who is going to be the 12th doctor

The Twelfth Doctor is an incarnation of the Doctor, the protagonist of the BBC science fiction television programme Doctor Who. He is portrayed by Scottish actor Peter Capaldi.[1] Within the series' narrative, the Doctor is a time travelling, humanoid alien from a race known as the Time Lords. When the Doctor is critically injured, he can regenerate his body, and in doing so gain a new physical appearance, and with it a distinct new personality; this plot mechanism has allowed the Doctor to be portrayed by a series of actors over the decades since the programme's inception in 1963. Capaldi's portrayal of the Doctor is a spiky, brusque, contemplative, and pragmatic character who conceals his emotions in the course of making tough and sometimes ruthless decisions.

Twelfth Doctor

Capaldi made his first, very brief appearance as the Doctor in the show's fiftieth anniversary special "The Day of the Doctor" (2013), as one of the thirteen incarnations of the Doctor who are summoned to save Gallifrey from destruction. Capaldi's first full appearance as the Doctor was at the end of the 2013 Christmas special "The Time of the Doctor".[2][3] He is accompanied in the eighth and ninth series by companion Clara Oswald (Jenna Coleman).[4] He also appeared in "For Tonight We Might Die", the first episode of the 2016 spin-off series Class. In the tenth series of Doctor Who, he is accompanied by two new companions: Nardole (Matt Lucas)[5] and Bill Potts (Pearl Mackie).[6]

On 30 January 2017, Capaldi announced he would be leaving the programme after the 2017 Christmas episode, "Twice Upon a Time".[7] He is to be succeeded by Jodie Whittaker as the Thirteenth Doctor.[8]

Matt Smith, who played the Eleventh Doctor, publicly announced his departure from Doctor Who on 1 June 2013,[9] triggering extensive media speculation on the subject.[10] On 3 August 2013, bookmakers William Hill suspended betting when Capaldi became the five to six favourite to be cast.[11] Capaldi's casting was revealed on 4 August during a live broadcast on BBC One, titled Doctor Who Live: The Next Doctor.[12] The live show was watched by an average of 6.27Â million in the UK, and was also simulcast in the United States, Canada and Australia.[13]

While Capaldi was the first choice for the role, other actors were also approached in case Capaldi should turn the offer down. Ben Daniels, who was an early favourite following the announcement of Matt Smith's departure,[10] said that he had been approached with a view to assessing whether he would be interested in playing the Doctor, with his name remaining as a potential contender until just before the live BBC broadcast.[14]

Doctor Who head writer and executive producer Steven Moffat said that Capaldi "briefly flicked through [his] mind" while casting the Eleventh Doctor, but that he dismissed the idea, thinking he was not right for the part at the time.[3] Ben Stephenson, the BBC's drama commissioner, said that Capaldi was suggested months before the August revelation and that a secret audition was held at Moffat's home.[2] Capaldi prepared for the audition by downloading old Doctor Who scripts from the Internet and practising in front of a mirror. He discovered he had been given the part during filming for Adrian Hodges' The Musketeers in Prague; after missing a call from his agent, Capaldi rang back to be greeted with "Hello, Doctor!"[3] At 55 years old when originally cast, Capaldi was only a few months younger than William Hartnell (the First Doctor) was, when he was cast in the role,[3] and is the oldest actor since Hartnell to star as the Doctor[15] and the third oldest to portray the character.[16] Moffat felt that an older actor would work best following the youngest actor, as it would both provide a change and lessen comparisons. He commented, "I can absolutely believe that the strange old-young Matt Smith will turn into the strange young-old Peter Capaldi."[17]

Capaldi has previously appeared playing other roles in the Doctor Who franchise. He portrayed Lobus Caecilius in the 2008 episode "The Fires of Pompeii" and John Frobisher in Children of Earth, the 2009 serial of the Doctor Who spin-off Torchwood.[3][18] Moffat has stated that he plans on explaining over time why there are three characters in the Doctor Who universe with the same appearance; his predecessor Russell T Davies had once explained to him a theory for the first two, and upon Capaldi's casting assured Moffat that the explanation would still work.[19] This situation was alluded to in "Deep Breath", when a confused Doctor is reminded of Caecilius when he examines his face in a mirror.[20] In "The Girl Who Died", it is explained that the Doctor chose Caecilius' face to remind himself that he is the Doctor, and that he can always save people.[21] While not explained in the episode, Moffat later said that he also shares a face with John Frobisher as Frobisher is Caecilius's descendant, and represents the end of Caecilius's bloodline, referencing the Doctor's "eternal battle with doom and destiny."[22] Capaldi's casting marks the second time an actor has previously appeared in the series and then been cast as an incarnation of the Doctor, the first being Colin Baker.[23]

Capaldi briefly appears in the 50th anniversary special. Moffat stated that it was his "plan from the start" that all the Doctors would fly in to save Gallifrey, and he knew there would be a new one at that time. He wrote it before knowing who would be cast.[24] Capaldi filmed his appearance on 3 October 2013, long after principal photography for the special had ended, and the same day he filmed his debut scene for "The Time of the Doctor".[25]

Capaldi kept his native Scottish accent for the role.[26][27][28][29] Speaking on his decision, he said he did it so he could feel closer to the character.[30] A handful of tweets were reported in September 2014 in which it was claimed that some viewers struggled to understand Capaldi. A speech coach and linguistics expert both suggested that any problems with understanding Capaldi had more to do with delivery than accent.[31]

Upon the announcement that Steven Moffat would leave the show in December 2017 and be replaced by new showrunner Chris Chibnall, this decision led to speculation over whether Capaldi would remain in the role or leave alongside Moffat.[32] A month before this, Capaldi stated "This could be my final year it's terrifying, I love Doctor Who but it can be an insular world and I do want to do other things. There will come a time when this is over, but I knew that when I started. I was thinking about my regeneration scene from the outset, that’s my terrible melancholic nature, when you accept the job you know there’ll come a day, inevitably, when you’ll be saying goodbye.” [33]

On 30 January 2017, Capaldi confirmed that the tenth series would be his last.[7] Regarding his decision to leave, Capaldi stated that despite his tremendous love for the show, he was unsure if he would be able to deliver at his best performance if he remained in the role for too long.[34]

The Twelfth Doctor's general outfit consists of a signature dark blue short Crombie-style coat with a red lining, dark blue trousers, a long collared white shirt buttoned to the top with no tie, a navy cardigan or waistcoat, and brogue boots. His shirt varies from episode to episode, with a navy shirt, a dark purple shirt and a black shirt with white polka dots appearing, as well as a black holey jumper, all being worn under his coat in his first series. He also wears a hoodie over his jumper as of series nine, over his T-shirt all being worn under his coat. In "Time Heist", the Doctor describes his costume as "hoping for minimalism, but I think I came up with magician."

