771

185
 Comoros
7002617000000000000♠617

186
 Dominica
7002525000000000000♠525

187
 Tonga
7002395000000000000♠395

188
Sao Tome and Principe São Tomé and Príncipe
7002351000000000000♠351

189
 Federated States of Micronesia
7002322000000000000♠322

190
 Palau
7002293000000000000♠293

191
 Marshall Islands
7002183000000000000♠183

192
 Kiribati
7002166000000000000♠166

193
 Nauru
7002102000000000000♠102

194
 Tuvalu
7001340000000000000♠34

Rank
Country
GDP
(US$MM)

 World[24]
7007756484480000000♠75,648,448

1
 United States
7007186244750000000♠18,624,475

—
 European Union[n 1][25]
7007163326310000000♠16,332,631

2
 China[n 10]
7007112182810000000♠11,218,281

3
 Japan
7006493621100000000♠4,936,211

4
 Germany
7006347779600000000♠3,477,796

5
 United Kingdom
7006264789800000000♠2,647,898

6
 France
7006246545300000000♠2,465,453

—
 Mercosur[n 3]
7006243024700000000♠2,430,247

7
 India
7006225964200000000♠2,259,642

8
 Italy
7006185891300000000♠1,858,913

9
 Brazil
7006179592500000000♠1,795,925

—
 Eurasian Economic Union[n 4]
7006155648300000000♠1,556,483

—
 Gulf Cooperation Council[n 6]
7006153016900000000♠1,530,169

10
 Canada
7006152976000000000♠1,529,760

11
 South Korea
7006141124500000000♠1,411,245

12
 Australia
7006130446300000000♠1,304,463

13
 Russia[n 5]
7006124601500000000♠1,246,015

14
 Spain
7006123725500000000♠1,237,255

15
 Mexico
7006107691400000000♠1,076,914

16
 Indonesia
7005932259000000000♠932,259

17
 Turkey
7005863711000000000♠863,711

18
 Netherlands
7005777227000000000♠777,227

19
  Switzerland
7005668851000000000♠668,851

20
 Saudi Arabia
7005639617000000000♠639,617

21
 Argentina
7005545866000000000♠545,866

22
 Sweden
7005514475000000000♠514,475

23
 Poland
7005471402000000000♠471,402

24
 Belgium
7005467955000000000♠467,955

25
 Iran
7005425402000000000♠425,402

26
 Thailand
7005407026000000000♠407,026

27
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document_title: The Lone Ranger (2013 film)

question_text: where was the movie the lone ranger filmed

root

text: The Lone Ranger (2013 film)

text: Plot[edit]

text: In 1933, a boy who idolizes the legendary Lone Ranger encounters the elderly Comanche Tonto at a sideshow in a San Francisco fair. Tonto proceeds to recount his experiences with that Old West adventurer.

tag: p

text: In 1869, lawyer John Reid returns home to Colby, Texas, via the uncompleted Transcontinental Railroad, managed by railroad tycoon Latham Cole. Unknown to Reid, the train is also carrying Tonto and outlaw Butch Cavendish, who is being transported for his hanging after being captured by Dan Reid, John's Texas Ranger brother. Cavendish's gang rescues Butch and derails the train. Tonto is subsequently jailed. Dan deputizes John as a Texas Ranger, and with six others they go after the Cavendish gang.

text: Cavendish's men ambush and kill their pursuers. Tonto, who has escaped from jail, comes across the dead men and buries them. However, a white spirit horse awakens John as a "spirit walker", and Tonto explains John cannot be killed in battle. Tonto also tells him Collins, one of the Rangers, betrayed Dan and is working with Cavendish. As John is thought to be dead, he wears a mask to protect his identity from enemies. Tonto gives John a silver bullet made from the fallen Rangers' badges and tells him to use it on Cavendish, whom he believes to be a mystical beast, the wendigo.

text: At a brothel Collins recently visited, Red Harrington informs the two about Dan and Collins' fight over a cursed silver rock. Meanwhile, Cavendish's men, disguised as Comanches, raid frontier settlements. John and Tonto arrive after raiders abduct Dan's widow and son, Rebecca and Danny. Regretting his earlier actions, Collins attempts to help mother and child escape, but is shot dead by Cole, who rescues them. Claiming the raiders are hostile Comanches, Cole announces the continued construction of the railroad and dispatches United States Cavalry Captain Jay Fuller to exterminate the Native Americans.

text: A Comanche tribe captures John and Tonto after the pair finds railroad tracks in Native territory. The leader tells John of Tonto's past: As a boy, Tonto had rescued Cavendish and another man from near-death and later showed them a mountain full of silver ore in exchange for a pocket watch. The men murdered the tribe to keep the location a secret, leaving Tonto with great guilt.

text: Tonto and John escape as the cavalry attack the Comanche. At the silver mine, the duo captures Cavendish. Tonto demands John use the silver bullet to kill Cavendish, but John refuses. Upon returning Cavendish to Cole and Fuller's custody, Cole is revealed to be Cavendish's partner and brother. Fuller, fearful of being labeled a war criminal for slaughtering the tribe, sides with Cole. Rebecca is held hostage, and John is returned to the mine to be executed. Tonto rescues him and the two flee. Realizing Cole is too powerful to be taken down lawfully, John dons the mask again.

text: At Promontory Summit, during the railroad's union ceremony, Cole reveals his true plan: to take control of the railroad company and use the mined silver to gain more power. John and Tonto steal nitroglycerin and use it to destroy a railroad bridge. With Red's help, Tonto steals the train with the silver, and Cole, Cavendish and Fuller pursue him in a second train on which Rebecca and Dan Jr. are being held captive. On horseback, John pursues both trains. After a furious chase and fights on both trains, Cavendish and Fuller are killed, Rebecca and Dan Jr. are rescued, and Cole drowns, buried beneath the silver ore after the train plunges off the severed bridge and into the river below.

text: The town recognize John as a hero and offers him a law-enforcement position. John declines, and he and Tonto ride off. Back in 1933, Will questions the truth of the story. Tonto gives him a silver bullet and tells him to decide for himself, and then departs.

