where is mycobacterium leprae most likely to be found

Mycobacterium leprae, also known as Hansenâ€™s bacillus spirilly, mostly found in warm tropical countries, is a bacterium that causes leprosy (Hansen's disease).[1] It is an intracellular, pleomorphic, acid-fast, pathogenic bacterium.[2] M. leprae is an aerobic bacillus (rod-shaped) surrounded by the characteristic waxy coating unique to mycobacteria. In size and shape, it closely resembles Mycobacterium tuberculosis. Due to its thick waxy coating, M. leprae stains with a carbol fuchsin rather than with the traditional Gram stain. The culture takes several weeks to mature.

Mycobacterium leprae

Optical microscopy shows M. leprae in clumps, rounded masses, or in groups of bacilli side by side, and ranging from 1–8 μm in length and 0.2–0.5 μm in diameter.[3]

It was discovered in 1873 by the Norwegian physician Gerhard Armauer Hansen, who was searching for the bacteria in the skin nodules of patients with leprosy. It was the first bacterium to be identified as causing disease in humans.[4][5][verification needed] The organism has never been successfully grown on an artificial cell culture medium.[2] Instead, it has been grown in mouse foot pads and more recently in nine-banded armadillos because they, like humans, are susceptible to leprosy. This can be used as a diagnostic test for the presence of bacilli in body lesions of suspected leprosy patients. The difficulty in culturing the organism appears to be because it is an obligate intracellular parasite that lacks many necessary genes for independent survival. The complex and unique cell wall that makes members of the Mycobacterium genus difficult to destroy is apparently also the reason for the extremely slow replication rate.

Virulence factors include a waxy exterior coating, formed by the production of mycolic acids unique to Mycobacterium.

Mycobacterium leprae was sensitive to dapsone (diaminodiphenylsulfone, the first effective treatment which was discovered for leprosy in the 1940s), but resistance against this antibiotic has developed over time. Therapy with dapsone alone is now strongly contraindicated. Currently, a multidrug treatment (MDT) is recommended by the World Health Organization, including dapsone, rifampicin and clofazimine. In patients receiving the MDT, a high proportion of the bacilli die within a short amount of time without immediate relief of symptoms. This suggests many symptoms of leprosy must be due in part to the presence of dead cells.

The incubation period of M. leprae can range between nine months and twenty years.[6] It replicates intracellularly inside histiocytes and nerve cells and has two forms. One form is tuberculoid, which induces a cell-mediated response that limits its growth. Through this form M. leprae multiplies at the site of entry, usually the skin, invading and colonizing Schwann cells. The microbe then induces T-helper lymphocytes, epitheloid cells, and giant cell infiltration of the skin, causing infected individuals to exhibit large flattened patches with raised and elevated red edges on their skin. These patches have dry, pale, hairless centers, accompanied by a loss of sensation on the skin. The loss of sensation may develop as a result of invasion of the peripheral sensory nerves. The macule at the cutaneous site of entry and the loss of pain sensation are key clinical indications that an individual has a tuberculoid form of leprosy.

The second form of leprosy is the lepromatous form. This form of the microbe proliferates within the macrophages at the site of entry. It also grows within the epithelial tissues of the face and ear lobes. The suppressor T-cells that are induced are numerous, however the epithelioid and giant cells are rare or absent. With cell-mediated immunity impaired, large numbers of M. leprae appear in the macrophages and the infected patients develop papules at the entry site, marked by a folding of the skin. Gradual destruction of cutaneous nerves lead to what is referred to as "classic lion face". Extensive penetration of this microbe may lead to severe body damage; for example the loss of bones, fingers, and toes.

Mycobacterium leprae has the longest doubling time of all known bacteria and has thwarted every effort at culture in the laboratory.[7] Comparing the genome sequence of M. leprae with that of M. tuberculosis provides clear explanations for these properties, and reveals an extreme case of reductive evolution. Less than half of the genome contains functional genes. Gene deletion and decay appear to have eliminated many important metabolic activities, including siderophore production, part of the oxidative and most of the microaerophilic and anaerobic respiratory chains, and numerous catabolic systems and their regulatory circuits.[8]

The first genome sequence of a strain of M. leprae, was completed in 1998.[8] The genome sequence of a strain originally isolated in Tamil Nadu, India and designated TN, was completed in 2013. The sequence was obtained by a combined approach, employing automated DNA sequence analysis of selected cosmids and whole-genome'shotgun' clones. After the finishing process, the genome sequence was found to contain 3,268,203 base pairs (bp), and to have an average G+C content of 57.8%, values much lower than the corresponding values for M. tuberculosis, which are 4, 441,529 bp and 65.6% G+C.[9]

Mycobacterium leprae has undergone a dramatic reduction in genome size with the loss of many genes. This genome reduction is not complete and numerous genes are still present as non-functional pseudogenes. Downsizing from a genome of 4.42 Mbp, such as that of M. tuberculosis, to one of 3.27 Mbp would account for the loss of some 1200 protein-coding sequences. There is evidence that many of the genes that were present in the genome of the common ancestor of M. leprae and M. tuberculosis have been lost in the M. leprae genome.[10] 1500 genes are still common to both M. leprae and M. tuberculosis.

Information from the completed genome can be useful to develop diagnostic skin tests, to understand the mechanisms of nerve damage and drug resistance and to identify novel drug targets for rational design of new therapeutic regimens and drugs to treat leprosy and its complications.

Almost complete sequences of M. leprae from medieval skeletons with osteological lesions suggestive of leprosy from different Europe geographic origins were obtained using DNA capture techniques and high-throughput sequencing (HTS). Ancient sequences were compared with those of modern strains from biopsies of leprosy patients representing diverse genotypes and geographic origins, giving new insights in the understanding of evolution, course through history, phylogeography of the leprosy bacillus and the disappearance of leprosy from Europe

Verena J. Schuenemann et al. demonstrated a remarkable genomic conservation during the past 1000 years and a close similarity between modern and ancient strains, suggesting that the sudden decline of leprosy in Europe was not due to a losing of virulence but due to extraneous factors, such as other infectious diseases, changes in host immunity or improved social conditions.[11]

The geographic occurrence of M. leprae include: Angola, Brazil, Central African Republic, Democratic Republic of Congo, Federated States of Micronesia, India, Kiribati, Madagascar, Nepal, Republic of Marshall Islands, and United Republic of Tanzania.[12]

The closest relative to Mycobacterium leprae is Mycobacterium lepromatosis.[13] These species diverged 13.9 million years ago (95% highest posterior density 8.2 million years ago – 21.4 million years ago ) The most recent common ancestor of the extant M. leprae strains was calculated to have lived 3,607 years ago [95% highest posterior density 2204–5525 years ago]. The estimated mutation rate was The estimated substitution rate was 7.67 x 10−9 substitutions per site per year - similar to other bacteria.

A study of genomes isolated from medieval cases estimated the mutation rate to be 6.13 × 10−9.[14] The authors also showed that the leprosy bacillus in the Americas was brought there from Europe.

It has been estimated that the ancestors of M. leprae and M. tuberculosis separated 36Â million years ago.[15]

Another study suggested that M. leprae originated in East Africa and spread from there to Europe and the Middle East initially before spreading to West Africa and the Americas in the last 500 years.[16]

Diagnostic criteria for leprosy: The diagnosis of leprosy is primarily a clinical one. In one Ethiopian study, the following criteria had a sensitivity of 94% with a positive predictive value of 98% in diagnosing leprosy. Diagnosis was based on one or more of three signs:

Multidrug therapy (MDT). Antibiotics that destroy M. leprae bacilli include: dapsone, rifampin, clofazamine, fluoroquinolones, macrolides, and minocycline.

A preventative measure of M. leprae is to avoid close contact with infectious people who are untreated.[17] The Bacillus Calmette–Guérin (BCG) vaccine offers a variable amount of protection against leprosy in addition to its main target of tuberculosis.[18] Armadillos are also known hosts for Mycobacterium leprae and have infected humans in the southeastern United States, although the geographic range of the disease and its complexity has been spreading.[19]


who sings let there be peace on earth world of color

Special animation sequences were created using paper animation by paper artist Megan Brain, who created many characters for the show.[12] Mark Hammond and Dave Hamilton arranged the music, which was performed by the London Symphony Orchestra and The Nashville Choir.[13]

World of Color

World of Color is a nighttime show at Disney California Adventure, part of the Disneyland Resort in Anaheim, California. Conceived by Vice President of Parades and Spectaculars, Steve Davison, and designed by Walt Disney Creative Entertainment, the show has nearly 1,200 musical water fountains[3] and includes lights, fire, lasers, and fog, with high-definition projections on mist screens. The show is inspired by Walt Disney's Wonderful World of Color anthology television series, as evidenced by the use of its eponymous theme song written by the Sherman Brothers.[4]

The process of assembling, installing, and testing the show's numerous components and equipment in Paradise Bay spanned a period of approximately 15 months. The original version of World of Color premiered on June 11, 2010 as part of the "Summer Nightastic!" promotional campaign. The entire show cost $75Â million to design, manufacture and build.[5]

The show transpires at the lagoon of Paradise Bay at Paradise Pier, while the audience watches the performance at the Paradise Lagoon Amphitheater area in front of The Little Mermaid: Ariel's Undersea Adventure attraction. Other nearby attractions such Mickey's Fun Wheel and California Screamin' become part of the performance as they undergo various forms of lighting and projections throughout the show. The effects utilized in World of Color (water fountains, mist screens, fire, lasers, lighting, and fog) are choreographed to work in synchronicity with the featured music and image projections.

The show was first announced as part of the Disney California Adventure Park expansion in the fall of 2007. Construction for the water show began with the draining of the lagoon on November 3, 2008. Construction on the platform began on January 5, 2009. The water was refilled in Paradise Pier in November 2009. Testing began during and after park hours in January 2010. A 25-minute video of sequences from the show was posted on YouTube by a hotel guest staying at Disney's Paradise Pier Hotel, on April 7, 2010. The first public performance was held on June 5, 2010 for the creators of the show and guests. In the week leading up to June 11, private viewings for cast members, contest winners, and a celebrity-filled World Premiere took place.

The show uses nearly 1,200 fountains[6] that can shoot water up to 200 ft (61 m) in the air. Each fountain is equipped with an LED light ring. Other water features include a 380-foot (120 m)-long mist screen on which images are projected (similar but smaller screens are used in Fantasmic! at Disneyland and Disney's Hollywood Studios at Walt Disney World in Lake Buena Vista, Florida). Isopar instruments are capable of shooting flames up to 50 ft (15 m) in the air.[7] Fog and lasers are used.[8] Projection domes emerge from the water atop telescopic masts and feature lighting effects and video projected onto the inside surface of the domes, and laser and video projections are made onto the sun icon behind California Screamin's vertical loop.[9] A 65' tall telescopic mast[10] was installed in the lagoon to create Chernabog of Fantasia, but the tower has not been used in the show. The LED lights on Mickey's Fun Wheel, as well as LED lights installed on California Screamin', are synchronized to the show.