The look was created by Doctor Who costume designer Howard Burden who wanted to strip the Doctor back to the bare basics.[35] His design was described as "No frills, no scarfs, no messing, just 100% rebel Time Lord."[36] Capaldi said that the costume took a long time to find. The reason he settled on his final costume was because, "I think it's quite a hard look. I always wanted him to be in black – I always just saw the Doctor in dark colours. Not tweed," in reference to his immediate predecessor's original costume. "Matt's a really young cool guy – he can wear anything, but I wanted to strip it back and be very stark."[37] He also described it as "back to basics."[35] Moffat described the look as "A stick-insect sort of thing". He also said that Clara calls him "a grey-haired stick-insect at one point".[38] Capaldi also stated that he chose the Twelfth Doctor's costume so fans of the show who enjoy cosplay could easily emulate it without going to great expense.[39] Writing for Radio Times, fashion columnist Anna Fielding described it as "a classic early skinhead look" and linked it to Capaldi's history as a punk musician.[40]

Capaldi's costume has varied in some episodes. In "Mummy on the Orient Express" he dons a period-appropriate tuxedo. In "The Magician's Apprentice", he wears Ray-Ban sunglasses (later revealed in "The Witch's Familiar" to be a wearable version of his sonic screwdriver), a T-shirt and plaid baggy trousers along with the hoodie and Crombie coat. In "Face the Raven", the Twelfth Doctor sports a red velvet variant of his Crombie coat. After briefly ditching it in "Hell Bent", Clara comments that it made him look more 'doctory'. At the end of the episode, he dons the red coat in honour of her, and is given a new sonic screwdriver by the TARDIS. In the ending segment of "The Husbands of River Song", the Doctor again dons the same tuxedo and period dress worn in "Mummy on the Orient Express". In "Thin Ice", the Doctor dons a dark blue velvet suit and a top hat while visiting London in 1814.

The Twelfth Doctor is, according to Capaldi, "more alien than he's been in a while."[42] Whilst still defining himself as someone who "saves people,"[43] the Twelfth Doctor cares little about being seen as a hero or even being liked by the people who he is trying to save.[44] Unlike his previous two incarnations who cared about humans and tried to understand them, Capaldi has confirmed that, this incarnation "doesn't quite understand human beings or really care very much about their approval." Clara is put on the back-foot by him post-regeneration[45] initially not seeing through his 'Tough Exterior'.[46] Playing Clara, Jenna Coleman says of this Doctor, "He's more removed, you can't quite access him in the same way", in comparison to his more friendly and accessible predecessor.[47] Initially it was reported that Capaldi specifically requested that the Doctor will not flirt with his companion the way his previous incarnation did,[37] but the actor stated that he said no such thing and that it was inflated by the media.[48] Steven Moffat has teased that Capaldi's Doctor may perhaps be more in love with Clara than he'd like to believe.[49] He has also been described as a "total adrenaline junkie" and, according to Moffat, "much fiercer, madder [and] less reliable".[50] "He's not as immediately approachable and he's not necessarily looking for your approval, when he says 'Wait here, I'll be back', you're not absolutely convinced... what he's not doing is reassuring you very much."[51]

Mark Gatiss said that Capaldi's Doctor was "sort of Tom Baker, Jon Pertwee and even Christopher Eccleston style...it's someone who's not immediately going to be your best friend and can be quite abrupt and rude."[52] Moffat added to this analysis of the character by saying, "He has a tremendous ability with throwaway humour and a lot of it is around the fact that sometimes he is terribly rude. I think kids will think he is the rude Doctor [...] You might want to cuddle him but he really will resist."[53] It has been said that part of the Doctor's personality will share "a certain acid wit" of Malcolm Tucker, the role Peter Capaldi is most famous for, "specifically the attitude, the wisecracks and the energy...he can be edgy, volatile and dangerous".[54][55][56] Capaldi has stated that all of the previous actors who had played the Doctor were channelled in his portrayal[57] and that his particular influences were Hartnell, Pertwee and Davison.[55] He has been described as an "older, fiercer, trickier Doctor".[58] In spite of his darker personality, Capaldi has said that the Doctor is still, "funny, joyful, passionate, emphatic, and fearless." While Jenna Coleman added that this time, the Doctor is more "enigmatic, mysterious, complex, worn, and unmannered" when compared to his immediate two predecessors. Steven Moffat has joked that he's "more Scottish than last time."[59]

In Series 9, Capaldi described his character as a 'thrill-seeker' who is confronting danger where he soon realises that he is 'one of the luckiest creatures in all of time and space' and that 'life is short even at two-thousand years'.[60] According to Coleman regarding Clara's bond with The Doctor inquring if she had feelings for him she stated “She’s totally in love with him, always has been. It’s its own kind of love. He is her hero but she would be very reluctant to tell him that. It’s a doctor-and-companion love, and there’s nothing else like it really.” “They’re kind of freed of their issues and in a wonderful place together. Previously she was trying to keep him under control yet now the two of them are going ‘Come on, lets jump, lets do it’, egging each other on really, and being more and more reckless,” she teased. Capaldi stated “It’s sort of an utterly platonic bond, which is quite unusual. The problem is the Doctor knows a lot more than he ever says. He knows Clara’s fate. He knows the fate of all his companions before they do.”[61] Ultimately it has been confirmed by both Capaldi and Coleman that the Doctor and Clara's relationship is romantic in nature.[62]

For Series 10, Capaldi described his character as more 'closed off' and'suspicious' than the previous season, he elaborated 'If you’ve been following this Doctor, you’ve seen him go through all those different colours and all those different places, and as for where he goes now, I don’t know, but he’s been put through the mill.” Capaldi expressed in terms of his character 'Because in some ways he’s much more amenable, but in other ways he’s even darker. So I think that makes for a very interesting character.'[63] Upon discussing the interaction between The Doctor and his latest companion Bill Potts, Capaldi elaborated “It’s a kind of teacher-pupil relationship, but it becomes more complex than that and I think ultimately the Doctor has to undergo some dramas by himself. So I think he becomes slightly worried that he’s swept someone else up into his adventures without quite preparing them.”[64]

The Twelfth Doctor makes a first (and uncredited) appearance in the programme's fiftieth anniversary special, "The Day of the Doctor" (2013), when thirteen incarnations of the Doctor unite to save his home planet of Gallifrey from destruction during the Time War. At first, Time Lords in Gallifrey's war room spot twelve blue TARDISes approaching and encircling the planet. This count is then corrected to thirteen, and Capaldi's hands, eyes, and forehead are fleetingly shown.[65] He then makes his full debut at the end of the next episode, "The Time of the Doctor", after the Eleventh Doctor (Matt Smith), about to die from old age, is given a new regeneration cycle from the Time Lords, who remain hidden in a pocket universe.