text: Cast and characters[edit]

text:
Armie Hammer as John Reid, a youthful, scrupulous lawyer later deputized a Texas Ranger, who protects his identity as the "Lone Ranger", a masked vigilante who seeks the perpetrators responsible for his brother's death.[7]
Johnny Depp as Tonto, the aged narrator of the events of his life as a Comanche who recruited John Reid to bring justice to those responsible for massacring his tribe during his childhood,[7] and terrorizing frontier Texas settlements during the 1800s. The character wears black-and-white face paint and a deceased crow on his head.[8] According to Depp, the inspiration for the costume was a painting entitled I Am Crow by Kirby Sattler.[9] Joseph E. Foy portrays Tonto as a child.
William Fichtner as Butch Cavendish, a ruthless and cannibalistic outlaw, who Tonto believes is a wendigo.[7][10] Travis Hammer portrays the younger Butch seen in flashbacks.
Tom Wilkinson as Latham Cole, a burly and unscrupulous railroad tycoon.[11] Steve Corona portrays the younger Cole seen in flashbacks.
Ruth Wilson as Rebecca Reid, Dan's wife (later widow) and John's love interest/sister-in-law.[7]
Helena Bonham Carter as Red Harrington, an ivory-legged brothel madam who assists Reid and Tonto.
James Badge Dale as Dan Reid, John's older brother who is killed by Cavendish.[12]
Bryant Prince as Danny Reid, Rebecca and Dan's son, John's nephew.
Barry Pepper as Captain Jay Fuller, an insecure and inexperienced United States Cavalry officer.[7]
Mason Cook as Will, a young boy living in 1930s San Francisco.[13]
Saginaw Grant as Chief Big Bear, leader of the Comanche.[14]
Harry Treadaway as Frank, a member of Butch's gang who enjoys women's clothing.[13]
Lew Temple as Hollis, a Deputy Ranger.[15]
Leon Rippy as Collins, a traitorous Deputy Ranger secretly working with Butch.
Stephen Root as Habberman, president of the Transcontinental Railroad Company.
James Frain as Barret, one of Cole's industry foremen.[16]
Damon Herriman as Ray, a member of Butch's gang.[13]

tag: ul

text: Production[edit]

text: Development[edit]

text: In March 2002, Columbia Pictures announced their intention to make a Lone Ranger film with Classic Media, who owned the film rights at the time. Husband and wife producers Douglas Wick and Lucy Fisher joined the project. The tone was to be similar to The Mask of Zorro, and Columbia suggested that Tonto be re-written as a female love interest. The projected budget was set at $70 million.[17] David and Janet Peoples were hired to write the script the following year,[18] which was rewritten by Laeta Kalogridis. Jonathan Mostow was attached to direct by early 2005,[19] but Columbia placed the film in turnaround. The Weinstein Company was interested in purchasing the film rights from Classic Media in 2007[20] but the deal fell apart when Entertainment Rights eventually optioned the property. They teamed with producer Jerry Bruckheimer and brought The Lone Ranger to Walt Disney Pictures. Ted Elliott and Terry Rossio, who worked with Bruckheimer and Disney on the Pirates of the Caribbean film series, were being courted to write the script.[21] In late March 2008, Elliott and Rossio were in final negotiations.[22]

text: Disney then announced in September 2008 that Johnny Depp would be portraying Tonto[23] while the Elliot-Rossio script was rewritten by Justin Haythe.[24] The Elliot and Rossio script reportedly had a supernatural plot element involving coyotes.[2] In May 2009, Mike Newell, who was then directing Prince of Persia: The Sands of Time for Bruckheimer and Disney, entered negotiations to direct Lone Ranger.[25] Bruckheimer explained the following June that he wanted to wait before hiring a director, until Newell completed Prince of Persia, and until Depp finished filming Pirates of the Caribbean: On Stranger Tides. "The priority is most definitely Pirates 4," Bruckheimer commented. "They are going to cast the title role once they get a director and Disney greenlights. We don't have a director yet."[26] In September of 2010, Gore Verbinski was hired to direct. Verbinski had suggested giving the role of Tonto to Depp while filming the second Pirates of the Caribbean film.[27] Filming was slated to begin after Depp finished work on Dark Shadows.[28] Actor Armie Hammer was selected to play the Lone Ranger, a role that Bruckheimer described as being written for "a young Jimmy Stewart character".[29][30][31]

text: Setback[edit]

text:
"When you're spending other people's money, you want to give them back a return on their investment. Every time you go out there, you have to swing for the fences."

—Jerry Bruckheimer, on the subject of the film's budget[2]

tag: div

text: On August 12, 2011, Disney announced that production on The Lone Ranger would be delayed due to budget concerns expressed by CEO Bob Iger and then Walt Disney Studios chairman Rich Ross.[2][32] The studio and production team constrained the film's allocated budget, with Verbinski, Bruckheimer, Depp, and Hammer, equally deferring 20% of their salaries to minimize the overall cost.[2] After addressing the project's production problems in October 2011, Disney confirmed that the film was back on track after the budget was reworked to give the studio a chance to recoup its costs. Initially, filming was reported to begin on February 6, 2012, for a projected release date of May 31, 2013,[33] which subsequently was moved to the Fourth of July weekend of that same year.

text: After Alan F. Horn replaced Rich Ross as chairman of the Walt Disney Studios in 2012, he began working right away on the film, and insisted on trimming most of the scene where Cavendish eats Dan Reid's heart. Horn later explained: "I like heart in my movies ... but not that much heart."[34]

text: Filming[edit]

text: Principal photography began on March 8, 2012, and, soon after, the first photograph of Depp as Tonto and Hammer as the Lone Ranger was released.[35] Filming locations extended throughout six states: Utah, Colorado, New Mexico, Arizona, Texas, and California.[29] Some filming occurred specifically near Creede, Colorado, in June 2012;[36] Moab, Utah, in July 2012; and Cimarron Canyon State Park, New Mexico in August.[37] Second unit (stunt and blue screen) work commenced in late September 2012 in the parking lot of Santa Anita Racetrack, Arcadia, California.[citation needed]

text: The film was shot in the anamorphic format, with cinematographer Bojan Bazelli using Panavision C- and G-Series lenses.[38][39] Daytime exteriors—about 70 percent of the film—were shot on Kodak VISION3 50D 5203 35 mm film with Panavision Panaflex Platinum and Arriflex 435 cameras; interiors and nighttime exteriors were shot digitally with Arri Alexa Studio cameras.[39]

text: The shoot met with several problems including inclement weather, wildfires, a chickenpox outbreak and the death of crew member Michael Andrew Bridger on September 21, 2012.[2][40][41] Bridger, a water safety expert, died while working inside a large water tank.[42] Several cast members had to receive formal training on horseback riding, gunslinging, and lassoing.[43]

text: Industrial Light & Magic created the visual effects for The Lone Ranger.[44] Beginning in November 2013, the Autry National Center exhibited the costumes Hammer and Depp wore in the film through a loan from the Walt Disney Archives.[45]

text: Trains[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2015) (Learn how and when to remove this template message)

tag: table

text: For the train scenes seen in the film, a large oval shaped track had to be built near Albuquerque, New Mexico to have rail lines that went north, south, east, and west. There were a total of 6 railroad locations in the film, but the oval was the largest. All the work was done by the Gandy Dancer Railroad and Excavating Services, who brought in 3,889,425 pounds of 33-foot rail, bars, tie places and ties from Blythe, California. The whole rail line had to be removed after filming was completed because the rail line had no outside interchange.