Light trees rise from boxes bordering Paradise Pier. The light trees bordering the viewing area and the bay include speakers, bubble machines, infrared transmitters and a handful of VariLite lighting fixtures. On either side of the bay, there is an additional light tree with five Syncrolite fixtures. The viewing area, known as Paradise Lagoon Amphitheater, is situated along the northern shore of Paradise Bay, and can hold up to 4,000 spectators at full capacity. It is multi-tiered, similar to the viewing area for Fantasmic at Disneyland in Anaheim, California. It features trellises, flowers, and an interactive play fountain during the day. Hidden fountains located in the flower beds in the viewing area are incorporated into show.[11] When World of Color Celebrate was being programmed, a large scrim shaped like Mickeys head was added to be raised to cover the face on Mickeys Fun Wheel giving the show another projection surface. On nights where winds are too strong, the scrim is not pulled up and some projections seen on the Fun Wheel head show up on Screamin's loop area instead. The fountains on the flower beds in the viewing area were replaced by smoke shooters and additional shooters were placed on the edge of the viewing area on the water. Each shooter has its own LED light ring, similar to the fountains.

From the show's conception, all versions have presented footage from the Walt Disney Studios library, including films from Walt Disney Animation Studios, Pixar Animation Studios, Walt Disney Pictures, Marvel Studios, and Lucasfilm.

The show begins with Dick Wesson's original introduction to Walt Disney's Wonderful World of Color. A quote from Walt Disney appears on the center mist screen; "Every child is blessed with a vivid imagination", and the theme song transforms into the reworked version for World of Color. As the introduction concludes, a projection of Ariel before a sunset, stretches across the mist screens. The show enters The Little Mermaid portion, with Ariel and Sebastian singing "Part of Your World" and "Under the Sea", respectively. On the last note of "Under the Sea", Crush and Squirt from Finding Nemo are seen traveling on the East Australian Current, as the water fountains begin to portray the characteristics of rough surf. As the final breaking wave clears, the scene with Marlin and Dory encountering the blue whale from the film plays out. As the duo attempt to escape, the scene transitions into the "Pines of Rome" segment from Fantasia 2000. The bay gradually transforms into an outer space environment as Eve and WALL-E from WALL-E appear and re-enact their "Define Dancing" scene. WALL-E, equipped with a fire extinguisher, sprays it throughout the lagoon, forming small clouds as a result. The clouds eventually re-create Andy's room from Toy Story, with Sheriff Woody and Buzz Lightyear appearing shortly thereafter on Andy's bed. Woody rebuffs Buzz's ability to fly, thus Buzz attempts to disprove him and Andy's room is suddenly changed into a battle between Buzz and Emperor Zurg from Toy Story 2.

As the bay clears, Carl Fredrickson's house from Up briefly makes an appearance before the setting transitions into Aladdin. With the night sky recreated on the bay, Aladdin and Princess Jasmine perform "A Whole New World" together, until the Genie abruptly appears and takes control of the show by performing "Friend Like Me". Once the Genie disappears, the Spring Sprite from Fantasia 2000 transforms the bay into a lush forest, where Pocahontas appears, singing "Just Around the Riverbend". The Pocahontas segment ends with a dramatic fountain overlay set to "Colors of the Wind".

After a brief pause, Heimlich from A Bug's Life arrives, informing the audience of an approaching thunderstorm. The storm rapidly intensifies into the thunderstorm scene from The Old Mill, accompanied by an unsettling instrumental version of "Little April Showers" from Bambi. As the storm dissipates, Jack Sparrow from Pirates of the Caribbean emerges from the shadows and "Yo Ho (A Pirate's Life for Me)" is faintly heard. Suddenly, the bay turns blood-red as fountains and flames of fire are orchestrated in tandem with "He's a Pirate". Battle scenes from the Pirates of the Caribbean series are projected onto the mist screens before transcending into a sequence dominated by jets of fire.[Note 1] Once the Pirates of the Caribbean act concludes,[Note 2] the atmosphere of the show's narrative darkens and Mufasa's death scene from The Lion King unfolds erratically on the bay.

After a brief moment of silence, the show enters its climax. "So Close" from Enchanted plays as touching scenes from Disney's animated films (including The Lion King, Bambi, Dumbo, Tangled,[Note 3] Lady and the Tramp, The Princess and the Frog and Beauty and the Beast) are projected. The transformation scene from Beauty and the Beast takes place, being followed by other famous moments from Snow White and the Seven Dwarfs, Sleeping Beauty, The Princess and the Frog and Cinderella. Immediately following Cinderella, the fountains and lighting turn white and the lagoon fades into darkness. The fountains then slowly begin to regain momentum as they swirl around the lagoon, until Tinker Bell appears to enchant the bay, which suddenly blossoms into a myriad of colors. Entering the show's finale, a reprisal of "The Wonderful World of Color" is heard as the bay becomes host to a kaleidoscopic montage of films, some of which were earlier components of the show (including Alice in Wonderland, The Little Mermaid, Finding Nemo, WALL-E, Toy Story, Aladdin, Fantasia 2000, Pocahontas, The Old Mill, Pirates of the Caribbean, The Hunchback of Notre Dame, The Lion King, Lilo & Stitch and The Princess and the Frog). Mickey Mouse then appears in his iconic "Sorcerer's Apprentice" attire from Fantasia and the show concludes with a final series of water, fire, laser and light orchestrations.[Note 4]

Early plans also called for a small orange fountain, named Little Squirt, that was meant to embody Walt Disney's artistic and mischievous spirit,[15] and appear throughout the show. Instead, during the post-show, after all the other fountains turn off, the little orange fountain remains on for a couple seconds as it bows to the audience, then disappears.

A video of a run-through of the show leaked onto the Internet on April 7, 2010. There had been a few changes to the show from the synopsis that had been disclosed for Disney fans in September 2009. Sequences featuring Alice in Wonderland, the Firebird, and Dr. Facilier were missing, the Pocahontas/Heimlich/Little April Showers segment was placed after "A Whole New World," and new Hercules and Pirates of the Caribbean segments had been added.[16] It was also rumored that Disney CEO Robert Iger wanted a more contemporary soundtrack and that the show was being reworked.[17] Many of these changes were confirmed when a second video of a run-through leaked onto the Internet.[18]

Disney launched a website for World of Color containing interactive features, pictures of on-site testing, and videos. The theme song to "World of Color" has also been posted on the Disneyland website.[19] Although videos of testing have been leaked online, the site shows both the extensive Alice in Wonderland and The Princess and the Frog segments of the show that were said to have been cut. The site was launched after leaked videos of testing were posted.[20] Even more edits have been made, including extending "Part of Your World" and "A Whole New World" to include the verses, cutting "Go the Distance" in favor of "Friend Like Me," and the return of "Firebird."

Singer-songwriter Amy Grant was going to provide lead vocals for the show's rendition of "The Wonderful World of Color"[21] but was ultimately replaced in the studio and is not heard in the final version.[22][23]

On October 29, 2010, previews for an encore scene promoting Tron: Legacy began, using additional projections and effects on the California Screamin' structure along with improved use of Paradise Park and Mickey's Fun Wheel lighting in a reworked trailer sequence. The scene was added to the show on November 1, 2010 and was discontinued in March 2011. On May 20, The Pirates of the Caribbean segment was expanded to include scenes from Pirates of the Caribbean: On Stranger Tides and was discontinued on June 15, 2012, the same day that a sequence incorporating Brave premiered.[24]

Beginning in 2011 for the Fourth of July season, from July 1 to 4, a special Independence Day preshow was added.[25] The Independence Day preshow utilizes fireworks, which the normal show does not use, such as pyro launches from barges on Paradise Pier, atop of the Toy Story Midway Mania show building, and backstage behind California Screamin'. In addition, the patriotic music for the pre-show borrows selections from Disney's Celebrate America, the Fourth of July fireworks show that is presented at the adjacent Disneyland Park and Walt Disney World's Magic Kingdom park.

On November 11, Disney unveiled a holiday themed intro based on Prep & Landing for the 2011 Christmas season, and to commemorate their 1000th show.[26][27]

On December 3, 2011, Blizzard Entertainment held their annual Christmas party at Disney California Adventure Park and for the event a custom World of Color segment was produced featuring characters and game footage from Diablo III, StarCraft II: Wings of Liberty, and World of Warcraft.[28]

From November 15, 2013 to January 6, 2014, a full-length show titled World of Color: Winter Dreams debuted. Hosted by Olaf (Josh Gad), the show celebrates the winter season with several holiday-themed segments, featuring scenes from Frozen, Toy Story, Bambi, Fantasia, One Hundred and One Dalmatians, Prep and Landing, Secret of the Wings, Tangled, Wreck-It Ralph, Melody Time, Lady and the Tramp, Mickey's Once Upon a Christmas, Beauty and the Beast: The Enchanted Christmas, and various vintage Mickey Mouse shorts.[29] The show incorporates traditional holiday-related music, including Eric Whitacre's "Glow",[30] "Carol of the Bells", "Let it Snow", "It's the Most Wonderful Time of the Year", "I'll Be Home for Christmas", "Believe", "Silent Night", "Thankful", the "Nutcracker Suite", "Jingle Bells", "I Have a Little Dreidel", "Feliz Navidad", "Joy to the World", and "Have Yourself A Merry Little Christmas", as well as Disney songs, such as "I See the Light", "Let It Go" and "In Summer". The show features vocals by Heather Headley.

In November 2014, World of Color: Winter Dreams opened with a different show than its pilot year. The pre-show segment of Glow has been removed; its music plays after the post-show segment as exit music. There is a reorganization of the Toy Story version of The Nutcracker with one song cut. Overall the show faced major rearrangement, such as additional songs from Frozen, including "Love Is an Open Door" and "Do You Want to Build a Snowman?". In the "Believe" segment, the old paper animation and guest made greeting cards were replaced with both new and familiar scenes from Big Hero 6, Peter Pan, Alice in Wonderland, The Princess and the Frog, The Hunchback of Notre Dame, The Little Mermaid, Cinderella, Brave, Beauty and the Beast, Aladdin and Pinocchio. The isopar flames were introduced into this show.

In November 2015, two different World of Color shows were presented back-to-back: Winter Dreams was followed by World of Color: Celebrate!. "Love Is an Open Door" from Frozen was removed and the additional lights installed for World of Color – Celebrate! on California Screamin' were incorporated into Winter Dreams. The rest of the show is the same as the show from the 2014 holiday season. The scrim made for World of Color – Celebrate! to cover Mickey's head on Mickey's Fun Wheel is raised up before Winter Dreams but is only used for Celebrate.