In the series 8 premiere "Deep Breath" (2014), the Doctor arrives in Victorian London, where he recovers from the stress of his regeneration, initially under the care of the Paternoster Gang. After uncovering potential alien presence in London, the Doctor goes on the run as a homeless person for some time. While on the run, he believes he has seen his new face before, though does not recall from where. He and Clara (Jenna Coleman) are reunited by a third party, and realise that this third party has been conspiring to bring the two of them together for some time. The Doctor helps Clara overcome her reservations about his new personality and older physical appearance, and they begin travelling together once more.[66] Over the course of the series, he and Clara have some ups and downs in their friendship caused both by the Doctor's callousness and because Clara wishes to keep her continued travelling a secret from her boyfriend, Danny Pink (Samuel Anderson); she is not able to resolve the situation before Danny dies in a road accident in the first part of the series finale, "Dark Water"/"Death in Heaven". In the finale, he meets Missy (Michelle Gomez), the latest incarnation of his nemesis, the Master, who reveals that she conspired to bring him and Clara together and has begun converting the Earth's dead into Cybermen; her plan is to compromise the Doctor's morality with the offer of an army with which to rule the universe. Missy's scheme is foiled, but not before many have died and Earth is in chaos. The Doctor takes a weapon from Clara, to spare his companion the burden of killing Missy herself. As the Doctor hesitates, a cyberconverted Brigadier Lethbridge-Stewart, retaining his humanity, appears to disintegrate Missy with a laser blast. After a traumatic ordeal, the Doctor and Clara part ways, seemingly for good, before they are reunited by a shared dream in "Last Christmas" and agree to continue adventuring.

In the series 9 premiere "The Magician's Apprentice"/"The Witch's Familiar" (2015), the Doctor, along with Clara and Missy, who survived her apparent disintegration, are summoned to the planet Skaro by The Doctor's archnemesis Davros (Julian Bleach), the creator of the evil Dalek race, who is dying. Davros plays on the Doctor's sympathies to trick him into revitalising a dying Dalek empire, siphoning some of the Doctor's regeneration energy to do so. The Doctor also enlivens a mass of dying Daleks consigned to the sewers of Skaro, who begin to tear the city apart, and he makes his escape with Clara, but not before visiting Davros as a young boy on the battlefields of Skaro, and instilling in him a lesson about the virtues of mercy. In "The Girl Who Died," the Doctor finally remembers that he shares a face with a man he was persuaded to save in Pompeii, despite his initial reluctance to alter the timeline. He surmises that he subconsciously chose this face as a reminder that his job is to save lives. He is inspired to resurrect Viking girl Ashildr (Maisie Williams) with alien technology; he learns in "The Woman Who Lived" that she has become immortal and watches over his past companions. In "Face the Raven", Clara dies while trying to outsmart Ashildr, who stages an elaborate ploy to trap the Doctor, which he learns in "Heaven Sent" was on behalf of the Time Lords. Emerging from the trap on his home planet of Gallifrey, he sends a warning to his people of his return. In "Hell Bent", the Doctor deposes Time Lord President Rassilon (Donald Sumpter) and uses Time Lord technology to save Clara from the moments before her death, and then proceeds to run away with her to the end of time in the hopes of cheating death permanently. He is then persuaded by Ashildr that he and Clara are a dangerous influence on each other, and perhaps together constitute the "Hybrid of two great warrior races" which is prophesied to destroy Gallifrey. The Doctor attempts to wipe Clara's memories of him using a device, but she alters it so that it affects his memories of her instead; she leaves him behind on Earth with his TARDIS to start adventuring again. She departs in her own stolen TARDIS, alongside Ashildr, promising to one day return to Gallifrey and accept her death.

The Christmas special "The Husbands of River Song" (2015) is the Twelfth Doctor's first appearance alongside his roguish time-traveling wife River Song (Alex Kingston). After an emotionally wrought adventure, the Doctor and River finally confess the full extent of their feelings for each another, and he ends up fulfilling the history River told his earlier incarnation in "Silence in the Library" (2008): giving her his sonic screwdriver and spending a 24-year long date together as their final encounter. The Doctor next appears in the first episode of Doctor Who spin-off Class, appointing two alien refugees and a group of teenagers with protecting the pupils and faculty of Coal Hill Academy from alien threats.[67] He returns in 2016 Christmas special "The Return of Doctor Mysterio", alongside new companion Nardole (Matt Lucas), an employee of River Song's introduced in the previous episode. Together, they save New York from being destroyed by aliens with ambitions of world domination.

In the series 10 premiere "The Pilot" (2017), It was revealed that the Doctor has spent decades working as a professor in St Luke's University in Bristol, giving lectures on time and life, assisted by Nardole.[68] The Doctor has taken an oath to stay on Earth on guarding a mysterious vault beneath the university. Bored after decades of confinement on Earth, he takes on Bill Potts (Pearl Mackie) as his new companion, despite Nardole's reminders about his oath. In "Extremis", the show reveals that Nardole came to assist the Doctor on orders given by River before she died, and that the mysterious vault contains Missy, whom the Doctor swore to watch over for a thousand years. In "Oxygen", the Doctor is blinded in space while trying to save Bill's life, and maintains the deception that he can see using sonic sunglasses. In "The Pyramid at the End of the World", Bill gives consent to an Earth invasion by aliens called the Monks to save the Doctor's life, and his eyesight is restored, and the trio of the Doctor, Narole, and Bill repel the Monks from Earth in "The Lie of the Land". In "Empress of Mars" and "The Eaters of Light", the Doctor becomes more convinced of Missy's reformation, and so in "World Enough and Time", he sends her to react to a distress call on a colony ship trapped in the gravity of a black hole. However, his plan goes horribly wrong when Bill is shot and converted into a Cyberman by medics in the lower floors of the ship, where due to time dilation many years go by. In the series finale, "The Doctor Falls", the Doctor must face an army of Cybermen, but struggles to convince Missy to side with him as she is influenced by her past incarnation (played by John Simm), also on board the ship. Badly injured by the Cybermen's attacks, the Doctor sends Nardole away to evacuate humans on the ship, and destroys an entire level of the ship, which kills himself along with many Cybermen. He is taken to the TARDIS by Bill, who has been restored to life by the timely intervention of her love interest, Heather (Stephanie Hyam). Bill says goodbye to the Doctor before his regeneration begins. However, the Doctor refuses to transition. Clinging to life, he wanders out of his TARDIS, where he encounters his first incarnation (David Bradley).