text: The locomotives and rolling stock seen in the film were all built in a machine shop in Sun Valley, California. One of the two locomotives, a 4-6-0 or Ten-wheeler, was used in the beginning of the film and then was renovated into the "Constitution" locomotive seen later in the film. The other locomotive, a 4-4-0 or American, was based on the Central Pacific Jupiter that was on hand for the real Golden Spike Ceremony up on Promontory Summit. For easy movement, the locomotives and rail cars were built in the same fashion as shipping containers so they could be added and removed from their chassis and then transported on flatbed trucks. This method was also used in part of the train chase scene that took place in the mountains since they could not build any railroad tracks up in the mountains.

text: The two steam locomotives each had a pair of 1,000 hp Cummins diesel engines in their tenders that supplied their power and movement, and where hydraulic hoses connected the engines to their tenders. Both trains were operated by a computer inside both of their cabs, but a real locomotive engineer had to be inside them to control the brakes, and he would override the computers in case of an emergency. Special effects were used to produce the smoke and steam that came from the engines.

text: Both trains could reach speeds of roughly 30 miles per hour, which was the actual standard speed for locomotives during that era, but an EMD SW1500 diesel switcher was used for the scenes that did not show the steam locomotives.

text: After filming was finished, the trains were then donated to the Fillmore and Western Railway in California.

text: Music[edit]

text: In April 2012, it was announced that Jack White was hired to compose the score for the film.[46] White later declined to work on the film's music, citing scheduling conflicts, and he was replaced with Hans Zimmer in December 2012.[47] In March 2013, Michael Einziger tweeted that he was working with Zimmer on the score.[48] The film's soundtrack was issued by Walt Disney Records in two releases: Zimmer's film score and the "inspired by" concept album on July 2, 2013.[49][50]

text: Release[edit]

text: As a result of the production setbacks, The Lone Ranger faced numerous shifts in release dates. Walt Disney Studios Motion Pictures initially scheduled the film for a mid-2011 release date,[51] but Pirates of the Caribbean: On Stranger Tides replaced it, because the latter was considered a priority for the studio and, because The Lone Ranger did not have a director.[52] After Gore Verbinski signed for director, The Lone Ranger's release date was moved to December 21, 2012. Budget concerns and negotiations resulted in a production delay, so the release date was pushed to May 31, 2013.[53] By mid-2012, DreamWorks Pictures' Robopocalypse was facing its own production delays and could not meet its July 3, 2013 release date. Therefore, Disney had The Lone Ranger assume its place for the Fourth of July holiday weekend.[54]

text: The first trailer debuted at San Diego Comic-Con before being released theatrically on October 3, 2012.[55] Television promotions for the film aired during Super Bowl XLVII.[56] Disney used the film's production connection to the Pirates of the Caribbean series as the main tagline in the film's marketing, as well as featuring the film's two main characters in promotional materials for Disney Infinity.[57][58]

text: The Lone Ranger was selected as the closing film for the Taormina Film Festival.[59] Its world premiere was held on June 22 at the Hyperion Theater in the Hollywood Land district of Disney California Adventure, with proceeds being donated to the American Indian College Fund.[60][61]

text: The film was remastered and released in IMAX theaters on August 7, 2013 in several international territories including the United Kingdom and Japan.[62][63]

text: Box office[edit]

text: The film grossed $89,302,115 in the United States and $171,200,000 in other countries for a worldwide total of $260,502,115.[3]

text: Preliminary reports had the film tracking for a $60–$70 million debut in North America.[64] The film earned $2 million from late showings on Tuesday, July 2, 2013 and $9.67 million on its opening day, July 4.[65] During its opening weekend, the film debuted in second place with $29.3 million over three days and $48.9 million over the five-day frame.[66]

text: After under-performing during its opening weekend, the film was characterized by numerous media sources as a box office flop with many observers comparing it unfavorably to John Carter, another big-budgeted Disney film that failed commercially the year before.[67][68][69][70][71] The New York Times estimated that the film cost $375 million to produce and market, and would need to earn an estimated $650 million worldwide to break even, after accounting for revenue splits with theater owners.[69] The Hollywood Reporter noted that the losses from the film could surpass $150 million, with Walt Disney Studios Motion Pictures vice-president Dave Hollis calling these results "very disappointing".[5][72]

text: Compared to Despicable Me 2, a film that opened the same weekend to $142.1 million on a $76 million budget, The Wall Street Journal noted that The Lone Ranger made just under a third of that ($48.9 million) and had more than three times the budget ($215 million).[73] Nearly 68% of ticket buyers were over 25 years old and nearly 25% over 50 years old, a much higher percentage than is typical for the studio.[73] Disney viewed the film's international performance ($24.3 million from 24 markets), including that of Russia and Australia, as "softer than we would have liked."[73]

text: The New York Times and USA Today noted that The Lone Ranger joined a string of high-concept Western films that failed at the box office, including 1999's Wild Wild West, which cost $170 million but grossed $222 million, 2011's Cowboys & Aliens, which cost $160 million, but grossed $100 million, and 2010's Jonah Hex, which earned less than $11 million on a budget of $47 million.[69][71] Phil Contrino, chief analyst for Boxoffice described the film's box office performance as "the kind of bomb that people discuss for years to come" due to its use of otherwise successful director, producer, and stars.[69] Alan Horn, current Walt Disney Studios chairman, admitted the financial risk the studio faced with the film.[74] Jay Rasulo, Disney CFO, expects to attribute a loss of $160–190 million in the company's Studio Entertainment division during the fourth fiscal quarter.[75][76]

text: In September 2014, studio president Alan Bergman was asked at a conference if Disney had been able to partially recoup its losses on The Lone Ranger and John Carter through subsequent release windows or other monetization methods, and he responded: "I'm going to answer that question honestly and tell you no, it didn't get that much better. We did lose that much money on those movies."[77]

text: Reception[edit]

text: Critical response[edit]

text: Mick LaSalle of the San Francisco Chronicle called it "a jumbled botch that is so confused in its purpose and so charmless in its effect that it must be seen to be believed, but better yet, no. Don't see it, don't believe it."[78] Lou Lumenick of the New York Post was equally scathing, calling it a "bloated, misshapen mess, a stillborn franchise loaded with metaphors for its feeble attempts to amuse, excite and entertain."[79] Charlie McCollum of the San Jose Mercury News wrote, "In the end, The Lone Ranger is one hot mess—an entertaining one, to be sure, but still a mess."[80] Tim Walker of The Independent gave a mixed review, praising Gore Verbinski for "employ[ing] the Old West to good effect, with gorgeous widescreen vistas that owe everything to Sergio Leone and John Ford." However, he added, "it takes a full hour for Reid to don his mask, and then there’s another 80 unremarkable minutes to go."[81]

text: Among some of the positive reviews, James Verniere of the Boston Herald wrote, "The film, part spoof, part pastiche, is chockablock with violent incident, spectacular settings, Buster Keaton-esque action and colorful characters out of spaghetti Westerns of yore."[82] Andrew O'Hehir of Salon.com called it "an ambitious and inventive film that’s always trying to tweak formula and play with audience expectations. If anything, it’s overstuffed with imagination and ideas...."[83] Jon Niccum of the Kansas City Star stated, "The movie takes a more old-fashioned approach to thrills. It appears to showcase as many stuntmen as it does digital compositors."[84]