Premiering on May 22, 2015, as part of the Disneyland Resort's 60th Anniversary celebration, the World of Color show was changed to World of Color â€“ Celebrate! The Wonderful World of Walt Disney. Dedicated to Walt Disney's legacy, this special edition of the show is hosted by Neil Patrick Harris and Mickey Mouse (Bret Iwan), and features music and imagery from Disney films and theme parks.[31][32] Under the direction of Steve Davison, the show took nearly three years to develop.[2] The show was returned to its original format September 6, 2016.[33]

Celebrate! contains five sections:[1]

The post-show includes a fountain overlay set to Perri's renditions of Bob Dylan's "Forever Young" and Howard Ashman's "Disneyland".

The following is list of films, animated shorts, and television series that appear (alphabetically) during the show.

In September 2016, Disney announced that World of Color: Winter Dreams would be replaced with a brand new holiday show called World of Colorâ€”Season of Light, which will "celebrate the warm and heartfelt spirit of the holidays." and feature classic Disney moments intertwined with the holidays.[34][35] This version features classic holiday songs and incorporates moments from Disney films to illustrate such songs.

The following songs are included in the show with the featured films in parentheses.

The World of Color: Season of Light 2017 season remained the same as of last year.

On December 13, 2016, Disney announced that from January 20 to February 5th the World of Color will have a Lunar New Year preshow Celebration. The show featured the World of Color stage and a lot of lights on the California Screamin and Mickeys Fun Wheel with some fireworks at the end. This six-minute pre-show called “Hurry Home,” presented in water, animation and special effects on Paradise Bay. This charming story of a Little Lantern on its journey home to join its Lantern family in celebrating Lunar New Year features animated appearances by Mulan and Mushu in “dream sequences” inspired by traditional Chinese paper cut-out style animation and a score highlighted by an original arrangement of the music created for the Grand Opening of Shanghai Disney Resort by Academy Award-winning composer Tan Dun (“Crouching Tiger, Hidden Dragon”).[37]


where was the original pride and prejudice filmed

Production staff selected particularly grand-looking residences to better convey the wealth and power of certain characters.[57] Locations included Chatsworth House in Derbyshire, the largest privately held country house in England. Chatsworth and Wilton House in Salisbury stood in for Pemberley.[18][49] After a search of various sites in England, the moated manor house Groombridge Place in Kent was chosen for Longbourn.[58] Location manager Adam Richards believed Groombridge had an "immense charm" that was "untouched by post-17th Century development".[59] Reflecting Wright's choice of realism, Groombridge's interior was designed to be "shabby chic".[60] Representing Netherfield Park was the late-18th century site Basildon Park in Berkshire, leading it to close for seven weeks to allow time for filming.[61] Burghley House in Cambridgeshire[18][53] stood in for Rosings, while the adjacent town of Stamford served as Meryton. Other locations included Haddon Hall (for The Inn at Lambton), the Temple of Apollo and Palladian Bridge of Stourhead (for the Gardens of Rosings), Hunsford (for Collins' parsonage and church) and Peak District (for Elizabeth and the Gardiners' tour).[49] The first dance scenes were shot on a set in a potato warehouse in Lincolnshire with the employment of local townspeople as extras;[15] this was the only set the crew built that was not already in existence.[62]

Pride & Prejudice (2005 film)

Pride & Prejudice is a 2005 British-American romantic drama directed by Joe Wright and based on Jane Austen's 1813 novel of the same name. The film depicts five sisters from an English family of landed gentry as they deal with issues of marriage, morality and misconceptions. Keira Knightley stars in the lead role of Elizabeth Bennet, while Matthew Macfadyen plays her romantic interest Mr Darcy. Produced by Working Title Films in association with StudioCanal, the film was released on 16 September 2005 in the United Kingdom and Ireland and on 11 November in the United States.

Screenwriter Deborah Moggach initially attempted to make her script as faithful to the novel as possible, writing from Elizabeth's perspective while preserving much of the original dialogue. Wright, who was directing his first feature film, encouraged greater deviation from the text, including changing the dynamics within the Bennet family. Wright and Moggach set the film in an earlier period and avoided depicting a "perfectly clean Regency world", presenting instead a "muddy hem version" of the time. It was shot entirely on location in England on a 15-week schedule. Wright found casting difficult due to past performances of particular characters. The filmmakers had to balance who they thought was best for each role with the studio's desire for stars. Knightley was well-known in part from her work in the Pirates of the Caribbean film series, while Macfadyen had no international name recognition.

The film's themes emphasise realism, romanticism and family. It was marketed to a younger, mainstream audience; promotional items noted that it came from the producers of 2001's romantic comedy Bridget Jones's Diary before acknowledging its provenance as an Austen novel. Pride & Prejudice earned a worldwide gross of approximately $121 million, which was considered a commercial success. Pride & Prejudice earned a rating of 82% from review aggregator Metacritic, labeling it universally acclaimed. It earned four nominations at the 78th Academy Awards, including a Best Actress nomination for Knightley. Austen scholars have opined that Wright's work created a new hybrid genre by blending traditional traits of the heritage film with "youth-oriented filmmaking techniques".[5]

During the late 18th century, the Bennet family, consisting of Mr. and Mrs. Bennet and their five daughters—Jane, Elizabeth, Mary, Kitty and Lydia—live in comparative financial independence as gentry at Longbourn, a working farm in rural England. As the Bennet's have no sons, Longbourn is destined to be inherited by Mr. Bennet's cousin, Mr. Collins, and so Mrs. Bennet is anxious to marry off her five daughters before Mr. Bennet dies, in order to secure herself in her widowhood.

Wealthy bachelor Charles Bingley has recently moved into Netherfield, a large, nearby estate. He is introduced to local society at an assembly ball, along with his haughty sister Caroline and reserved friend, Mr. Darcy, who "owns half of Derbyshire". Bingley is enchanted with the gentle and beautiful Jane, while Elizabeth takes an instant dislike to Darcy after he coldly rebuffs her attempts at conversation and after she later overhears him insulting her. When Jane becomes sick on a visit to Netherfield, Elizabeth goes to stay with her, verbally sparring with both Caroline and Darcy.

Later the Bennets are visited by Mr. Collins, a pompous clergyman who talks of little but his patroness, Lady Catherine de Bourgh. After learning from Mrs. Bennet that Jane is expected to become engaged soon, Collins decides to pursue Elizabeth, utterly oblivious to her lack of receptivity towards himself. Meanwhile, the easy-going and charming Lieutenant Wickham of the newly-arrived militia captures the girls' attention; he wins Elizabeth's sympathy by telling her that Darcy had cheated him of his inheritance. At a ball at Netherfield, Elizabeth, startled by Darcy's abrupt appearance and request, accepts a dance with him before realizing it, but vows to her best friend Charlotte Lucas that she has "sworn to loathe him for all eternity". During the dance, she attacks him with witty sarcasm and Darcy responds in kind. At the same ball, Charlotte expresses concern to Elizabeth that Jane's behaviour towards Mr. Bingley is too reserved, and that Bingley may not realise that she loves him.

The next day, at Longbourn, Collins proposes to Elizabeth, but she strongly declines. When Bingley unexpectedly returns to London, Elizabeth dispatches a heartbroken Jane to the city to stay with their aunt and uncle, the Gardiners, in hopes of re-establishing contact between Jane and Bingley. Later, Elizabeth is appalled to learn that her friend Charlotte will marry Collins to gain financial security and avoid remaining a spinster.

Months later, Elizabeth visits the newly-wed Mr. and Mrs. Collins at Rosings, Lady Catherine's manor estate; they are invited to dine there, and meet Darcy and Colonel Fitzwilliam, who it transpires are Lady Catherine's nephews. Here Darcy shows greater interest in Elizabeth, especially when she replies to Lady Catherine's jabs with spirited wit. The next day, not realizing that Jane is Elizabeth's sister, Colonel Fitzwilliam lets slip to Elizabeth that Darcy had separated Bingley from Jane. Distraught, she flees outside, but Darcy chooses that moment to track her down and propose marriage.

He says that he loves her "most ardently," despite her "lower rank." Elizabeth refuses him, citing his treatment of Jane and Bingley and of Wickham; they argue fiercely, with Darcy explaining that he had been convinced that Jane did not return Bingley's love. Darcy leaves angry and heartbroken. He finds Elizabeth later and presents her with a letter, which explains that Wickham is a gambler who demanded and received £3,000 in cash in-lieu of the clergy position intended for him by Darcy's father; upon being refused more money, after having squandered it all a few years later, Wickham had attempted to seduce and elope with Darcy's 15-year-old sister, Georgiana, in order to obtain her £30,000 inheritance, but abandoned her upon learning that he would never receive the money.

A couple of months later, the Gardiners take Elizabeth on a trip to the Peak District; their visit also includes Darcy's estate, Pemberley; Elizabeth agrees to go with them, believing that he is away travelling. Elizabeth is stunned by its wealth and beauty, and hears nothing but good things about Darcy from his housekeeper. There, she accidentally runs into Darcy, who has arrived home early. He invites her and the Gardiners to meet his sister. His manners have softened considerably, and Georgiana takes an instant liking to Elizabeth. When Elizabeth learns that her immature and flirtatious youngest sister Lydia has run away with Wickham, she tearfully blurts out the news to Darcy and the Gardiners before returning home. Her family expects social ruin for having a disgraced daughter, but over a week later they are relieved to hear that Mr. Gardiner had discovered the pair in London and that they had married. Lydia later slips to Elizabeth that Darcy was the one who found them and paid for the marriage.

When Bingley and Darcy suddenly return to Netherfield, Jane accepts Bingley's proposal. The same evening, Lady Catherine unexpectedly visits Elizabeth, insisting that she renounce Darcy, as he is supposedly to marry her own daughter, Anne. Elizabeth refuses and, unable to sleep, walks on the moor at dawn. There, she meets Darcy, also unable to sleep after hearing of his aunt's behaviour. He admits his continued love and Elizabeth accepts his proposal.

Mr. Bennet gives his consent after Elizabeth assures him of her love for Darcy. In the U.S. release of the film, an additional last scene shows the newlyweds outside of Pemberley, happy together.