New Series Adventures released novels starring the Twelfth Doctor and Clara Oswald in September 2014: Silhouette, The Crawling Terror, and The Blood Cell.[69] The next wave was released in September 2015, with the stories of Deep Time, Royal Blood and Big Bang Generation; the first two of these also feature the Twelfth Doctor and Clara, while Big Bang Generation sees the Twelfth Doctor reunited with the Seventh Doctor's Virgin New Adventures companion Bernice Summerfield.[70][71] In April 2017, three new novels were released, featuring new companions Nardole and Bill Potts. They are titled The Shining Man, Diamond Dogs and Plague City.[72]

Capaldi voices the Lego counterpart of the Twelfth Doctor in the video game, Lego Dimensions, alongside Jenna Coleman and Michelle Gomez as Clara and Missy respectively.[73] He also lent his voice to the character in the CBBC online game, The Doctor and the Dalek[74] and in the Doctor Who Game Maker on the official Doctor Who site.[75]

Peter Capaldi has received critical acclaim for his portrayal of the Doctor. Following the broadcast of "Deep Breath", Euan Ferguson of The Guardian called his performance "wise and thoughtful",[76] while Richard Beech of The Mirror agreed that Capaldi displayed "all the hallmarks of a great Doctor".[77] Michael Hogan of The Telegraph felt that Capaldi's portrayal "crackled with fierce intelligence and nervous energy".[78] Capaldi's performance in "Listen" was praised with Alasdair Wilkins of The A.V. Club stating "Capaldi turns in a suitably fearless performance, reaching his obsessive crescendo as he prepares to meet whatever is waiting for him at the end of the universe".[79] His acting in "The Caretaker" was praised with Ceri Radford of The Telegraph noting "Capaldi's ability to mould the character of the Doctor into his own unique intergalactic curmudgeon",[80] alongside Morgan Jeffery of Digital Spy noting "Capaldi's is the most complex and variable take on the Time Lord we've seen since Eccleston".[81] Tom Baker praised his character "instantly one felt: this fellow comes from far far away, he's strange. An instant frisson. And what's the word? Yes, got it! Alien, he's an alien. I salute him".[82] Professor Brian Cox noted "he's complex, menacing and vulnerable. Exactly what the Doctor should be". Musician Marc Almond stated "Peter Capaldi brings back a touch of darkness and ageless mystery to the Doctor that I feel had been missing, as well as a dash of menace and mischief. He has some of the abrasiveness of William Hartnell, the stylishness of Jon Pertwee and the eccentricity of Tom Baker – all my favourite Doctors". Alison Graham of Radio Times stated "Peter Capaldi is the Victor Meldrew Doctor Who; he's abrasive, acerbic and has no truck with modern life". Upon interviewing Capaldi just weeks before his first episode, he quoted he was "a more grown-up Doctor" albeit one who is still "mirthful. He's serious when he needs to be, but he's still quite comic". Patrick Mulkern added "Peter Capaldi simply is the Doctor; the most persuasive since Tom Baker" and described him as "the Scotch-on-the-rocks Doctor – distilled, chilly, stinging on the palate but warming on the way down".[83]

In January 2015, Capaldi became the first actor to portray the Doctor to not be shortlisted for a National Television Award since the series revival in 2005.[84][85][86] Ahead of the British Academy Television Awards that year, Paul Flynn of The Guardian noted that Capaldi's portrayal of the Doctor had the effect of "significantly reducing Doctor Who's glamour quotient".[87] Later, Capaldi received a TV Choice Awards nomination for Best Actor.[88] He was also nominated for a BAFTA Cymru Award in the Best Actor category for his acting in "Dark Water".[89] Steven Moffat praised his leading man stating "we could argue for the rest of our lives about who's the best Doctor — but for me, the best single performance in the role is settled forever. You can only ask a solo of a virtuoso, so thank God and Scotland for Peter Capaldi".[90] Capaldi's predecessor, Matt Smith, praised him as having "reinvented" Doctor Who.[91] Colin Baker praised the 12th Doctor noting "[Capaldi's Doctor] is grumpy and curmudgeonly and intolerant, and gosh – I should be playing it now. I wasn't old enough when I did it. I can do intolerant!" "[Capaldi's] costume is less annoying! I love his style, and I love his character".[92] In a later interview, Baker expressed that Capaldi initially had ‘a rough deal’ as fans weren’t very kind towards his incarnation, as they had been conditioned towards ‘eye candy’ in the form of dashing role models including David Tennant and Matt Smith. [93] Sylvester McCoy also expressed his admiration for Capaldi's incarnation for being portrayed as an "older" Doctor, as opposed to his younger predecessors, he went on to elaborate his casting helped provide a life-affirming message to serve as an inspirational role model for children.[94]

Scott Collura from IGN praised the interactions and dialogue between him and Davros in "The Witch's Familiar".[95] Den of Geek praised Capaldi in "Before the Flood" noting "his performance continues to mix grumpiness, friendliness, intelligence and a large dose of alien, he's been on excellent, excellent form".[96] Catherine Gee of The Telegraph credited Capaldi's acting in "The Woman Who Lived" noting "he has grown into the role utterly and completely. He embodies the weight of the Doctor's responsibility; his face wears every nuanced expression with a flickering ease".[97] His performance in "The Zygon Inversion" was heavily praised by fans and critics most specifically his anti-war speech, with Dan Martin of The Guardian stating "this Doctor has never been written better, Capaldi has never channelled Tom Baker more".[98] Most prominently Capaldi's performance in "Heaven Sent" received universal widespread acclaim,[99] with Patrick Mulkern of Radio Times noting that "Peter Capaldi's one-man show is an instant classic",[100] and that "Capaldi delivers 100%, carrying every scene and showing every facet of his Doctor: anger, terror, playfulness, intensity, resignation and, finally, a fierce refusal to do anything other than do what he has always done: find a way to win".[101] In a review for "Hell Bent", Catherine Gee stated "Peter Capaldi proved that he is one of the greatest Doctors".[102] Den of Geek praised the dynamic between the Doctor and River Song in "The Husbands of River Song", with Simon Brew noting the pair as a "strong double act",[103] with Morgan Jeffery of Digital Spy stating "this, combined with Capaldi and Kingston's sensitive work, means you feel a weight of history between these two people who've never shared a screen before".[104] Andrew Billen of The Times praised the Twelfth Doctor for being at his "warmest" in "The Return of Doctor Mysterio", along with The Guardian applauding the dynamic between the Doctor and Nardole noting "Peter Capaldi and Matt Lucas are 'a pantomime treat'".[105] In June 2016, Peter Capaldi was shortlisted for a national TV Choice Award for Best Actor.[106] He had also been submitted for a Primetime Emmy Award nomination for Outstanding Lead Actor in a Drama Series.[107] In addition, Capaldi was announced as a BAFTA Scotland Awards nomination as Best Actor on Television.[108]