text: Among British critics, the reception was more positive.[85][86] Angie Errigo of the British film magazine Empire gave it four of five stars, finding "[r]eal storytelling, well thought-out and beautifully, at times insanely, executed, with excitement, laughs and fun to make you feel seven years old again."[85] Robbie Collin of The Daily Telegraph gave the film three stars out of five, writing, "Verbinski shows more ambition here than he did in Pirates of the Caribbean." He added, "[I]n a sane world this would never have been made, although I’m really rather glad someone did."[86] Frank Lovece, writing for Film Journal International, addressed critics' concerns over the film's tone by pointing out, "[T]he movie is told in flashback from the perspective of a wizened, quite eccentric character—the working definition of the film-school trope 'the unreliable narrator.' ... Whatever really happened out on the frontier, this is the story as Tonto remembers it, animist mysticism and all."[87]

text: Gore Verbinski, Jerry Bruckheimer, Armie Hammer, and Johnny Depp openly criticized American film critics' Lone Ranger reviews.[88] with Depp saying it was as if "the reviews were written 7–8 months before we released the film." Bruckheimer felt the film was overlooked and that critics "were reviewing the budget, not reviewing the movie."[88] Hammer stated that the negative press coverage of the film had been triggered by the production troubles, saying "If you go back and read the negative reviews, most of them aren't about the content of the movie, but more what's behind it. They tried to do the same thing to World War Z; it didn't work, the movie was successful. Instead they decided to slit the jugular of our movie."[89]

text: Filmmaker Quentin Tarantino called the film one of the ten best of 2013 through October:[90] "The first forty-five minutes are excellent…the next forty-five minutes are a little soporific. It was a bad idea to split the bad guys in two groups; it takes hours to explain and nobody cares. Then comes the train scene—incredible! When I saw it, I kept thinking, ‘What, that’s the film that everybody says is crap? Seriously?’"[91]

text: Film critic Scout Tafoya included the film in his video series "The Unloved" in 2015, likening the film's unfortunate circumstances to what the 1980 Western film Heaven's Gate similarly went through. Tafoya considers The Lone Ranger to be a masterpiece, praising the film's deconstruction of American myths which erased the tragedies experienced by Native Americans, stating: "There's a melancholy that runs through even the most frenetic, kinetic action sequence in The Lone Ranger. No matter how big a grin it puts in your face, it's still about the deaths of thousands, not to mention our ideals, of the stain on our legacy as a united people."[92][93] Film critic Matt Zoller Seitz of RogerEbert.com gave the film three-and-a-half out of four stars, stating that "for all its miscalculations, this is a personal picture, violent and sweet, clever and goofy. It's as obsessive and overbearing as Steven Spielberg's 1941 — and, I'll bet, as likely to be re-evaluated twenty years from now, and described as 'misunderstood.'"[94]

text: On Rotten Tomatoes the film holds a rating of 31%, based on 224 reviews, with an average rating of 4.8/10. The site's consensus reads, "Armie Hammer and Johnny Depp make for an appealing pair of leads, but they're not enough to make up for The Lone Ranger's bland script, bloated length, and blaring action overkill."[95] On Metacritic, the film has a score of 37 out of 100, based on reviews from 45 critics, indicating "generally unfavorable reviews".[96]

text: Casting controversy[edit]

text: Despite the producers citing the presence of an adviser from the Comanche Nation, some debated the advisability of casting of Depp as a Native American and whether the film would present a positive and accurate representation of the Comanche.[97] Depp has stated he believes he has Native American ancestry, possibly from a great-grandmother. He has said that he considered the role a personal attempt "to try to right the wrongs of the past", in reference to portrayals of Native American culture in the media.[98][99]

text: Todd McDaniels, a linguist at the Comanche Nation College, commented on Depp's attempts to speak the Comanche language, which has 25 to 30 living native speakers.[citation needed] "The words were there, the pronunciation was shaky, but adequate."[100]

text: Home media[edit]

text: The Lone Ranger was released by Walt Disney Studios Home Entertainment on Blu-ray and DVD on December 17, 2013.[101] It was released in Australia on October 31.[102]

text: Accolades[edit]

text:
Awards and nominations

Association
Date of ceremony
Category
Nominee(s)
Result

Academy Awards
March 2, 2014
Best Makeup and Hairstyling
Joel Harlow and Gloria Pasqua-Casny
Nominated

Best Visual Effects
Tim Alexander, Gary Brozenich, Edson Williams, and John Frazier
Nominated

Golden Raspberry Awards
March 1, 2014
Worst Picture

Nominated

Worst Director
Gore Verbinski
Nominated

Worst Actor
Johnny Depp
Nominated

Worst Screenplay
Justin Haythe, Ted Elliott and Terry Rossio
Nominated

Worst Prequel, Remake, Rip-off or Sequel

Won

Nickelodeon Kids' Choice Awards[103]
March 29, 2014
Favorite Male Buttkicker
Johnny Depp
Nominated

Favorite Movie Actor
Nominated

Saturn Awards[104][105]
June 26, 2014
Best Action or Adventure Film

Nominated

Teen Choice Awards
August 11, 2013
Choice Chemistry
Johnny Depp and Armie Hammer
Nominated

Choice Summer Movie Star: Male
Johnny Depp
Nominated

Visual Effects Society Awards[106]
February 12, 2014
Outstanding Supporting Visual Effects in a Feature Motion Picture
Tim Alexander, Gary Brozenich, Shari Hanson, Kevin Martel
Won


document_title: Shahnameh

question_text: who is the prophet referred to in the shahnama

question_tokens: who is the prophet referred to in the shahnama

text: Shahnameh

text: Composition

text: Ferdowsi started writing the Shahnameh in 977 A. D and completed it on 8 March 1010.[3] The Shahnameh is a monument of poetry and historiography, being mainly the poetical recast of what Ferdowsi, his contemporaries, and his predecessors regarded as the account of Iran's ancient history. Many such accounts already existed in prose, an example being the Abu-Mansuri Shahnameh. A small portion of Ferdowsi's work, in passages scattered throughout the Shahnameh, is entirely of his own conception.

text: The Shahnameh is an epic poem of over 50,000 couplets, written in early Modern Persian. It is based mainly on a prose work of the same name compiled in Ferdowsi's earlier life in his native Tus. This prose Shahnameh was in turn and for the most part the translation of a Pahlavi (Middle Persian) work, known as the Xwadāynāmag ("Book of Kings"), a late Sassanid compilation of the history of the kings and heroes of Persia from mythical times down to the reign of Khosrau II (590–628). The Xwadāynāmag contained historical information on the later Sassanid period, but it does not appear to have drawn on any historical sources for the earlier Sassanid period (3rd to 4th centuries).[4] Ferdowsi added material continuing the story to the overthrow of the Sassanids by the Arabs in the middle of the 7th century.