As with several recent Jane Austen adaptations, Pride & Prejudice was an Anglo-American collaboration, between British studio Working Title Films (in association with French company StudioCanal) and its American parent company Universal Studios.[6][7] Working Title at the time was known for mainstream productions like Bridget Jones's Diary and Love Actually that drew international audiences,[8] rather than films in the historical drama genre.[9] Its co-chairman Tim Bevan explained that the studio wanted to "bring Austen's original story, concentrating on Lizzie, back in all its glory to the big screen for audiences everywhere to enjoy".[10] Given a "relatively inexpensive" budget of Â£22 million ($28 million),[2][3] the film was expected to excel at the box office, particularly based on the commercial successes of Romeo + Juliet (1996) and Shakespeare in Love (1998) as well as the resurgence of interest in Austen's works.[11][12]

Given little instruction from the studio, screenwriter Deborah Moggach spent over two years adapting Pride and Prejudice for film. She had sole discretion with the early script, and eventually wrote approximately ten drafts.[14][15] Realising it held "a perfect three-act structure",[15] Moggach attempted to be as faithful to the original novel as possible, calling it "so beautifully shaped as a story â€“ the ultimate romance about two people who think they hate each other but who are really passionately in love. I felt, 'If it's not broken, don't fix it.'"[10] While she could not reproduce the novel's "fiercely wonderful dialogue in its entirety", she attempted to keep much of it.[10]

Moggach's first script was closest to Austen's book, but later versions trimmed extraneous storylines and characters.[15] Moggach initially wrote all scenes from Elizabeth's point of view in keeping with the novel; she later set a few scenes from the male perspective, such as when Bingley practices his marriage proposal, in order to "show Darcy and Bingley being close" and to indicate Darcy was a "human being instead of being stuck up".[14] Small details were inserted that acknowledged wider events outside of the characters' circle, such as those then occurring in France.[10] While Moggach is the only screenwriter credited for the film, playwright Lee Hall also made early additions to the script.[16][17]

Television director Joe Wright was hired in early 2004,[17] making Pride & Prejudice his directional feature film debut.[18] He was considered a surprising choice for a film in the romance drama genre due to his past work with social realism.[19][20] Wright's body of work had impressed the producers,[10] who were looking for a fresh perspective;[8] they sent him a script despite the fact that Wright had not read the novel.[10][21] He commented that at the time, "I didn't know if I was really all that interested; I thought I was a little bit more mainstream than this, a bit more edgy. But then I read the script and I was surprised I was very moved by it".[22] He next read the novel, which he called "an amazing piece of character observation and it really seemed like the first piece of British Realism. It felt like it was a true story; had a lot of truth in it about understanding how to love other people, understanding how to overcome prejudices, understanding the things that separate us from other peopleÂ ... things like that."[22]

The only adaptation of Pride and Prejudice Wright had seen was the 1940 production, which was the last time the novel had been adapted into a feature film. The director purposely did not watch the other productions, both out of fear he would inadvertently steal ideas and because he wanted to be as original as possible.[22] He did, however, watch other period films, including Ang Lee's Sense and Sensibility, Roger Michell's Persuasion, and John Schlesinger's Far from the Madding Crowd; Wright cited this last film as the greatest influence on his own adaptation, calling it "very real and very honest â€“ and it is quite romantic as well".[23] In trying to create an atmosphere of charged flirtation, the director also gained inspiration from teen romance films such as Sixteen Candles[24] and The Breakfast Club.[25]

Wright's hire occurred while Moggach was on her third draft.[15] Despite her desire to work closely with Austen's dialogue, Wright made an effort to not "be too reverential to [it]. I don't believe people spoke like that then; it's not natural."[21] While a few scenes, such as the discussion over accomplished women, aligned closely with the author's original dialogue, many others "substituted instead a mixture of modern idiom and archaic-sounding sentence structure".[16] One alteration concerned politeness; Wright noted that while Austen's work had characters waiting before speaking, he believed that "particularly in big families of girls, everyone tends to speak over each other, finishing each other's sentences, etc. So I felt that the Bennet family's conversations would be overlapping like that."[10] Sense and Sensibility actress and screenwriter Emma Thompson aided in script development, though she opted to be uncredited. She advised the nervous director about adapting Austen for the screen and made dialogue recommendations, such as with parts of the Collins-Charlotte storyline.[26][27]

Citing the year Austen first wrote a draft of the novel,[note 1] Wright and Moggach changed the period setting from 1813 (the novel's publication date) to the late eighteenth century; this decision was partly because Wright wanted to highlight the differences within an England influenced by the French Revolution,[10][21] as he was fascinated that it had "caused an atmosphere among the British aristocracy of fear".[23] Additionally, Wright chose the earlier period because he hated dresses with an empire silhouette, which were popular in the later period.[10][21] The decision helped make the film visually distinct from other recent Austen adaptations.[24] In comparison to the popular 1995 BBC version, which featured Colin Firth and Jennifer Ehle, producer Paul Webster desired to make an adaptation that "doesn't conform to the television drama stereotypes of a perfect clean Regency world".[10] Wright and Moggach opted for a "muddy hem version" of Longbourn, presenting a more rural setting than in previous adaptations[29][14] out of a desire to depict the Bennets in "very close proximity to their rural life"[21] and to emphasise their relative poverty.[30] While the degree of poverty was criticised by some critics, Wright felt that the "mess adds to the drama of the predicament that the family were in", and helps contrast the Bennets, Darcys, and Bingleys.[31]

Wright found casting of the film to be difficult because he was very particular about "the types of people [he] wanted to work with".[22] While interviewing to direct, he insisted that the actors match the ages of the characters in the novel.[23] Wright specifically cast actors that had rapport on and off screen, and insisted that they partake in three weeks of rehearsal in improvisation workshops.[15] Wright also had to balance who he thought was best for each role with what the producers wanted â€“ mainly a big name attraction.[22] Though Wright had not initially pictured someone as attractive as English actress Keira Knightley for the lead role of Elizabeth Bennet,[19] he cast her after realising that the actress "is really a tomboy [and] has a lively mind and a great sense of humour".[10] Knightley at the time was known for Bend It Like Beckham and the Pirates of the Caribbean film series.[24] She had been an Austen fan since age 7, but initially feared taking the role out of apprehension that she would be doing "an absolute copy of Jennifer Ehle's performance", which she deeply admired.[32] Knightley believed Elizabeth is "what you aspire to be: she's funny, she's witty and intelligent. She's a fully rounded and very much loved character."[33] For the period, the actress studied etiquette, history and dancing but ran into trouble when she acquired a short haircut while preparing for her role in the bounty hunter film Domino.[32]

Webster found the casting of Darcy especially hard due to the character's iconic status and because "Colin Firth cast a very long shadow" as the 1995 Darcy.[34] Wright later commented that his choice of Knightley allowed him to cast comparative unknown Matthew Macfadyen, something that would have been impossible had he chosen a less well-known actress for Elizabeth Bennet.[22] Macfadyen at the time was known for his role in the British television spy series Spooks,[34] but had no recognition internationally.[24] A fan of the actor's television work,[23] Wright called Macfadyen "a proper manly manÂ ... I didn't want a pretty boy kind of actor. His properties were the ones I felt I needed [for Darcy]. Matthew's a great big hunk of a guy."[22] Macfadyen did not read the novel before filming, preferring to rely solely on the script.[35]

According to Wright, Rosamund Pike was cast as the eldest sister "because [he] knew she wasn't going to play her as a nice, simple person. Jane has a real interior world, she has her heart broken."[19] Despite being Pike's ex-boyfriend, Simon Woods was cast as her romantic interest Mr Bingley.[19] The other three Bennet sisters were played by Talulah Riley, Carey Mulligan, and Jena Malone, the only American actress among them.[10] Wright believed Malone to have a "pretty faultless English accent".[36] Mulligan heard about the casting call at a dinner hosted by Julian Fellowes, to whom she had written a letter after failing to get into drama school; she won the part after three auditions.[37][38] Tamzin Merchant appears as Georgiana Darcy; she was hired despite having no previous acting experience after she wrote a letter to the casting director.[10] In addition to Merchant, Pride & Prejudice was the feature film debut of both Mulligan[39] and Riley.[40]

Donald Sutherland reminded Wright of his own father and was cast as the Bennet patriarch;[36] Wright thought the actor possessed the "strength to handle those six women".[19] Brenda Blethyn was hired to play Mrs Bennet, whom Moggach believed to be the unsung heroine of the film;[41] Wright explained that it was "a tricky part [to fill], as she can be very annoying; you want to stop her chattering and shrieking. But Brenda has the humour and the heart to show the amount of love and care Mrs Bennet has for her daughters."[10] Wright convinced veteran actress Judi Dench to join the cast as Lady Catherine de Bourgh by writing her a letter that read "I love it when you play a bitch. Please come and be a bitch for me."[5][19] Dench had only one week available to shoot her scenes, forcing Wright to make them his first days of filming.[26][42]

Known for her BAFTA award-winning work on the 2004 film Vera Drake, Jacqueline Durran was hired as the costume designer. She and Wright approached his film "as a difficult thing to tackle" because of their desire to distinguish it from the television adaptation. Due to Wright's dislike of the high waistline, Durran focused on later eighteenth century fashions that often included a corseted, natural waistline rather than an empire silhouette (which became popular after the 1790s).[43] A generational divide was established: the older characters dress in mid-eighteenth century fashions while the young wear "a sort of proto-Regency style of hair and dress".[44] Mrs Bennet was of the older generation, and her dresses appeared to have been mended.[35]

Durran's costumes also helped emphasise social rank among the different characters;[45] Caroline Bingley for instance is introduced in an empire silhouetted dress, clothing that would have then been at the height of fashion.[46] During her interview, Durran opined that all the women wear white at the Netherfield Ball due to its contemporary popularity, an idea that Wright credits as his reason for hiring her.[47] All of the costumes were handmade, as clothing was at the time.[35] However, costumes and hairstyles were adjusted to appeal to contemporary audiences, sacrificing historical accuracy.[48]

To help differentiate the Bennet sisters, Durran viewed Elizabeth as the "tomboy", clothing her in earthy colours because of her love of the countryside.[43] For the other sisters, Durran remarked, "Jane was the most refined and yet it's still all a bit slapdash and homemade, because the Bennets have no money. One of the main things Joe wanted was for the whole thing to have a provincial feel. Mary is the bluestocking: serious and practical. And then Lydia and Kitty are a bit Tweedledum and Tweedledee in a kind of teenage way. I tried to make it so that they'd be sort of mirror images. If one's wearing a green dress, the other will wear a green jacket; so you always have a visual asymmetry between the two."[43] In contrast to the 1940 film, the 2005 production displayed the Bennet sisters in worn-down but comfortable dresses[30] that allowed the actors better moveability.[35]

Mr Darcy's costume went through a series of phases. Durran noted:

"The first time we see him he's at Meriton  [sic], where he has a very stiffly tailored jacket on and he's quite contained and rigid. He stays in that rigid form for the first part of the film. By the time we get to the proposal that goes wrong in the rain, we move to a similar cut, but a much softer fabric. And then later he's got a completely different cut of coat, not interlined and he wears it undone. The nth degree is him walking through the mist in the morning, completely undressed by 18th-century standards. It's absolutely unlikely, but then Lizzie's in her nightie, so what can you say?"[43]

Moggach believed the novel was very filmable, "despite it containing no description and being a very unvisual book".[15] To Wright, many other period films had relied on paintings for inspiration rather than photographs, causing them to appear unreal. He thus used "Austen's prose [to give him] many visual references for the people in the story", including using close-up shots of various characters.[10] The filmmakers also changed several scenes to more romantic locales than those in the book. For instance, in the film, Darcy first proposes outdoors in a rainstorm at a building with neoclassical architecture; in the book, this scene takes place inside a parsonage. In the film, his second proposal occurs on the misty moors as dawn breaks;[50][51] in the book, he and Elizabeth are walking down a country lane in broad daylight.[52] Wright has acknowledged that "there are a lot of period film clichÃ©s; some of them are in the film and some are not, but for me it was important to question them".[10]

During script development, the crew spent four to five months scouting locations,[35] creating a "constant going back and forth between script and location".[15] The film was shot entirely on location within England on an 11-week schedule[6][10] during the 2004 summer.[54] Co-producer Paul Webster noted that "it is quite unusual for a movie this size to be shot entirely on location. Part of Joe [Wright]'s idea was to try to create a reality which allows the actors to relax and feel at one with their environment."[10] Working under production designer Sarah Greenwood and set decorator Katie Spencer, the crew filmed on seven estates in six different counties. Because "nothing exists in the United Kingdom that is untouched by the twenty-first century", many of the sites required substantial work to make them suitable for filming.[55] Visual effects company Double Negative digitally restored several locations to make them contemporaneous; they eradicated weeds, enhanced gold plating on window frames, and removed anachronisms such as gravel driveways and electricity pylons. Double Negative also developed the typeface used for the film's title sequence.[56]

Italian composer Dario Marianelli wrote the film score, the first of his four collaborations with Wright. Their relationship began when Paul Webster, who had worked with Marianelli on the 2001 film The Warrior, introduced him to Wright. In their first conversation, Marianelli and Wright discussed the early piano sonatas of Ludwig van Beethoven, which "became a point of reference" and "starting point" for the original score.[63] In addition to Beethoven, pieces such as "Meryton Townhall" and "The Militia Marches In" (featuring the flute) were inspired by the film's period,[64] with the intention that they could conceivably have been heard during that time. "Meryton Townhall" and "Another Dance" contained actual dance cues that were fitting for the late eighteenth century. According to music critic William Ruhlmann, Marianelli's score had a "strong Romantic flavour to accompany the familiar romantic plot".[65]

Multiple scenes feature actors playing pianos, forcing Marianelli to complete several of the pieces before filming began. According to him, "Those pieces already contained the seeds of what I developed later on into the score, when I abandoned historical correctness for a more intimate and emotional treatment of the story".[63] Marianelli was not present when the actors played his music due to the birth of his second daughter.[63] The soundtrack featured French pianist Jean-Yves Thibaudet, whom Wright considered one of the greatest piano players in the world.[66] Thibaudet was accompanied by the English Chamber Orchestra. The soundtrack ultimately contained seventeen instrumental tracks of music organised in a different way from the film.[64]

In contrast to the five-hour BBC adaptation,[67] Wright compressed his film into two hours and nine minutes of screen time.[68] He remarked that the film is "obviously about Elizabeth and Darcy, following them and anything that detracts or diverts you from that story is what you have to cut".[22] Some of the most notable changes from the original book include time compression of several major sequences, including the departure of Wickham and the militia, Elizabeth's visit to Rosings Park and Hunsford Parsonage, Elizabeth's visit to Pemberley, Lydia's elopement and subsequent crisis; the elimination of several supporting characters, including Mr and Mrs Hurst, Mr and Mrs Phillips,[14] Lady and Maria Lucas, Mrs Younge, several of Lydia's friends (including Colonel and Mrs Forster) and various military officers and townspeople;[67] and the elimination of several sections in which characters reflect or converse on events that have recently occurredâ€”for example, Elizabeth's chapter-long change of mind after reading Darcy's letter.[69]

Moggach and Wright debated how to end the film, but knew they did not want to have a wedding scene "because we didn't want Elizabeth to come off as the girl who became a queen at this lavish wedding, or for it to be corny".[14] Shortly before the North American release, the film was modified to include a final scene (not in the novel) of the married Darcys enjoying a romantic evening and passionate kiss at Pemberley[70][71] in an attempt to attract sentimental viewers;[14] this became a source of complaint for the Jane Austen Society of North America (JASNA). After watching a preview of the film before its wide release, former JASNA president Elsa Solender commented, "It has nothing at all of Jane Austen in it, is inconsistent with the first two-thirds of the film, insults the audience with its banality and ought to be cut before release".[72] It had been removed from the British version after preview audiences found it unintentionally humorous;[73] however, later audiences complained that they were excluded from viewing this version, causing the film to be re-released in the UK and Ireland 10 weeks after the original UK premiere date.[74][75] The original British version ended with Mr Bennet's blessing upon Elizabeth and Darcy's union,[5] thus circumventing the last chapter in the novel, which summarises the lives of the Darcys and the other main characters over the next several years.[76]

Film, literary, and Austen scholars noted the appearance of romance and romanticism within Pride & Prejudice, especially in comparison to previous adaptations.[77] Sarah Ailwood marked the film as "an essentially Romantic interpretation of Austen's novel", citing as evidence Wright's attention to nature as a means to "position Elizabeth and Darcy as Romantic figures ... Wright's Pride & Prejudice takes as its central focus Austen's concern with exploring the nature of the Romantic self and the possibilities for women and men to achieve individual self-fulfillment within an oppressive patriarchal social and economic order."[78] Likewise, Catherine Stewart-Beer of Oxford Brookes University called Elizabeth's presence on the Derbyshire cliff a "stunning, magical evocation of Wright's strong stylistic brand of Postmodern Romanticism", but found this less like Austen and more reminiscent of Emily Brontë's Wuthering Heights.[79] In her analysis, University of Provence scholar Lydia Martin concluded that the "Romantic bias of the film is shown through the shifts in the characters' relationships, the soundtrack and the treatment of landscape".[80]

Realism is a prominent aspect of the film, a theme confirmed by Wright in interviews as well as the DVD audio commentary.[81] In a 2007 article, Ursinus College film studies professor Carole Dole argued that Pride & Prejudice is "a hybrid that embraces both an irreverent realism to which younger audiences are accustomed (and which reflects the director's realist aesthetic) and the classic heritage film's reverence for country houses, attractive landscapes and authentic period detail". Such "irreverent realism" included the depiction of Longbourn as a working farm complete with chickens, cattle and pigs; as Dole explains, "The agricultural realities of 1790s England are equally evident in the enclosed yard with barn and hay where Lizzie twirls barefoot over the mud on a rope swing". Referring to recent adaptations such as 1999's gritty Mansfield Park, Dole cited Pride & Prejudice as evidence that the heritage film is still around but has "been transformed into a more flexible genre".[5] Jessica Durgan agreed with this assessment, writing that the film "simultaneously reject[s] and embrac[es] heritage to attract a larger audience".[8]

Raised with three sisters, Moggach was particularly interested in the story's family dynamics.[10] Brock University professor Barbara K. Seeber believed that in contrast to the novel, the 2005 adaptation emphasises the familial over the romantic. Evidence of this can be seen in how Pride & Prejudice "significantly recast the Bennet family, in particular its patriarch, presenting Mr Bennet as a sensitive and kind father whose role in the family's misfortunes is continually downplayed."[82] Seeber further observed that the film is "the first to present Mrs Bennet in a sympathetic light", with Mr Bennet displayed as "an attentive husband as well as a loving father."[82]

Stewart-Beer and Austen scholar Sally B. Palmer noted alterations within the depiction of the Bennet family;[83] Stewart-Beer remarked that while their family home "might be chaotic, in this version it is, at heart, a happy home—much happier and much less dysfunctional, than Austen's original version of Longbourn ... For one, Mr and Mrs Bennet actually seem to like each other, even love each other, a characterisation which is a far cry from the source text."[79] Producer Paul Webster acknowledged the familial theme in the DVD featurette "A Bennet Family Portrait", remarking "Yes, it's a great love story between Elizabeth Bennet and Fitzwilliam Darcy, but underpinning it all is the kind of love that runs this family."[82]

Wright intended for the film to be "as subjective as possible" in being from Elizabeth's perspective; the audience first glimpses Darcy when she does.[84] This focus on Elizabeth features some dramatic changes from the novel. Knightley's Elizabeth has an "increasingly aloof and emotionally distant" relationship with her family. Evidence of this can be seen with Elizabeth's gradual alienation from Jane as the film progresses; this is in contrast to the book, where Elizabeth confides more of her feelings to Jane after difficult events.[79] Wright wanted to create a "real" relationship between the two sisters and have them grow apart, as he thought the book depicted them as too "syrupy."[85] Moggach's intent was for Elizabeth to "keep secrets to herself. They are a great burden to herÂ ... As she keeps all this to herself, we feel for her more and more. The truest comedy, I believe, is born from pain."[10]

In her "feisty, impassioned" interactions with Darcy and "rebellious refusal to 'perform'" for Lady Catherine, Stewart-Beer sees Knightley's depiction as "far removed from Austen's original Elizabeth, who has a greater sense of grounded maturity, even though both Elizabeths have an occasional inclination to fluster, fun and giggles."[79] According to George Washington University professor Laurie Kaplan, while Wright's focus on Elizabeth is consistent with the novel, the screenplay removed her line of self-recognition: "Till this moment, I never knew myself". Kaplan characterises the sentence as Elizabeth's "most important", and believes its deletion "violates not only the spirit and the essence of Austen's story but the viewer's expectations as well."[86]

After a string of Jane Austen semi-adaptions in the late 1990s and early 2000s,[note 2] Pride & Prejudice was positioned to take audiences "back into the world of period drama and what many saw as a more authentic version of Austen."[7] While the novel was known to audiences, the large number of related productions required the film to distinguish itself.[88] It was marketed to attract mainstream, young viewers,[89] with one observer referring to it as "the ultimate chick-flick romance" and "more commercial than previous big-screen Austen adaptations."[90] Another wrote that it brings "millennial girlhood to the megaplexÂ ... If Ehle's Lizzie is every forty-, or fifty-something's favorite independent, even'mature,' Austen heroine, Knightley is every twenty-something's sexpot good girl."[91] An ampersand replaced the word "and" in the film title, similar to the 1996 postmodern film Romeo + Juliet.[5]