Michael Hogan of The Telegraph noted that "Capaldi is back to his charismatic best" in "The Pilot", stating "devoted Whovian is keen to go out with a bang", and described his character as "mercurial, magical and kind".[109] Patrick Mulkern praised Sarah Dollard's writing of the Doctor in "Thin Ice", noting how she "examines his moral code; the ideals he aspires to and the crimes and misdemeanors he's prepared to indulge".[110] Capaldi's performance in "Extremis" received praise, with Alasdair Wilkins stating "Peter Capaldi is perilously close to becoming my unqualified pick for favorite Doctor, he underplays the moment, making small choices to signal both his compassion and his heartbreak". He also praised the interactions between him and Missy, noting how they recall "a more emotionally complex version of the repartee that Jon Pertwee’s Doctor and Roger Delgado’s Master had during their many encounters".[111] Patrick Mulkern praised Capaldi’s performance in "The Lie of the Land" proclaiming "he wavers between downright nasty and at best disconcerting. He’s world-weary — specifically, Earth-weary. You can almost believe he’s working for the dark side, so great is his disenchantment with the human race".[112] After the broadcast of World Enough and Time, Steven Moffat paid a special tribute to Capaldi, “Peter only has to think at the screen and you know what he’s thinking,” he said. “He only has to move his face and I know the particular blend of Scottish torment he’s feeling right now. Despite trying to fight his emotions, he has given us the most emotional Doctor.” [113] Capaldi received overwhelming praise for his performance in "The Doctor Falls"[114] with Patrick Mulkern noted the episode as a story dedicated to the character and how he "stands tall",[115] along with Daniel Jackson of the Daily Mirror highlighting the twelfth Doctor, praising how he "simply shines".[116] Flickering Myth stated "Peter Capaldi is a magnificent Doctor, a person who captures the wisdom, madness, caring and frustration of a two-thousand year old Time Lord". Digital Spy praised Capaldi's "Where I stand is where I fall" speech, noting it as quite possibly the actor's finest moment to date.[117] Simon Brew of Den of Geek heavily praised the actor's performance stating: "The majestic, wonderful, brilliant Peter Capaldi. If you needed a reminder of just how much he’s going to be missed when he finally departs Doctor Who at the end of the year, his outstanding work here was precisely that. When he was blasted, apparently mortally, and he kept holding off his regeneration I found myself saying out loud “I don’t want you to go”".[118] Ross Ruediger of New York Magazine agreed, admitting that "the man’s been a revelation. I love Peter Capaldi. He has without a doubt been my Doctor for this new incarnation of Doctor Who that’s wrapping up its tenth season, and we have been nothing short of fortunate to have been blessed with his talents. I don’t want you to go either, Peter".[119]


is there a difference between spanish and portuguese language

Portuguese and Spanish, although closely related sister languages, differ in many details of their phonology, grammar, and lexicon. Both are part of a broader group known as West Iberian Romance, which also includes several other languages or dialects with fewer speakers, all of which are mutually intelligible to some degree.

Comparison of Portuguese and Spanish

The most obvious differences are in pronunciation. Mutual intelligibility is generally greater for the written languages than for their spoken forms. Compare, for example, the following sentences:

â€”roughly equivalent to the English proverb "A word to the wise is sufficient," or, a more literal translation, "To a good listener, a few words are enough."

There are also some significant differences between Brazilian Portuguese and European Portuguese as there are between British and American English or Peninsular and Latin American Spanish. This article notes these differences below only where:

Portuguese and Spanish share a great number of words that are spelled either identically or almost identically (although the pronunciation almost always differs), or which differ sometimes in predictable ways. Consider, for example, the following paragraph, taken from the Gramática esencial del español, by Manuel Seco (Espasa Calpe, 1989), and compare it to the Portuguese rendition below, noting the lexical similarity and the slight changes in word order:

Pero, a pesar de esta variedad de posibilidades que la voz posee, sería un muy pobre instrumento de comunicación si no contara más que con ella. La capacidad de expresión del hombre no dispondría de más medios que la de los animales. La voz, sola, es para el hombre escasamente una materia informe, que para convertirse en un instrumento perfecto de comunicación debe ser sometida a un cierto tratamiento. Esa manipulación que recibe la voz son las "articulaciones".

Mas, apesar da variedade de possibilidades que a voz possui, seria um instrumento de comunicação muito pobre se não se contasse com mais do que ela. A capacidade de expressão do homem não disporia de mais meios que a dos animais. A voz, sozinha, é para o homem apenas uma matéria informe, que para se converter num instrumento perfeito de comunicação deve ser submetida a um certo tratamento. Essa manipulação que a voz recebe são as "articulações".

Most of the frequent words in the two languages share a common origin in Latin,[1] but several of these cognates differ, to a greater or lesser extent, in meaning.

Some words have two forms in one language, but just one in the other:

Some pairs of cognates differ in that they have a broader or narrower meaning in one language than in the other, or their meanings are entirely different. On this basis they are termed "false friends":

fila; bicha; cauda; rabo; linha (< Fr. file; < Lat. bestius; < Lat. cauda; < Lat. rapum; < Lat. linea)

copo (< Lat. cuppa)

floco (< Lat. floccus)

concorrência, competição (< Lat. concurrentia; competitio)

demissão (< Lat. dimissĭo)

urso (< Lat. ursus)

peixe (< Lat. piscis < Indo-European peisk)

pÃ³ (< Lat. pulv(er)is)

loja; negócio; butique; estabelecimento; depósito (< Fr. loge < Frankish laubja; < Lat. negotium; < Fr. boutique < Lat. apotheca; < Lat. stabilire; < Lat. depositum)

ganho, lucro, interesse, rendimento, proveito, vencimento, acrÃ©scimo (< Frankish waidanjan; < Lat. lucrum; < Lat. interesse; < Lat. re- + dare; < Lat. profectus; < Lat. vincere; < Lat. accrescere + suffix -imo)

investimento (< Lat. investire)

grávida (< Lat. gravō + -idus/-ida)

calote, fraude, burla (< Fr. culotte; < Lat.fraudis; < probably Lat. burrÅla)

swindle, fraud, trickery

refinado; esmerado
(< Lat. re + finis; < Lat. exmerare)

incómodo, inconveniência, maçada
(< Lat. incommodus; < Lat. inconvenientis; < Lat. matea + Port. -ada)

inconvenience, disturbance

lavabo, lavatório, toilette, toalete, WC, sanitário (< Lat. lavabo; < Lat. lavatorium; < Fr. toilette; < Eng. water closet; < Lat. sanitas)

toilet, WC, lavatory

cÃ£o (< Lat. canis), cachorro (< Lat. catulus + Basque -orro)

agrião (< Gr. ágrios)