text: The first to undertake the versification of the Pahlavi chronicle was Abu-Mansur Daqiqi, a contemporary of Ferdowsi, poet at the court of the Samanids, who came to a violent end after completing only 1,000 verses. These verses, which deal with the rise of the prophet Zoroaster, were afterward incorporated by Ferdowsi, with acknowledgment, in his own poem. The style of the Shahnameh shows characteristics of both written and oral literature. Some claim that Ferdowsi also used Zoroastrian nasks, such as the now-lost Chihrdad, as sources as well.[5]

text: Many other Pahlavi sources were used in composing the epic, prominent being the Kārnāmag-ī Ardaxšīr-ī Pābagān, which was originally written during the late Sassanid era and gave accounts of how Ardashir I came to power which, because of its historical proximity, is thought to be highly accurate. The text is written in the late Middle Persian, which was the immediate ancestor of Modern Persian. A great portion of the historical chronicles given in Shahnameh is based on this epic and there are in fact various phrases and words which can be matched between Ferdowsi's poem and this source, according to Zabihollah Safa.[6]

text: According to one account of the sources, a Persian named Dehqan in the court of King Anushehrawan Dadgar had composed a voluminous book in prose form, known as Khoday Nameh. After the fall of the Iranian Empire, Khoday Nameh came into the possession of King Yaqub Lais and then the Samani king Nuh ordered the poet Daqiqi to complete it, but Daqiqi was killed by his slave. Ferdowsi obtained the book through a friend.

text: Content

text: This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (December 2011) (Learn how and when to remove this template message)

text: The Shahnameh provides a poetic account of the prehistory and history of Iran, beginning with the creation of the world and the introduction of the arts of civilization (fire, cooking, metallurgy, law), and ending with the Islamic Conquest of Persia. The work is not precisely chronological, but there is a general movement through time. Some of the characters live for hundreds of years but most have normal life spans. There are many shāhs who come and go, as well as heroes and villains, who also come and go. The only lasting images are those of Greater Persia itself, and of a succession of sunrises and sunsets, no two ever exactly alike, yet illustrative of the passage of time.

text: The work is divided into three successive parts: the "mythical", "heroic", and "historical" ages.

text: Father Time, a Saturn-like image, is a reminder of the tragedy of death and loss, yet the next sunrise comes, bringing with it hope of a new day. In the first cycle of creation, evil is external (the devil). In the second cycle, we see the beginnings of family hatred, bad behavior, and evil permeating human nature. Shāh Fereydūn's two eldest sons feel greed and envy toward their innocent younger brother and, thinking their father favors him, they murder him. The murdered prince's son avenges the murder, and all are immersed in the cycle of murder and revenge, blood and more blood. In the third cycle, we encounter a series of flawed shahs. There is a Phaedra-like story of Shāh Kay Kāvus, his wife Sūdābeh, and her passion for and rejection by her stepson, Sīyāvash.

text: It is only in the characterizations of the work's many figures, both male and female, that Zoroaster's original view of the human condition comes through. Zoroaster emphasized human free will. All of Ferdowsi's characters are complex; none is an archetype or a puppet. [clarification needed] The best characters have flaws, and the worst have moments of humanity.

text: Traditional historiography in Iran has claimed that Ferdowsi was grieved by the fall of the Sassanid Empire and its subsequent rule by "Arabs" and "Turks". The Shahnameh, the argument goes, is largely his effort to preserve the memory of Persia's golden days and transmit it to a new generation so that they could learn and try to build a better world.[7] Although most scholars have contended that Ferdowsi's main concern was the preservation of the pre-Islamic legacy of myth and history, a number of authors have formally challenged this view.[8]

text: Mythical age

text: This portion of the Shahnameh is relatively short, amounting to some 2,100 verses or four percent of the entire book, and it narrates events with the simplicity, predictability, and swiftness of a historical work.

text: After an opening in praise of God and Wisdom, the Shahnameh gives an account of the creation of the world and of man as believed by the Sassanians. This introduction is followed by the story of the first man, Keyumars, who also became the first king after a period of mountain dwelling. His grandson Hushang, son of Sīyāmak, accidentally discovered fire and established the Sadeh Feast in its honor. Stories of Tahmuras, Jamshid, Zahhāk, Kawa or Kaveh, Fereydūn and his three sons Salm, Tur, and Iraj, and his grandson Manuchehr are related in this section.

text: Heroic age

text: Almost two-thirds of the Shahnameh is devoted to the age of heroes, extending from Manuchehr's reign until the conquest of Alexander the Great (Eskandar). The main feature of this period is the major role played by the Saka or Sistānī heroes who appear as the backbone of the Persian Empire. Garshāsp is briefly mentioned with his son Narimān, whose own son Sām acted as the leading paladin of Manuchehr while reigning in Sistān in his own right. His successors were his son Zāl and Zal's son Rostam, the bravest of the brave, and then Farāmarz.

text: Among the stories described in this section are the romance of Zal and Rudāba, the Seven Stages (or Labors) of Rostam, Rostam and Sohrab, Sīyāvash and Sudāba, Rostam and Akvān Dīv, the romance of Bijan and Manijeh, the wars with Afrāsīyāb, Daqiqi's account of the story of Goshtāsp and Arjāsp, and Rostam and Esfandyār.

text: Historical age

text: A brief mention of the Arsacid dynasty follows the history of Alexander and precedes that of Ardashir I, founder of the Sassanid Empire. After this, Sassanid history is related with a good deal of accuracy. The fall of the Sassanids and the Arab conquest of Persia are narrated romantically.

text: Message

text: Ferdowsi did not expect his readers to pass over historical events indifferently, but asked them to think carefully, to see the grounds for the rise and fall of individuals and nations; and to learn from the past in order to improve the present, and to better shape the future.[original research?] Ferdowsi stresses his belief that since the world is transient, and since everyone is merely a passerby, one is wise to avoid cruelty, lying, avarice, and other evils; instead one should strive for justice, honor, truth, order, and other virtues.[original research?]

text: The singular message[original research?] that the Shahnameh of Ferdowsi strives to convey is the idea that the history of the Sassanid Empire was a complete and immutable whole: it started with Keyumars, the first man, and ended with his fiftieth scion and successor, Yazdegerd III, six thousand years of history of Iran. The task of Ferdowsi was to prevent this history from being lost to future Persian generations.

text: According to Jalal Khaleghi Mutlaq, the Shahnameh teaches a wide variety of moral virtues, like worship of one God; religious uprightness; patriotism; love of wife, family and children; and helping the poor.[9]

text: Influence on Persian language

text: After the Shahnameh, a number of other works similar in nature surfaced over the centuries within the cultural sphere of the Persian language. Without exception, all such works were based in style and method on the Shahnameh, but none of them could quite achieve the same degree of fame and popularity.

text: Some experts[who?] believe the main reason the Modern Persian language today is more or less the same language as that of Ferdowsi's time over 1000 years ago is due to the very existence of works like the Shahnameh, which have had lasting and profound cultural and linguistic influence. In other words, the Shahnameh itself has become one of the main pillars of the modern Persian language. Studying Ferdowsi's masterpiece also became a requirement for achieving mastery of the Persian language by subsequent Persian poets, as evidenced by numerous references to the Shahnameh in their works.