Already a star at the time of release, Knightley's appearance in the film was emphasised by featuring her in all promotional materials (similar to Colin Firth's prominent appearance in the 1995 adaptation).[92] Several commentators likened the main poster of Pride & Prejudice to that of 1995's Sense and Sensibility, which was seen as an attempt to attract the same demographic.[13] Advertising noted that the film came "from the producers of Bridget Jones's Diary", a 2001 romantic comedy film, before mentioning Austen.[5] Leading up to the release, fans were allowed to download pictures and screensavers online, which emphasised the differences between Pride & Prejudice and previous adaptations. Lydia Martin wrote that in contrast to past Pride and Prejudice productions, marketing materials downplayed the "suggested antagonism between the heroes" in favour of highlighting a "romantic relationship", as can be seen with the positioning of the characters as well as with the tagline, "Sometimes the last person on earth you want to be with is the one you can't be without."[80]

On 11 September 2005, Pride & Prejudice premiered at the Toronto International Film Festival as a special Gala Presentation.[93][94] The film was released in cinemas on 16 September in the United Kingdom and Ireland.[95][96] It achieved the number one spot in its first week, earning £2.5 million ($4.6 million) while playing on 397 screens.[97][98][99] The film stayed at the top for two more weeks, earning by then a total of over £9 million at the UK box office. It was featured on 412 screens at its widest domestic release.[99]

On 11 November 2005, the film debuted in the United States with an opening weekend of $2.9 million on 215 screens.[100] Two weeks later, it played on 1,299 screens and box office returns increased to $7.2 million; the film left cinemas the week of 24 February 2006 with a total US gross of $38,405,088.[4] Jack Foley, the president of distribution of Focus Features, the film's US distributor, attributed Pride & Prejudice's success in America to Austen's appeal to "the boomer market" and its status as a known "brand".[101]

Pride & Prejudice was released in an additional fifty-nine countries between September 2005 and May 2006 by United International Pictures.[98] With a worldwide gross of $121,147,947, it was the 72nd highest grossing film of 2005 in the US and was the 41st highest internationally.[4]

In the US and UK, Universal Studios Home Entertainment released the standard VHS and DVD in February 2006 for both widescreen and fullframe; attached bonus features included audio commentary by director Joe Wright, a look into Austen's life and the ending scene of Elizabeth and Darcy kissing.[68][4][102] On 13 November 2007, Universal released the deluxe edition DVD to coincide with the theatrical arrival of Wright's 2007 film Atonement. The deluxe edition included both widescreen and fullscreen features, the original soundtrack CD, a collectible book and booklet, as well as a number of special features not included in the original DVD.[103] In the US, a Blu-ray version of the film was released by Universal on 26 January 2010, which also contained bonus features.[104]

Pride & Prejudice was only the second faithful film version after "the famed, but oddly flawed, black-and-white 1940 adaptation, starring Greer Garson and Laurence Olivier",[105] and until 2005, The Times considered the 1995 television adaptation "so dominant, so universally adored, [that] it has lingered in the public consciousness as a cinematic standard."[105] Wright's film consequently met with some initial scepticism from fans, especially in relation to plot changes and casting choices.[106] Comparing six major adaptations of Pride and Prejudice in 2005, The Daily Mirror gave the only top marks of 9 out of 10 to the 1995 serial and the 2005 film, leaving the other adaptations behind with six or fewer points.[107] The film received a "certified fresh" approval rating of 85%, with an average rating of 7.7 out of 10, according to review aggregator website Rotten Tomatoes. The website's consensus reads: "Sure, it's another adaptation of cinema's fave Jane Austen novel, but key performances and a modern filmmaking sensibility make this familiar period piece fresh and enjoyable."[108] Metacritic reported an average score of 82 out of 100, based on 37 reviews and classified the film as "universally acclaimed".[109]

Critics claimed the film's time constraints did not capture the depth and complexity of the television serials[18] and called Wright's adaptation "obviously [not as] daring or revisionist" as the serial.[110] JASNA president Joan Klingel Ray preferred the young age of Knightley and Macfadyen, saying that Jennifer Ehle had formerly been "a little too 'heavy' for the role."[111] Peter Bradshaw of The Guardian, while praising Knightley for an outstanding performance "which lifts the whole movie", considered the casting of the leads "arguably a little more callow than Firth and Ehle." He does add that "Only a snob, a curmudgeon, or someone with necrophiliac loyalty to the 1995 BBC version with Colin Firth and Jennifer Ehle could fail to enjoy [Knightley's] performance."[110] At the time, BBC film critic Stella Papamichael considered it Knightley's "best performance yet."[95] Critics were divided about Macfadyen's portrayal of Darcy, expressing pleasant surprise,[111][112] dislike for his lack of gradual emotional shift as in the novel,[111][113] and praise for his matching the insecure and sensitive personality of the book character better than Firth.[18]

Critics also drew attention to other aspects of the film. Writing for The Sydney Morning Herald, Sandra Hall criticised Wright's attention to realism for being "careless with the customs and conventions that were part of the fabric of Austen's world."[114] In another review, Time Out magazine lamented the absence of Austen's "brilliant sense of irony", remarking that the film's "romantic melodrama's played up at the expense of her razor-sharp wit."[113] More positively, Derek Elley of Variety magazine praised Wright and Moggach for "extracting the youthful essence" of the novel while also "providing a richly detailed setting" under Greenwood and Durran's supervision.[6] Equally pleased with the film was the San Francisco Chronicle's Ruthe Stein, who wrote that Wright made a "spectacular feature film debut" that is "creatively reimagined and sublimely entertaining".[115] Claudia Puig of USA Today called it "a stellar adaptation, bewitching the viewer completely and incandescently with an exquisite blend of emotion and wit."[116]

Wright's adaptation failed to have the same cultural impact as the 1995 serial and has since attracted sharply-divided opinions.[92][128][129] However, even three years after the release, Knightley was still associated with Elizabeth Bennet among a generation of young viewers who had not seen the 1995 production.[130] Given the varied opinions about the film, JASNA published an edited special issue of its online journal Persuasions On-Line in 2007 with the collaboration of nineteen Austen scholars from six countries; the intent was to foster discussion and stimulate scholarly analysis. JASNA had done this only once before, for the 1996 film Emma.[92][128][131]

Pride & Prejudice impacted later productions in the costume drama and heritage film genres. Literary critics protested that Wright's adaptation effectively "popularized Austen's celebrated romance and brought her novel to the screen as an easy visual read for an undemanding mainstream audience."[132] Carole Dole noted that the film's success "only made it more likely that future adaptations of Austen will feature, if not necessarily mud, then at least youthful and market-tested performers and youth-oriented filmmaking techniques balanced with the visual pleasures of the heritage film." She cited Anne Hathaway in the 2007 film Becoming Jane as an example.[5] Jessica Durgan added that Pride & Prejudice conceived a new hybrid genre by rejecting the visual cues of the heritage film, which attracted "youth and mainstream audiences without alienating the majority of heritage fans."[8]

Production of Pride & Prejudice began Wright's relationship with Working Title Films, the first of four collaborations.[133] Many members of the film's cast and crew joined Wright in his later directorial efforts. For his adaptation of Atonement, which he viewed as "a direct reaction to Pride & Prejudice",[134] Wright hired Knightley, Blethyn, Marianelli, Thibaudet, Greenwood, and Durran.[135] Atonement employed themes similar to Austen's, including the notion of a young writer living in "an isolated English country house" who "mixes up desires and fantasies, truths and fiction."[73] Wright's 2009 film The Soloist included Hollander, Malone, and Marianelli,[136][137][138] while Hollander was also featured in Hanna (2011).[139] Wright's 2012 adaptation of Anna Karenina features Knightley, Macfadyen, Marianelli, Durran, and Greenwood and is produced by Bevan, Eric Fellner, and Webster.[133]


what was the precursor to the office of personnel management

The United States Civil Service Commission was created by the Pendleton Civil Service Reform Act of 1883. The commission was abolished and replaced by OPM on January 1, 1979, following the passage of the Civil Service Reform Act of 1978 and Reorganization Plan No. 2 of 1978 (43 FR 36037, 92 Stat. 3783).[3]

The United States Office of Personnel Management (OPM) is an independent agency of the United States government that manages the civil service of the federal government.

On November 10, 2015 President Barack Obama announced his intention to nominate Beth Cobert to be the Director of the Office of Personnel Management.[1] Cobert had been Acting Director since July 2015. [2]

In 1996 the investigation branch of the OPM was privatized, and USIS was formed.[4]

According to their website, the mission of the OPM is "recruiting, retaining and honoring a world-class force to serve the American people."[5] The OPM is partially responsible for maintaining the appearance of independence and neutrality in the Administrative Law System. While technically employees of the agencies they work for, Administrative Law Judges (or ALJs) are hired exclusively by the OPM, effectively removing any discretional employment procedures from the other agencies. The OPM uses a rigorous selection process which ranks the top three candidates for each ALJ vacancy, and then makes a selection from those candidates, generally giving preference to veterans.

The OPM is also responsible for a large part of the management of security clearances (National Background Investigations Bureau a/k/a NBIB conducts these investigations) for the United States Government. With the exception of the Nuclear Regulatory Commission, which maintains its own system, separate programs for each executive department have gradually been merged into a single, Government-wide clearance system. The OPM is responsible for investigating individuals to give them Secret and Top Secret clearances.[6] SCI compartments, however, are still managed by the particular agency that uses that compartment.

OPM is also responsible for federal employee retirement applications for FERS and CSRS employees.[7] OPM makes decisions on federal employee regular[8] and disability retirement cases.[9]

The OPM revolving fund is described as the OPM’s “fee for service” business that moves federal budget money from various federal agencies to the OPM for human resources (HR) services. During the decade from 2002–12, the dollar amount of the fund has tripled.[10] The fund is worth $2 billion, equivalent to almost all (90 percent) of the OPM budget.[11]

In July 2013, Rep. Blake Farenthold (R-Texas) introduced the Office of Personnel Management Inspector General Act.[12] The bill would increase oversight of the fund. Farenthold introduced the bill as a response to accusations of fraud and concerns about security clearance background investigations.[13] The bill would fund the expenses for investigations, oversight activities and audits from the revolving fund.[14] In February 2014, President Obama signed the bill into law.[15]

The fundâ€™s history goes back to the early 1980s, where it was used for two main activities: training and background investigations for government personnel.[16]

In June 2015, the Office of Personnel Management announced that it had discovered in April 2015 that it had been hacked more than a year earlier in a data breach, resulting in the theft of approximately 4 million personnel records handled by the office.[17] The Washington Post has reported that the attack originated in China, citing unnamed government officials.[18] By July 9, 2015 the estimate of stolen records had increased to 21.5 million, including those of current government personnel and people who had undergone background checks.[19]

New updates regarding this security breach came to light on September 24, 2015. The agency then indicated that additional evidence showed that 5.6 million people's fingerprints were stolen as part of the hacks, more than five times the 1.1 million originally estimated. The total number of individuals whose records were disclosed in whole or part, including Social Security numbers and addresses, remained at 21.5 million.[20]

Source: OPM's Agency Leadership Through Time[21]


who sings will you ever see the day

"See the Day" is a song by English singer Dee C. Lee, released as a single on 21 October 1985. On 2 December it peaked at number 3 in the UK Singles Chart where it stayed for two weeks. The single sold in excess of 250,000 copies, receiving a silver certification, and becoming Lee's biggest hit single and her only UK Top 40 hit to date. "See the Day" also charted in Australia, Germany and the Netherlands.