Ã³leo (< Lat. oleum)

escritório, gabinete, atelier, agência, cartório, bureau/birô, departamento, workshop, oficina de reparação automóvel, garagem auto mecânica
(< Lat. scriptorĭum; < Fr. cabinet; < Fr. atelier; < Ital. agenzia; < Lat. carta + suffix -ório}}; < Fr. atelier; < Lat. departimentum; < Lat. + Gr departimentum; < Eng. workshop; < Fr. garage + Gr. αὐτο + Lat. mechanicus)

office, workshop

assinatura (< Lat. signator)

presumível, suspeito, provável (< Lat. praesumptus; < Lat. suspectum; < Lat. probabilis)

presumed, suspect

falÃ©sia (< Fr. falaise)

toupeira (< Lat. talpa + Port. -eira)

mole, moleskin

pegamento, cola (< Lat. pix, < Lat. coloere)

vase, flowerpot

copo (< Lat. cuppa)

aptitud, capacidad (< Lat. aptitūdo; capacĭtātis)

desnudo (< Lat. ex + nudus)

hueso (< Lat. ossum)

brea (< Fr. brayer)

pulpo (< Gr. πολύπους)

tienda, lona, toldo (< Lat. tenda < tendÄ•re; < Fr. Olonne; < Fr. taud < Old Germ. tialz)

codicia, avaricia, afÃ¡n (< Lat. cupiditia; < Lat. avaritia; probably < Lat. afannae)

inversiÃ³n (< Lat. inversionis)

avergonzada (< Lat. verecundia)

agotamiento, fatiga, extenuación (< Lat.gutta; < Lat.fatigāre; < Lat. extenuāre)

exhaustion, tiredness, wear out

raro, extraño, peculiar (< Lat. rarus; < Lat. extrāneus; < Lat. peculiāris)

odd, strange, peculiar

enfermedad, achaque, plaga, peste
(< Lat. infirmitas; < Ar. šakā; < Lat. plaga; < Lat. pestis )

disease, plague

servicio (< Lat. servitium)

oxidado (< Greek oxis + Lat. suffix -tatus)

chillido, berrido (< Lat. cisclare; < Lat. barrire)

screech, shriek

aceptado (< Lat.

taller; taller de coches; taller mecánico de autos
(< Old Fr. astelier; < Old Fr. estalier + Lat. cocca; < Old Fr. astelier + Lat. mechanicus + Gr. αὐτο)

auto repair centre, repair garage, workshop

empresa; compañía; sociedad, negocio (< Lat. prenhendere; companio; societas; nec otium)

business, firm, company, corporation, enterprise, venture, establishment, group, house

jamÃ³n (< Fr. jambon)

ham, prosciutto

riesgo (< Arabic rizq[2] or maybe Italian rischio}})

risk, line

cumbre (< Lat. columen or culmen)

Many pairs of cognates have come to have different meanings due to semantic change. These false friends include the following:

A number of the frequent "function words" (pronouns, conjunctions, etc.) are cognates in the two languages but are used in slightly different ways, including the following:

The Spanish pronoun todo can mean 'all/every', or 'everything'. Portuguese distinguishes between todo 'all/every' (masculine) and tudo 'everything' (neuter, used for an indefinite object or abstraction).

Spanish uses an acute accent on interrogative pronouns, while the corresponding relative pronouns (etymologically the same words) are spelled without the accent to mark the difference in prosodic stress.[4] (As explained below, the acute accent often changes the vowel sound in Portuguese, but not Spanish.) For example, ¿quién? (who?) and quien (who) in Spanish, but quem for both in Portuguese. Apart from that, while "quem" is invariable, Spanish has both the singular "quién" and the plural "quiénes.". As shown by the examples below, the difference between singular and plural is highligted by the use of "é" for singular and "são" for plural:

Example 1:

In the Portuguese examples, the "m" at the end of "quem" is never pronounced. (It is merely a marker for nasalization, as is the nasal diphthong "ão" in "são").

Spanish distinguishes the adjective mucho'much/many' from the adverb muy'very/quite'. Portuguese uses muito for both (there's also mui, but it is considered old-fashioned)

As an adjective, muito is inflected according to the gender and number of the noun it qualifies, like mucho. As an adverb, it is invariable like muy. Thus, it would be incorrect to say *muitas maduras in the second example.

The cardinal numbers are very similar in Spanish and Portuguese, but there are differences of usage in numbers one and two. Spanish has different words for the masculine singular indefinite article ('a, an') and the numeral 'one', thus un capítulo 'a chapter', but capítulo uno 'chapter one'. In Portuguese, both words are the same: um capítulo and capítulo um. Spanish uno can also be used as a pronoun, like the English generic "one", to represent an indeterminate subject, but this is not possible with Portuguese um; the reflexive pronoun se is used instead. Se may be used in Spanish to form passive and impersonal constructions, as well.[5]

This still applies in cases where a relatively indeterminate subject is genderized, such as the Spanish todos a una [voz] ('all at once', literally 'all at one [voice]'). It should be rewritten in Portuguese without any cardinal number. For example, todos juntos 'all together'.

On the other hand, in Portuguese, cardinal number 'two' inflects with gender (dois if masculine, duas if feminine), while in Spanish dos is used for both.

The conjunction "and" in Spanish is y (pronounced [i] before a consonant, [j] before a vowel) before all words except those beginning with an [i] sound (spelled i- or hi-). Before a syllabic [i] sound (and not the diphthong [je] as in hierro), the Spanish conjunction is e [eÌž]. Portuguese uses e [i] before all words.

Similarly, for the conjunction "or" Spanish uses o [oÌž] before all words except those beginning with o- or ho-, in which case it uses u [w]. Portuguese always uses ou [ow]~[o].

In Portuguese, the word se can be a reflexive pronoun or a conjunction meaning 'if'. This may give the false impression that a Portuguese verb is pronominal when it is not. For example, Se ficou em Paris... means 'If one stayed in Paris...' When the conjunction se precedes a pronominal verb, it is common to have a double se in the sentence, such as Se se esqueceu da sua senha... 'If you forgot your password...'

Spanish le and les are changed to se when followed by lo, la, los, or las. For example, "Mi abuelo les compró los regalos" becomes "Mi abuelo se los compró". See also "Combining pronouns in Spanish" below. In addition, Spanish uses sé as an irregular verb in the first person singular indicative of saber (to know), and the second person singular imperative of ser (to be). In Portuguese, these are sei and sê respectively.

Despite the mostly cognate vocabulary between Spanish and Portuguese, a significant number of common words are entirely different in the two languages (although in some cases cognates exist, but are rare or archaic in one of the two languages). Examples include the following:

Vocabulary differences between the two languages arose from various factors:

Both Portuguese and Spanish have borrowed loanwords either directly from French or by way of French as an intermediary from other (mostly Greco-Latin) sources. Although no statistical study based on uniform criteria has been carried out, it has been suggested that words of French origin in Portuguese are significantly more numerous than those in Spanish.[13] Here are some examples:

(Sp. also has croqueta)

(Sp. also has'menú')

Brazilian Portuguese uses trem < train

Spanish kept much of the Mozarabic vocabulary of Arabic origin, while the Mozarabic component was less extensive in Portuguese. Thus we find a number of cases in which the usual Spanish word is derived from Arabic, while the corresponding word in Portuguese is Latin- or Celtic-derived, as in the following examples:

< presidir < Lat. praesidÄ“re; < Lat. camera; < Lat. praefectus

(Spanish also has aloe)

(Spanish also has mirlo)

(Spanish also has somormujo, somorgujo)

(Sp. also has defensa (jugador))

(Latin-American Spanish tends to use auxiliar de vuelo)

(Sp. also has joven)

(Sp. also has'mirto')

(Sp. also has armario)

(Port. also has Cifra)

(Sp. Ã³leo is 'oil painting')

(Sp. also has melisa)

(Sp. also has esparto)

(Sp. also has escorpión)

(Sp. also has ropÃ³n)

(Sp. also has  payaso/bufÃ³n)

(Sp. also has lisonjear)

(Sp. also has cáncer de mama)

(Por. also has javali)

(Sp. also has vidente, rabdomante)

(Sp. also has hocico)

There are some examples where a word of Arabic origin is used in Portuguese but not in Spanish, such as: Sp. romero, Port. alecrim (Port. rosmaninho or rosmarinho means 'lavender'), 'rosemary'; Sp. lechuga, Port. alface (in Port. leituga means 'catsear'), 'lettuce', or more commonly used in Portuguese than in Spanish although the word exists in both languages, such as: chafariz 'fountain' (Port.fonte, Sp. fuente) or garrafa 'bottle' (Port. botelha, Sp. botella).
In a few cases Spanish and Portuguese have both borrowed different Arabic-derived words for the same meaning, such as: Sp. alfombra, Port. alcatifa, 'carpet'.