text: It is claimed that Ferdowsi went to great lengths to avoid any words drawn from the Arabic language, words which had increasingly infiltrated the Persian language following the Arab conquest of Persia in the 7th century. Ferdowsi is even quoted:

text: بسی رنج بردم در این سال سی؛

text: عجم زنده کردم بدین پارسی

text: This translates to: "I have struggled much these thirty years in order to keep Persian 'ajam' (meaning non-Arabic, or specifically Iranian)". Ferdowsi followed this path not only to preserve and purify the Persian language, but also as a stark political statement against the Arab conquest of Persia.[10] This assertion has been called into question by Mohammed Moinfar, who has noted that there are numerous examples of Arabic words in the Shahnameh which are effectively synonyms for Persian words previously used in the text. This calls into question the idea of Ferdowsi's deliberate eschewing of Arabic words.[11]

text: The Shahnameh has 62 stories, 990 chapters, and some 50,000 rhyming couplets, making it more than three times the length of Homer's Iliad, and more than twelve times the length of the German Nibelungenlied. According to Ferdowsi himself, the final edition of the Shahnameh contained some sixty thousand distichs. But this is a round figure; most of the relatively reliable manuscripts have preserved a little over fifty thousand distichs. Nezami-e Aruzi reports that the final edition of the Shahnameh sent to the court of Sultan Mahmud of Ghazni was prepared in seven volumes.

text: Cultural influence

text: The Shirvanshah dynasty adopted many of their names from the Shahnameh. The relationship between Shirwanshah and his son, Manuchihr, is mentioned in chapter eight of Nizami's Leili o Majnoon. Nizami advises the king's son to read the Shahnameh and to remember the meaningful sayings of the wise.[12]

text: According to the Turkish historian Mehmet Fuat Köprülü:

text: Indeed, despite all claims to the contrary, there is no question that Persian influence was paramount among the Seljuks of Anatolia. This is clearly revealed by the fact that the sultans who ascended the throne after Ghiyath al-Din Kai-Khusraw I assumed titles taken from ancient Persian mythology, like Kai Khosrow, Kay Kāvus, and Kai Kobad; and that Ala' al-Din Kai-Qubad I had some passages from the Shahname inscribed on the walls of Konya and Sivas. When we take into consideration domestic life in the Konya courts and the sincerity of the favor and attachment of the rulers to Persian poets and Persian literature, then this fact (i.e. the importance of Persian influence) is undeniable.[13]

text: Shah Ismail I (d.1524), the founder of the Safavid dynasty of Iran, was also deeply influenced by the Persian literary tradition, particularly by the Shahnameh, which probably explains the fact that he named all of his sons after Shahnameh characters. Dickson and Welch suggest that Ismail's Shāhnāmaye Shāhī was intended as a present to the young Tahmāsp.[14] After defeating Muhammad Shaybāni's Uzbeks, Ismāil asked Hātefī, a famous poet from Jam (Khorasan), to write a Shahnameh-like epic about his victories and his newly established dynasty. Although the epic was left unfinished, it was an example of mathnawis in the heroic style of the Shahnameh written later on for the Safavid kings.[15]

text: The Shahnameh's influence has extended beyond the Persian sphere. Professor Victoria Arakelova of Yerevan University states:

text: During the ten centuries passed after Firdausi composed his monumental work, heroic legends and stories of Shahnameh have remained the main source of the storytelling for the peoples of this region: Persians, Pashtuns, Kurds, Gurans, Talishis, Armenians, Georgians, North Caucasian peoples, etc.[16]

text: On Georgian identity

text: Jamshid Sh. Giunashvili remarks on the connection of Georgian culture with that of Shahnameh:

text: The names of many Šāh-nāma heroes, such as Rostom-i, Thehmine, Sam-i, or Zaal-i, are found in 11th- and 12th-century Georgian literature. They are indirect evidence for an Old Georgian translation of the Šāh-nāma that is no longer extant. ...

text: The Šāh-nāma was translated, not only to satisfy the literary and aesthetic needs of readers and listeners, but also to inspire the young with the spirit of heroism and Georgian patriotism. Georgian ideology, customs, and worldview often informed these translations because they were oriented toward Georgian poetic culture. Conversely, Georgians consider these translations works of their native literature. Georgian versions of the Šāh-nāma are quite popular, and the stories of Rostam and Sohrāb, or Bījan and Maniža became part of Georgian folklore.[17]

text: On Turkic identity

text: Despite some popular belief, the Turanians of Shahnameh (whose sources are based on Avesta and Pahlavi texts) have no relationship with the ethno-linguistic group Turk today.[18] The Turanians of Shahnameh are an Iranian people representing Iranian nomads of the Eurasian Steppes and have no relationship to the culture of the Turks.[18] Turan, which is the Persian name for the areas of Central Asia beyond the Oxus up to the 7th century (where the story of the Shahnameh ends), was generally an Iranian-speaking land.[19]

text: According to Richard Frye, "The extent of influence of the Iranian epic is shown by the Turks who accepted it as their own ancient history as well as that of Iran... The Turks were so much influenced by this cycle of stories that in the eleventh century AD we find the Qarakhanid dynasty in Central Asia calling itself the 'family of Afrasiyab' and so it is known in the Islamic history."[20]

text: Turks, as an ethno-linguistic group, have been influenced by the Shahnameh since advent of Saljuqs.[21] Toghrul III of Seljuqs is said to have recited the Shahnameh while swinging his mace in battle.[21] According to Ibn Bibi, in 618/1221[clarification needed] the Saljuq of Rum Ala' al-Din Kay-kubad decorated the walls of Konya and Sivas with verses from the Shahnameh.[22] The Turks themselves connected their origin not with Turkish tribal history but with the Turan of Shahnameh.[23] Specifically in India, through the Shahnameh, they felt themselves to be the last outpost tied to the civilized world by the thread of Iranianism.[23]

text: Legacy

text: Ferdowsi concludes the Shahnameh by writing:

text:
I've reached the end of this great history
And all the land will talk of me:
I shall not die, these seeds I've sown will save
My name and reputation from the grave,
And men of sense and wisdom will proclaim
When I have gone, my praises and my fame.[24]

text: Another translation of by Reza Jamshidi Safa:

text:
Much I have suffered in these thirty years,
I have revived the Ajam with my verse.
I will not die then alive in the world,
For I have spread the seed of the word.
Whoever has sense, path and faith,
After my death will send me praise.[25]

text: This prediction of Ferdowsi has come true and many Persian literary figures, historians and biographers have praised him and the Shahnameh. The Shahnameh is considered by many to be the most important piece of work in Persian literature.