See the Day

The B-side of the single, "The Paris Match", featured Lee's future husband Paul Weller and his band The Style Council, of which Lee was a part-time member.

The song was covered by Girls Aloud in 2005, where it reached number 9 on the UK Singles Chart.

7" single
A "See the Day"
B "The Paris Match"

12" single
A1 "See the Day"
A2 "The Paris Match"
B1 "Luck" [live version]
B2 "Don't Do It Baby" [remix]

In 2005, British all-female pop group Girls Aloud recorded a cover of "See the Day" for their third studio album Chemistry. Their version was produced by Brian Higgins and his production team Xenomania. A contender for the Christmas number one, the single was released just four weeks after "Biology". The single became Girls Aloud's lowest charting single at that point, but continued their string of top ten hits on the UK Singles Chart and received extensive airplay.

The music video, which had the feel of a painting, featured Girls Aloud in the scenic landscape of a snow globe.  "See the Day" was promoted through numerous live appearances and was featured on 2006's Chemistry Tour. Although the track was "given a glossy 21st century refurb," contemporary music critics criticized the song for its lack of creativity and similarities to Girls Aloud's 2004 cover of "I'll Stand by You". Cheryl Cole later said she hates "See the Day" and regrets releasing it.

Much like Girls Aloud's 2004 cover of The Pretenders' "I'll Stand by You", Brian Higgins and Xenomania felt "See the Day" needed to stick closely to the original in terms of tone.[3] The song, described as "the obligatory Christmas ballad", was "given a glossy 21st century refurb."[4][5]

The song was released on 19 December 2005 as a contender for the Christmas number one of the year.[6][7] It was available on two CD single formats and as a digital download. The first disc included "It's Magic", an album track from Chemistry co-written by Girls Aloud and sung solely by Nicola Roberts.[8] The second CD format included a previously unreleased track entitled "I Don't Really Hate You", as well as a Chemistry album medley and the Soundhouse Masterblaster Mix of "See the Day".[9] The artwork of the second disc features Girls Aloud lying on the ground, positioned to create a snowflake.[3]

Cheryl Cole stated in January 2008 that the song was only put out because they were stuck for ballads. "I wish we hadn't released See The Day. I absolutely hate that track, I don't think it's us at all, it's really old fashioned."[10]

Girls Aloud's version of "See the Day" received generally negative reviews from contemporary music critics. The cover was largely slated for its lack of creativity and similarities to their 2004 cover of The Pretenders' "I'll Stand by You" (although some critics preferred it).[11][12] John Murphy of musicOMH stated that "See The Day should wipe away all memories of I'll Stand By You" and that while it's "not in the same league as the Girls' Xenomania compositions, but it's still by far the best cover version they've done."[13][14] Virgin Media said that "coming so hot on the heels of the still-charting Biology and taken from an album chock-full of corking tracks, it seems more than a little cynical."[11]

Girls Aloud won the Heart Award for "See the Day" at the O2 Silver Clef Lunch, an annual awards ceremony honouring songwriting and performance in aid of Nordoff-Robbins Music Therapy.[15] Nicola Roberts and Kimberley Walsh, members of the band, attended the awards presentation ceremony.

"See the Day" became Girls Aloud's lowest charting single to date when it entered the UK Singles Chart at number nine, behind other new entries by Shayne Ward and Eminem at numbers one and five respectively.[16][17] The single fell just one position the following week, rounding out the top ten.[18] It swiftly fell down the charts, falling to number nineteen in its third week.[19] The song spent a total of just six weeks in the UK's top 75.[16][20] "See the Day" made Girls Aloud the first girl group to achieve eleven consecutive top ten singles. The song was also an airplay hit.[3] It was, however, less successful on the official UK Download Chart, where "See the Day" debuted at number 29.[21]

On 16 June 2006, Lucy Benjamin performed a version of "See the Day" on The X Factor: Battle of the Stars that was credited to Girls Aloud rather than Dee C. Lee.[22] Following the final and Benjamin's victory, the single briefly re-entered the top 200.

"See the Day" entered the Irish Singles Chart at number sixteen.[23] It fell to number seventeen the following week,[24] before rising to number fifteen in its third week.[25] "See the Day" reached its peak of number fourteen in its fourth week on the Irish Singles Chart.[26] The single spent eight weeks in Ireland's top fifty.[27]

The music video for "See the Day" was directed by Harvey & Carolyn, filmed one day after the video for "Biology".[3] The video starts with a stage curtain being drawn back, similar to the opening for the video for "Biology". The girls are revealed to be in a snowy realm wearing white dresses. Throughout the video, various close-up glamour shots are shown, as well as group shots of the girls standing in a line and sitting aronud a pond reflecting the night sky. At one point, the girls can seen within a snow globe, perched upon a human hand. The video ends with the girls seated around the pond, while the song title glitters in the sky. The curtain then closes.

The video can be found on the DVD release of 2006's Chemistry Tour, as well as 2007's Style DVD.

Girls Aloud performed "See the Day" live for the first time at Children in Need's Great Big Bid. The band appeared on Blue Peter, CD:UK (twice), Hit40UK, Ministry of Mayhem, The Paul O'Grady Show, Today with Des and Mel, Top of the Pops, and Top of the Pops Reloaded. It was also featured on 2006's Chemistry Tour. As one of the group's least favourite singles, as well as one of the worst-performing, "See the Day" has rarely been performed live since its release.

These are the formats and track listings of major single releases of "See the Day".

UK CD1 (Polydor / 9875964)

UK CD2 (Polydor / 9875965)

The Singles Boxset (CD11)


is university of lahore islamabad campus recognized by hec

The University of Lahore (Urdu: جامعہ لاہور) or UOL is a private university located in Lahore, Punjab, Pakistan. It was founded at collegiate level in 1999 under the IBADAT Educational Trust and was granted full degree awarding status in 2002. It is one of the Largest Private universities in Pakistan. Subjects include Medicine, Engineering, Arts and Social Sciences. All programs are recognized by the Higher Education Commission (HEC) and government regulatory bodies in Pakistan. It is accredited by the Pakistan Engineering Council (PEC), Pakistan Bar Council, Pakistan Medical and Dental Council (PMDC), Pakistan Nursing Council, Pharmacy Council of Pakistan etc.

University of Lahore

The University of Lahore (UOL) has 2 campuses in Lahore, 2 campuses in Islamabad and one in Sargodha, Pakpattan and Gujrat. All programs run at the UOL, are recognized by the Higher Education Commission (HEC), the Government regulatory body, in Pakistan. The University also has courses accredited by the Pakistan Engineering Council (PEC), Pharmacy Council of Pakistan, Pakistan Bar Council and Pakistan Medical and Dental Council (PMDC) respectively.

The University has also achieved the highest W4 category ranking with the Higher Education Commission (HEC) of Pakistan. The University of Lahore is ranked at 801st position amongst the Top 1000 Universities of the World by QS-2018 Ranking, and at 251st position by Asian University Rankings-2017.  The University of Lahore has 7 campuses, 11 academic faculties, 35 academic departments, 3 technology parks, 2 research centres, Alumni network of 23000+, and 150+ degree programs and teaches 3,000+ courses. The Total Student Body in all campuses comes to around 36,000+.

Learning Center of The University of Lahore is established for the professional development of the teaching faculty and staff.

Pakistan Journal of Molecular Medicine (Pakistan J. Mol. Med.) is a semi-annual (6 monthly) journal, being published by the Institute of Molecular Biology and Biotechnology (IMBB), and Centre for Research in Molecular Medicine (CRiMM), The University of Lahore, Lahore, Pakistan. This Journal accepts the articles and reviews (invited and non-invited) in the disciplines of biochemistry, biotechnology, environmental sciences, forensic science, medicine, microbiology, molecular biology, pathology, pharmacology, physiology, toxicology and other Bio-medical sciences.

JMBSS is a specified, peer-reviewed and professional journal that is published bi-annually in both print and electronic forms by University of Lahore, Pakistan.

We are living in information era and specialization with multidisciplinary orientation is playing its part greater than ever. To ensure originality of work and contribution to the knowledge. The Faculty of Allied Health Sciences (FAHS), The University of Lahore has published "Asian Journal of Allied Health Sciences (AJAHS)"; a Quarterly peer-reviewed open access Journal. The aim of the Journal is to provide a platform for allied health professionals to publish their research work. All materials, articles and information published in AJAHS will be peer-reviewed.

The University of Lahore has international students from different countries and has in recent years attracted students from Palestine, Sudan, Qatar, Yemen, Turkey, Syria, Somalia, Afghanistan, Nepal, Oman, Saudi Arabia, South Korea, Jordan, UAE and Uganda among others. Foreign seats are available in degree programmes such as Medicine, Dentistry, Engineering and English language and Literature.

The Advisory Board consists of scientists, engineers and academicians who monitor the institute's standards of education and research. There are also career counsellors available to guide students in their studies and career choices.The UOL also publishes work in several scholastic journals affiliated to  Higher Education Commission (HEC) Pakistan.Also there is international linkages with other universities.

Separate hostel accommodation is available for both male and female students at The University of Lahore (UoL). The Defence Road Campus of the University features in facility of two hostels for females: Razia Hall and Fatima Hall, for about 1000 students in it. In order to facilitate the students, the following facilities have been provided at both the boys and girls hostels: Mess, mosque, separate television room, telephone, newspapers, guest rooms, Common Room, computer room, electric water coolers, high-speed Internet and Wi-fi, hostel laundry and 24-hour security.

The University of Lahore has Seven campuses across Pakistan that contains areas of:

(Gujrat Campus)

(Uganda Campus)

The University have four research centers:

The University's library resources include Books, Journal's and E-books. The University of Lahore currently houses four well equipped libraries with cumulatively more than 31000+ Books catering to a wide range of subjects. The University also has access to 72 Mbit/s Pakistan Educational Research Network (PERN) facilities, E- Library, OPAC, Mini labs, HEC Digital library as well as International online Libraries and Journals. The University of Lahore has subscription of World Class Turnitin services for Plagiarism check.