Arabic is the source of a few personal given names and numerous surnames and place names in Spain, including the following:

Almudena,[40] Azucena,[41] Carmen,[42] Guadalupe,[43] Mohamed,[44] Soraya,[45] Zulema,[46] Abenamir, Abengoa, Avengoa, Abenójar, Alcalá,[47] Almuzara, Acebrón, Aceituno, Aceitón, Aguera,[48] Aguiló, Alamar, Alamino, Alanzor, Albarral, Albarrán, Albo, Alcantud, Alcazar,[49] Alcudia, Alguacil, Allobar, Almaguer, Almandós, Almandoz, Almodóvar, Almoravit, Ambasil, Amor, Andujar, Aranda, Ayas, Aias, Benayas, Bardaxí, Benajara, Benameji,[50] Benasar, Bennásar, Benavides, Bendala, Calatayud, Cervatos, Ceuta, Cid, Córdoba, Dris, Faulí, Gálvez, Godesteiz, Granada, Guadalupe,[51] Gudiel, Hispán, Yllán, Illán, Illanes, Jaén, Madrid, Manzaneque,[52] Mezquita, Mezquitas, Mudarra, Palacios, Palomoque, Pascual, Quirino, Toledo, Valls, Zanata, Zaratan, Zarate,[53] Zaratin, Zegrí, Cegrí, Zorita.[54]

Spanish and Portuguese have acquired different words from various Amerindian, African and Asian languages, as in the following examples:

Unlike the other Romance languages, modern Portuguese does not use the Roman planetary system for the days Monday through Friday. Instead, the weekdays are numerical, and derived from Ecclesiastical Latin. The word feira (from Latin fēria) refers to daily (Roman Catholic) religious celebrations; it is cognate with feira 'fair' or'market', as well as with férias 'vacation' and feriado 'holiday'. In Spanish, the days of the week are all masculine; in Portuguese, the feira days are feminine, while sábado and domingo are masculine.

Segunda-feira ('second fÄ“ria')

Terça-feira ('third fēria')

Quarta-feira ('fourth fÄ“ria')

Quinta-feira ('fifth fÄ“ria')

Sexta-feira ('sixth fÄ“ria')

The form Terça-feira (< Lat. tertia fēria) differs in its first component from the usual Portuguese word for 'third', terceira (< Lat. tertiāria).

In actual usage, the word feira is often dropped:

Broadly speaking, the grammars of Portuguese and Spanish share many common features. Nevertheless, some differences between them can present hurdles to people acquainted with one and learning the other.

Spanish has three forms for the singular definite article, el, masculine, la, feminine, and lo, neuter. The last is used with adjectives to form abstract nouns employed in a generic sense, and also to intensify the meaning of adjectives. In Portuguese, there is only o, masculine, and a, feminine. Literary Spanish has also three corresponding third person pronouns, Ã©l 'he', ella'she', and ello 'it' (referring to a broad concept, not a named object), while Portuguese has only ele, masculine, and ela, feminine. The Spanish neuters lo and ello have no plural forms.

Some words are masculine in Spanish, but feminine in Portuguese, or vice versa. A common example are nouns ended in -aje in Spanish, which are masculine, and their Portuguese cognates ending in -agem, which are feminine. For example, Spanish el viaje 'the journey' (masculine, like French le voyage and Italian il viaggio) corresponds to the Portuguese feminine a viagem. Similarly, el puente 'bridge', el dolor 'pain', or el árbol 'tree' are masculine nouns in Modern Spanish, whereas a ponte, a dor, and a árvore are feminine in Portuguese. On the other hand, the Spanish feminine la leche 'the milk' corresponds to Portuguese o leite (masculine, like French le lait, Italian il latte). Likewise, nariz 'nose' is feminine in Spanish and masculine in Portuguese.

Some Spanish words can be both masculine and feminine, with different meanings. Both meanings usually exist also in Portuguese, but with one and the same gender, so that they can't be differentiated unless further information is provided. For instance, the word orden 'order' can mean both 'harmonious arrangement' and 'directive', like its counterparts in English and Portuguese. But the Spanish word is masculine when used with the first meaning, and feminine with the second:

In Portuguese, the equivalent word ordem is always feminine:

Without additional context, it is impossible to tell which meaning was intended in Portuguese and English (though other words could be substituted; in English, one would likely use orderliness in the first case above rather than order, which would, by itself, suggest the second case).

In many varieties of Portuguese, personal names are normally preceded by a definite article, a trait also found in Catalan. In Portuguese, this is a relatively recent development, which some Brazilian dialects have not adopted yet, most notably in some states of the Brazilian Northeast. In those dialects of Portuguese that do regularly use definite articles before proper nouns, the article may be omitted for extra formality, or to show distance in a literary narrative. Compare, for example, English "Mary left", Spanish María salió, and Portuguese A Maria saiu. Note, however, that in many Spanish dialects the definite article is used before personal names; thus, la María salió is commonly heard.

Portuguese uses the definite article before the names of some cities and almost all countries except relatively new ones, such as Cingapura/Singapura ('Singapore'), and those related to Portugal (or with which Portugal has historical relationships, even though this is a rough rule) and the Portuguese-speaking countries, e.g., a Holanda but Portugal; o México but Angola, a Suécia, but Moçambique. The major exception to the country rule is o Brasil.
In Spanish, use of the definite article is optional with some countries: (la) China, (el) Japón, (la) India, (la) Argentina, (el) Ecuador, (el) Perú, (el) Uruguay, (el) Paraguay, (el) Brasil, (los) Estados Unidos, etc. The same is true with two continents: (la) Antártida and (el) África; with archipelagos and islands: (las) Filipinas, (las) Canarias, (las) Azores, with some provinces, regions or territories: (el) Tíbet, (la) Toscana, (el) Piamonte, (el) Lacio and with some cities: (el) Cairo, (la) Valeta. Spanish uses the definite article with all geographical names when they appear with an adjective or modifying phrase, as in the following examples: la España medieval'medieval Spain', el Puerto Rico prehispánico 'pre-Hispanic Puerto Rico', el Portugal de Salazar 'Portugal during Salazar's dictatorship', etc.