text: Western writers have also praised the Shahnameh and Persian literature in general. Persian literature has been considered by such thinkers as Goethe as one of the four main bodies of world literature.[26] Goethe was inspired by Persian literature, which moved him to write his West-Eastern Divan. Goethe wrote:

text: When we turn our attention to a peaceful, civilized people, the Persians, we must—since it was actually their poetry that inspired this work—go back to the earliest period to be able to understand more recent times. It will always seem strange to the historians that no matter how many times a country has been conquered, subjugated and even destroyed by enemies, there is always a certain national core preserved in its character, and before you know it, there re-emerges a long-familiar native phenomenon. In this sense, it would be pleasant to learn about the most ancient Persians and quickly follow them up to the present day at an all the more free and steady pace.[27]

text: Biographies

text: Sargozasht-Nameh or biography of important poets and writers has long been a Persian tradition. Some of the biographies of Ferdowsi are now considered apocryphal, nevertheless this shows the important impact he had in the Persian world. Among the famous biographies are:[28]

text:
Chahar Maqaleh ("Four Articles") by Nezami 'Arudi-i Samarqandi
Tazkeret Al-Shu'ara ("The Biography of poets") by Dowlat Shah-i Samarqandi
Baharestan ("Abode of Spring") by Jami
Lubab ul-Albab by Mohammad 'Awfi
Natayej al-Afkar by Mowlana Muhammad Qudrat Allah
Arafat Al-'Ashighin by Taqqi Al-Din 'Awhadi Balyani

tag: ol

text: Poets

text: Famous poets of Persia and the Persian tradition have praised and eulogized Ferdowsi. Many of them were heavily influenced by his writing and used his genre and stories to develop their own Persian epics, stories and poems:[28]

text:
Anvari remarked about the eloquence of the Shahnameh, "He was not just a Teacher and we his students. He was like a God and we are his slaves".[29]
Asadi Tusi was born in the same city as Ferdowsi. His Garshaspnama was inspired by the Shahnameh as he attests in the introduction. He praises Ferdowsi in the introduction[30] and considers Ferdowsi the greatest poet of his time.[31]
Masud Sa'ad Salman showed the influence of the Shahnameh only 80 years after its composition by reciting its poems in the Ghaznavid court of India.
Othman Mokhtari, another poet at the Ghaznavid court of India, remarked, "Alive is Rustam through the epic of Ferdowsi, else there would not be a trace of him in this World".[32]
Sanai believed that the foundation of poetry was really established by Ferdowsi.[33]
Nizami Ganjavi was influenced greatly by Ferdowsi and three of his five "treasures" had to do with pre-Islamic Persia. His Khosro-o-Shirin, Haft Peykar and Eskandar-nameh used the Shahnameh as a major source. Nizami remarks that Ferdowsi is "the wise sage of Tus" who beautified and decorated words like a new bride.[34]
Khaghani, the court poet of the Shirvanshah, wrote of Ferdowsi:

"The candle of the wise in this darkness of sorrow,
The pure words of Ferdowsi of the Tusi are such,
His pure sense is an angelic birth,
Angelic born is anyone who's like Ferdowsi."[35]

text:
Attar wrote about the poetry of Ferdowsi: "Open eyes and through the sweet poetry see the heavenly eden of Ferdowsi."[36]
In a famous poem, Sa'adi wrote:

"How sweetly has conveyed the pure-natured Ferdowsi,
May blessing be upon his pure resting place,
Do not harass the ant that's dragging a seed,
because it has life and sweet life is dear."[37]

text: In the Baharestan, Jami wrote, "He came from Tus and his excellence, renown and perfection are well known. Yes, what need is there of the panegyrics of others to that man who has composed verses as those of the Shah-nameh?"

text: Many other poets, e.g. Hafez, Rumi and other mystical poets, have used imageries of Shahnameh heroes in their poetry.

text: Persian historiography

text: The Shahnameh's impact on Persian historiography was immediate and some historians decorated their books with the verses of Shahnameh. Below is sample of ten important historians who have praised the Shahnameh and Ferdowsi:[28]

text:
The unknown writer of the Tarikh Sistan ("History of Sistan") written around 1053
The unknown writer of Majmal al-Tawarikh wa Al-Qasas (c. 1126)
Mohammad Ali Ravandi, the writer of the Rahat al-Sodur wa Ayat al-Sorur (c. 1206)
Ibn Bibi, the writer of the history book, Al-Awamir al-'Alaiyah, written during the era of 'Ala ad-din KayGhobad
Ibn Esfandyar, the writer of the Tarikh-e Tabarestan
Muhammad Juwayni, the early historian of the Mongol era in the Tarikh-e Jahan Gushay (Ilkhanid era)
Hamdollah Mostowfi Qazwini also paid much attention to the Shahnameh and wrote the Zafarnamah based on the same style in the Ilkhanid era
Hafez-e Abru (1430) in the Majma' al-Tawarikh
Khwand Mir in the Habab al-Siyar (c. 1523) praised Ferdowsi and gave an extensive biography on Ferdowsi
The Arab historian Ibn Athir remarks in his book, Al-Kamil, that, "If we name it the Quran of 'Ajam, we have not said something in vain. If a poet writes poetry and the poems have many verses, or if someone writes many compositions, it will always be the case that some of their writings might not be excellent. But in the case of Shahnameh, despite having more than 40 thousand couplets, all its verses are excellent."[38]

text: Illustrated copies

text: Illustrated copies of the work are among the most sumptuous examples of Persian miniature painting. Several copies remain intact, although two of the most famous, the Houghton Shahnameh and the Great Mongol Shahnameh, were broken up for sheets to be sold separately in the 20th century. A single sheet from the former was sold for £904,000 in 2006.[39] The Baysonghori Shahnameh, an illuminated manuscript copy of the work (Golestan Palace, Iran), is included in UNESCO's Memory of the World Register of cultural heritage items.[40]

text: The Mongol rulers in Iran revived and spurred the patronage of the Shanameh in its manuscript form.[41][42][43][44][45][46][47][48][49][50][51] The "Great Mongol" or Demotte Shahnameh, produced during the reign of the Ilkhanid Sultan Abu Sa'id, is one of the most illustrative and important copies of the Shahnameh.[52]

text: The Timurids continued the tradition of manuscript production. For them, it was considered de rigueur for the members of the family to have personal copies of the epic poem.[53] Consequently, three of Timur’s grandsons—Bāysonḡor, Ebrāhim Solṭān, and Moḥammad Juki—each commissioned such a volume.[53] Among these, the Baysonghor Shahnameh commissioned by Ḡīāṯ-al-Dīn Bāysonḡor is one of the most voluminous and artistic Shahnameh manuscripts.[54]

text: The production of illustrated Shahnameh manuscripts in the 15th century remained vigorous[53] during the Qarā-Qoyunlu or Black Sheep (1380–1468) and Āq Qoyunlu or White Sheep (1378–1508) Turkman dynasties.[53] Many of the extant illustrated copies, with more than seventy or more paintings, are attributable to Tabriz, Shiraz, and Baghdad beginning in about the 1450s–60s and continuing to the end of the century.[53]

text: The Safavid era saw a resurgence of Shahnameh productions.[53] Shah Ismail I used the epic for propaganda purposes: as a gesture of Persian patriotism, as a celebration of renewed Persian rule, and as a reassertion of Persian royal authority.[53] The Safavids commissioned elaborate copies of the Shahnameh to support their legitimacy.[55][56] Among the high points of Shahnameh illustrations was the series of 250 miniatures commissioned by Shah Ismail for his son's Shahnameh of Shah Tahmasp.[57] Two similar cycles of illustration of the mid-17th century, the Shahnameh of Rashida and the Windsor Shahnameh, come from the last great period of the Persian miniature.