UOL is setting up Off the Grid (OTG) Solar power generation plants and Bio-gas plants, a step forward against energy crisis that will provide green energy. This will enable the University to continue to provide excellent educational and research services to the nation in optimal circumstances.

The University of Lahore (UOL) has been placed at No. 3 ranking in Pakistan and No. 240 ranking internationally in "UI Green Metric Ranking 2016" based on the evaluation of these six main categories Green Statistics, Energy and Climate Change, Waste management, Water usage, Transportation, and Education.


who are the four archangels created by god

The Protestant Bible provides names for three angels: "Michael the archangel", the angel Gabriel, who is called "the man Gabriel" in Daniel 9:21 and third "Abaddon" / "Apollyon" in Revelation 9:11. Within Protestantism, the Anglican and Methodist tradition recognizes four angels as archangels: Michael the Archangel, Raphael the Archangel, Gabriel the Archangel, and Uriel the Archangel.[21][22] They are commemorated on 29 September, “Michaelmas”, in the church calendar.[23] The evangelist Billy Graham wrote that in Sacred Scripture, there is only one individual explicitly described as an archangel—Michael in Jude 1:9.[24][25]

Archangel

An archangel /ˌɑːrkˈeɪndʒəl/ is an angel of high rank. The word "archangel" itself is usually associated with the Abrahamic religions, but beings that are very similar to archangels are found in a number of religious traditions.

The English word archangel is derived from the Greek ἀρχάγγελος (arch- + angel, literally chief angel or angel of origin).[1] It appears only once in the New Testament in the phrase 'the archangel Michael' (Jude 9). The corresponding Hebrew word in the Hebrew Scripture (Old Testament) is found in two places as in "Michael, one of the chief princes" (Dan 10:13) and in "Michael, the great prince" (Dan 12:1).

Michael and Gabriel are recognized as archangels in Judaism, Islam, the Baha'i Faith and by most Christians. Protestants recognize Gabriel as an angel but consider Michael to be the only archangel. Raphael—mentioned in the deuterocanonical Book of Tobit—is also recognized as an archangel in the Catholic and Orthodox churches. Gabriel, Michael, and Raphael are venerated in the Roman Catholic Church with a feast on September 29 (between 1921 and 1969, March 24 for Gabriel and October 24 for Raphael), and in the Eastern Orthodox Church on November 8 (if the Julian calendar is used, this corresponds to November 21 in the Gregorian). The named archangels in Islam are Gabriel, Michael, Israfil and Azrael. Jewish literature, such as the Book of Enoch, also mentions Metatron as an archangel, called the "highest of the angels", though the acceptance of this angel is not canonical in all branches of the faith.

Some branches of the faiths mentioned have identified a group of seven Archangels, but the named angels vary, depending on the source. Gabriel, Michael, and Raphael are always mentioned; the other archangels vary, but most commonly include Uriel, who is mentioned in 2 Esdras.

In Zoroastrianism, sacred texts allude to the six great Amesha Spenta (literally "Bounteous/Holy Immortals")[2] of Ahura Mazda.

An increasing number of experts in anthropology, theology and philosophy, believe that Zoroastrianism contains the earliest distillation of prehistoric belief in angels.[3]

The Amesha Spentas of Zoroastrianism are likened to archangels. They individually inhabit immortal bodies that operate in the physical world to protect, guide, and inspire humanity and the spirit world. The Avesta explains the origin and nature of archangels or Amesha Spentas.[3]

To maintain equilibrium, Ahura Mazda engaged in the first act of creation, distinguishing his Holy Spirit Spenta Mainyu, the Archangel of righteousness. Ahura Mazda also distinguished from himself six more Amesha Spentas, who, along with Spenta Mainyu, aided in the creation of the physical universe. Then he oversaw the development of sixteen lands, each imbued with a unique cultural catalyst calculated to encourage the formation of distinct human populations. The Amesha Spentas were charged with protecting these holy lands and through their emanation, also believed to align each respective population in service to God.[4]

The Amesha Spentas (amesha meaning eternal and spenta meaning brilliance and beneficence) as attributes of God are:

The Hebrew Bible uses the term מלאכי אלוהים (malakhi Elohim; Angels of God),[5] The Hebrew word for angel is "malach," which means messenger, for the angels מלאכי יי (malakhi Adonai; Angels of the Lord) are God's messengers to perform various missions - e.g. 'angel of death';[6] בני אלוהים (b'nei elohim; sons of God) and הקדושים (ha-q'doshim; the holy ones) to refer to beings traditionally interpreted as angelic messengers. Other terms are used in later texts, such as העליונים (ha-elyonim, the upper ones, or the supreme ones). References to angels are uncommon in Jewish literature except in later works such as the Book of Daniel, though they are mentioned briefly in the stories of Jacob (who according to one interpretation wrestled with an angel) and Lot (who was warned by angels of the impending destruction of the cities of Sodom and Gomorrah). Daniel is the first biblical figure to refer to individual angels by name.[7] It is therefore widely speculated that Jewish interest in angels developed during the Babylonian captivity.[8] According to Rabbi Simeon ben Lakish of Tiberias (230–270 CE), specific names for the angels were brought back by the Jews from Babylon.

There are no explicit references to archangels in the canonical texts of the Hebrew Bible (Old Testament). In post-Biblical Judaism, certain angels came to take on a particular significance and developed unique personalities and roles. Though these archangels were believed to have ranked amongst the heavenly host, no systematic hierarchy ever developed. Metatron is considered one of the highest of the angels in Merkavah and Kabbalist mysticism and often serves as a scribe. He is briefly mentioned in the Talmud,[9] and figures prominently in Merkavah mystical texts. Michael, who serves as a warrior and advocate for Israel,[10] is looked upon particularly fondly. Gabriel is mentioned in the Book of Daniel[11] and briefly in the Talmud,[12] as well as many Merkavah mystical texts. The earliest references to archangels are in the literature of the intertestamental periods (e.g., 4 Esdras 4:36).

In the Kabbalah there are ten archangels, each assigned to one sephira: Metatron, Raziel (other times Jophiel), Tzaphkiel, Tzadkiel, Khamael, Raphael, Haniel, Michael, Gabriel, and Sandalphon. Chapter 20 of the Book of Enoch mentions seven holy angels who watch, that often are considered the seven archangels: Michael, Raphael, Gabriel, Uriel, Saraqael, Raguel, and Remiel.[13] The Life of Adam and Eve lists the archangels as well: Michael, Gabriel, Uriel, Raphael and Joel. Medieval Jewish philosopher Maimonides made a Jewish angelic hierarchy.

The New Testament makes several references to angels, but uses the word "archangel" only twice, at Thessalonians 4:16 ("For the Lord himself shall descend from heaven with a shout, with the voice of the archangel, and with the trump of God: and the dead in Christ shall rise first", KJV) and Jude 1:9 ("Yet Michael the archangel, when contending with the devil he disputed about the body of Moses, durst not bring against him a railing accusation, but said, The Lord rebuke thee", KJV).

In Roman Catholicism, three are honored by name:

The last-named of these identifies himself in Tobit 12:15(NAB) thus: "I am Raphael, one of the seven angels who stand and serve before the Glory of the Lord."

The Fourth Book of Esdras, which mentions the angel Uriel, was popular in the West and was frequently quoted by Church Fathers, especially Ambrose, but was never considered part of the Catholic biblical canon.[14]

The Catholic Church gives no official recognition to the names given in some apocryphal sources, such as Raguel, Saraqael and Remiel (Book of Enoch) or Izidkiel, Hanael, and Kepharel (other such sources).[15]

Eastern Orthodox Tradition mentions "thousands of archangels;[16] however, only seven archangels are venerated by name.[17] Uriel is included, and the other three are most often named Selaphiel, Jegudiel, and Barachiel (an eighth, Jeremiel, is sometimes included as archangel).[18] The Orthodox Church celebrates the Synaxis of the Archangel Michael and the Other Bodiless Powers on November 8 of Stencyl the Eastern Orthodox liturgical calendar (for those churches which follow the Julian Calendar, November 8 falls on November 21 of the modern Gregorian Calendar). Other feast days of the Archangels include the Synaxis of the Archangel Gabriel on March 26 (April 8), and the Miracle of the Archangel Michael at Colossae on September 6 (September 19). In addition, every Monday throughout the year is dedicated to the Angels, with special mention being made in the church hymns of Michael and Gabriel. In Orthodox iconography, each angel has a symbolic representation:[18]

In the canon of the Ethiopian Orthodox Tewahedo Church, 1 Enoch describes Saraqael as one of the angels that watch over "the spirits that sin in the spirit." (20:7, 8).

Seventh-day Adventists hold that titles "Michael" and "archangel" are in reference to Jesus. However, they only signify his role as the chief of angels and have no reference to the nature of Jesus, who is fully divine. Adventists credit nonconformist minister Matthew Henry as supporting this view.[26]

Jehovah's Witnesses, citing a reference to "an archangel's voice" at 1 Thessalonians 4:16, also believe that "Michael" is another name for Jesus in heaven. They believe Jesus is archangel in the true sense of the word - the highest spiritual creature.[27]

The Church of Jesus Christ of Latter-day Saints (LDS Church) interprets the term archangel as meaning "Chief Angel",[28] Michael is the only individual so-designated in the Latter Day Saints canon.[29] It is believed that he is the head of all of the angels.[28] LDS Church doctrine also states that the archangel Michael was the first man, Adam.[30] Though no other being is identified as an "archangel," Joseph Smith taught that the angel Gabriel was known in mortality as Noah[31] and the angel Raphael is a being of significant standing, even though he has never been identified with any mortal prophet.[32]

In Islam, the mentioned archangels[33] in the Qur'an include:

Occultists sometimes associate archangels in Kabbalistic fashion with various seasons or elements, or even colors. In some Kabbalah-based systems of ceremonial magic, all four of the main archangels (Gabriel, Michael, Raphael and Uriel) are invoked as guarding the four quarters, or directions, and their corresponding colors are associated with magical properties.[36] Lucifer or Sataniel in Judeo-Christian traditions, or Iblis in Islam, is considered an archangel by Satanists and many non-Satanists, but non-Satanists consider him evil and fallen from God's grace.

In art, archangels are sometimes depicted with larger wings. Some of the more commonly represented archangels are Gabriel, Michael, Raphael, and Uriel.[37]

In the lesser ritual of the pentagram, the invocation includes the words "Before me Raphael; Behind me Gabriel; On my right hand Michael; On my left hand Auriel [Uriel]..."[38]