text: In honour of the Shahnameh's millennial anniversary, in 2010 the Fitzwilliam Museum in Cambridge hosted a major exhibition, called "Epic of the Persian Kings: The Art of Ferdowsi’s Shahnameh", which ran from September 2010 to January 2011.[58] The Arthur M. Sackler Gallery of the Smithsonian Institution in Washington, DC also hosted an exhibition of folios from the 14th through the 16th centuries, called "Shahnama: 1000 Years of the Persian Book of Kings", from October 2010 to April 2011.[59]

text: In 2013 Hamid Rahmanian illustrated a new English translation of Shanameh (translated by Ahmad Sadri) using images from various pictures of old manuscripts of the book to create new imagery.[60][61]

text: Modern editions

text: Scholarly editions

text: Scholarly editions have been prepared of the Shahnameh. An early edition was prepared in 1829 in India by T. Macan. It was based on a comparison of 17 manuscript copies. Between 1838 and 1878, an edition appeared in Paris by French scholar J. Mohl, which was based on a comparison of 30 manuscripts. Both editions lacked critical apparatuses and were based on secondary manuscripts dated after the 15th century; much later than the original work. Between 1877 and 1884, the German scholar J. A. Vullers prepared a synthesized text of the Macan and Mohl editions, but only three of its expected nine volumes were published. The Vullers edition was later completed in Tehran by the Iranian scholars S. Nafisi, Iqbal, and M. Minowi for the millennial jubilee of Ferdowsi, held between 1934 and 1936.

text: The first modern critical edition of the Shahnameh was prepared by a Russian team led by E. E. Bertels, using the oldest known manuscripts at the time, dating from the 13th and 14th centuries, with heavy reliance on the 1276 manuscript from the British Museum and the 1333 Leningrad manuscript, the latter of which has now been considered a secondary manuscript. In addition, two other manuscripts used in this edition have been so demoted. It was published in Moscow by the Institute of Oriental Studies of the Academy of Sciences of the USSR in nine volumes between 1960 and 1971.[62]

text: For many years, the Moscow edition was the standard text. In 1977, an early 1217 manuscript was rediscovered in Florence. The 1217 Florence manuscript is one of the earliest known copies of the Shahnameh, predating the Moghul invasion and the following destruction of important libraries and manuscript collections. Using it as the chief text, Djalal Khaleghi-Motlagh began the preparation of a new critical edition in 1990. The number of manuscripts that were consulted during the preparation of Khaleghi-Motlagh edition goes beyond anything attempted by the Moscow team. The critical apparatus is extensive and a large number of variants for many parts of the poem were recorded. The last volume was published in 2008, bringing the eight-volume enterprise to a completion. According to Dick Davis, professor of Persian at Ohio State University, it is "by far the best edition of the Shahnameh available, and it is surely likely to remain such for a very long time".[63]

text: Arabic translations

text: The earliest known Arabic translation of the Shahnameh was done in c. 1220 by al-Fath bin Ali al-Bondari, a Persian scholar from Isfahan and at the request of the Ayyubid ruler of Damascus Al-Mu'azzam Isa. The translation is Nathr (unrhyming) and was largely forgotten until it was republished in full in 1932 in Egypt, by historian Abdelwahhab Azzam. This modern edition was based on incomplete and largely imprecise fragmented copies found in Cambridge, Paris, Astana, Cairo and Berlin. The latter had the most complete, least inaccurate and well-preserved Arabic version of the original translation by al-Bondari.

text: English translations

text: There have been a number of English translations, almost all abridged. James Atkinson of the East India Company's medical service undertook a translation into English in his 1832 publication for the Oriental Translation Fund of Great Britain and Ireland, now part of the Royal Asiatic Society. Between 1905 and 1925, the brothers Arthur and Edmond Warner published a translation of the complete work in nine volumes, now out of print. There are also modern incomplete translations of the Shahnameh: Reuben Levy's 1967 prose version (later revised by Amin Banani), and another by Dick Davis in a mixture of poetry and prose which appeared in 2006.[64] Also a new English translation of the book in prose by Ahmad Sadri was published in 2013.[65]

text: The Parsis, Zoroastrians, whose ancestors had migrated to India in the 8th or 10th century so they could continue practice of their religion in peace, have also kept the Shahnameh traditions alive. Dr. Bahman Sohrabji Surti, assisted by Marzban Giara, published between 1986 and 1988 the first detailed and complete translation of the Shahnameh from the original Persian verse into English prose, in seven volumes.[citation needed]

text: Gujarati translation

text: Dastur Faramroz Kutar and his brother Ervad Mahiyar Kutar translated the Shahnameh into Gujarati verse and prose and published 10 volumes between 1914 and 1918.[citation needed]

text: Spanish translation

text: A Spanish translation has been published in 2 volumes by the Islamic Research Institute of the Tehran Branch of McGill University.[citation needed]

text: In culture

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text: The Shahnameh, especially the legend of Rostam and Sohrab, is cited and plays an important role in the novel The Kite Runner by Afghan-American writer Khaled Hosseini.[citation needed]

text: Shahnameh has also been adapted to many films and animations:

text:
In a 1971–1976, Tajikfilm trilogy comprising Skazanie o Rustame[1], Rustam i Sukhrab[2] and Skazanie o Sijavushe[3].
Bangladesh has made a blockbuster film, Shourab Rustom, in 1993.[citation needed]
A Bollywood film, Rustom Sohrab [4], based on the story of Rustam and Sohrab, was made in 1963 and starred Prithviraj Kapoor.
Persian TV series Chehel Sarbaz (Forty Soldiers), released on 2007, directed by Mohammad Nourizad, concurrently tells the story of Rostam and Esfandiar, biography of Ferdowsi, and a few other historical events.[66]
Persian short animation Zal & Simorgh, 1977, directed by Ali Akbar Sadeghi, narrates the story of Zal from birth until returning to the human society.
The Legend of Mardoush (2005), a long animated Persian trilogy, tells the mythical stories of Shahnameh from the kingdom of Jamshid to the victory of Fereydun over Zahhak.
The Last Fiction (2017), a long animated movie, has an open interpretation of the story of Zahhak.[67] The movie is preceded by the graphic novels Jamshid Dawn 1 & 2 (created by the same team) whose aim is to familiarize adolescents and youth with the myth of Jamshid.