Portuguese omits the definite article in stating the time of day unless para as is used.

In addition, in most dialects of Portuguese the definite article is used before possessive adjectives (as it is used in Italian), which is not possible in Spanish. For instance, the sentence 'This is my brother' is Este es mi hermano in Spanish, but may be Este é o meu irmão in Portuguese. Nevertheless, in many Brazilian dialects (mostly in the Northeast) and in casual Brazilian Portuguese the article is not used in sentences such as: Este é meu irmão (although it usually reappears in sentences such as "O meu irmão está lá").

In Portuguese, possessive adjectives have the same form as possessive pronouns, and they all agree with the gender of the possessed item. In Spanish, the same is true of nuestro/nuestra ("our") and vuestro/vuestra ("your" [plural]), but for all other possessives, the pronoun has a longer form that agrees with the gender of the possessed item, while the adjective has a shorter form that does not change for gender. The possessive adjectives are normally preceded by a definite article in Continental Portuguese, less so in Brazilian Portuguese, and never in Spanish. The possessive pronouns are preceded by a definite article in all dialects of both languages. See examples in the table below.

In Portuguese, third-person clitic pronouns have special variants used after certain types of verb endings, which does not happen in Spanish. The default object pronouns o/a/os/as change to lo/la/los/las when they follow a verb that ends in ⟨r⟩, ⟨s⟩ or ⟨z⟩, and to no/na/nos/nas when they follow a verb that ends in a nasal sound.

In Brazilian Portuguese, these forms are uncommon, since the pronoun normally precedes the verb (i.e., vocÃª o mantenha in the above example), and third-person subject pronouns are used informally as object pronouns (mantenha ele), which has been proved to be present in the language since Galician-Portuguese times. However, as it has been considered ungrammatical to begin a sentence with an object pronoun, the above examples are, on rare occasion, used in Brazil as well.

European Portuguese differs from Brazilian Portuguese with regard to the placement of clitic personal pronouns, and Spanish is in turn different from both of them.

In Portuguese, verbs in the future indicative or conditional tense may be split into morphemes, and the clitic pronoun can be inserted between them, a feature known as mesoclisis. This also occurred in Old Spanish, but no comparable phenomenon takes place in modern Spanish:

However, these tenses are often replaced with others in the spoken language. Future indicative is sometimes replaced by present indicative; conditional is very often replaced by imperfect indicative. In colloquial language, most Portuguese would state trá-lo-á as vai trazê-lo ('going to bring it') or irá trazê-lo ('will bring it'). In Brazilian Portuguese, "vai trazer ele" would be the vernacular use.

The Spanish construction, se lo dio, means either '[He/She] gave it to [him/her]' or '[He/She] gave it to himself/herself'. The expected pattern for the former would be *le lo dio, but such a construction does not exist. This is unique to Spanish.

Thus, modern Spanish makes no distinction between the reflexive pronoun se and the dative personal pronoun se. Note that this did not happen in old Spanish: diógelo, 'he gave it to him', dióselo, 'he gave it to himself'. The medieval g sound (similar to that of French) was replaced with s in the 14th-15th centuries (cf. Spanish coger, 'to catch', but cosecha, 'harvest', Port. colher and colheita, both from Lat. colligere).

In Spanish, stressed pronouns are never used for inanimate subjects (i.e., things, as opposed to people or animals), not even for clarity or disambiguation purposes.[58] Portuguese knows no such restriction, so that stressed pronouns referring to inanimate subjects can either be used or dropped:

The use of second-person pronouns differs dramatically between Spanish and Portuguese, and even more so between European and Brazilian Portuguese. Spanish tú and usted correspond etymologically to Portuguese tu and você, but Portuguese has gained a third, even more formal form o(s) senhor(es), a(s) senhora(s), demoting você to an "equalizing" rather than respectful register. The old familiar forms have been largely lost in the Portuguese-speaking world, as the Portuguese equalizing forms você or vocês have displaced tu to a large extent and vós almost entirely; and even where tu is still used, the second-person verb forms that historically corresponded to it are often replaced by the same (third-person) forms that are used with "você".

In the plural, Portuguese familiar vós is archaic nearly everywhere (as with the old English second singular "thou"), and both the subject pronoun and its corresponding second-person plural verb forms are generally limited to the Bible, traditional prayers, and spoken varieties of certain regions of rural Portugal; normally, the familiar (and equalizing) form is now vocês, although in Portugal the second person plural forms are retained for both object and possessive pronouns (e.g., vocês e a vossa família). In the case of Peninsular Spanish, tú, usted, vosotros, and ustedes have more or less kept their original functions; if anything, tú is displacing usted out of common use and usted is coming to be used only for formal situations (like o senhor in Portuguese). Latin American Spanish is more complicated: vosotros has fallen out of use in favor of ustedes, but certain regions of Spanish America also use vos as a singular informal pronoun, displacing tú out of its original role to a greater or lesser extent (see voseo).

Spoken Brazilian Portuguese has dramatically simplified the pronoun system, with você(s) tending to displace all other forms. Although a few parts of Brazil still use tu and the corresponding second-person singular verb forms, most areas either use tu with third-person verb forms or (increasingly) drop tu entirely in favor of você. This has in turn caused the original third-person possessive seu, sua to shift to primarily second-person use, alongside the appearance of a new third-person possessive dele, dela (plural deles, delas, "their") that follows the noun (thus paraphrases such as o carro dele "his car", o carro dela "her car"). The formal o senhor is also increasingly restricted to highly formal situations, such as that of a storekeeper addressing a customer, or a child or teenager addressing an adult stranger.

More conservative in this regard is the fluminense dialect of Brazilian Portuguese (spoken in Rio de Janeiro, Espírito Santo and in the Zona da Mata of the state of Minas Gerais) – especially its carioca sociolect. This dialect generally preserves intimate or familiar tu, the standard equalizing form você, and the respectful or formal o senhor/a senhora, together with their related possessives, to such an extent that almost all speakers use these forms, according to context. Nevertheless, a minority of educated speakers correctly conjugates all of the tu pronouns formally; otherwise, it is mostly conjugated as você.

Standard Portuguese usage has vocês and os senhores/as senhoras as plurals of você and o senhor/a senhora, but the vernacular has also produced new forms with the second-person familiar plural function, such as gente (compare a gente as a possible colloquial variation of nós, "we"/"us", that should be conjugated—but commonly is not—as third-person singular), pessoas, pessoal, [meu] povo, cês (eye dialect for vocês in colloquial pronunciation), and galera (the latter mainly associated with youth slang).

It is often said that the gaúcho, nordestino and amazofonia dialects, as well as some sociolects elsewhere, such as that in and around the city of Santos, have preserved tu; but unlike in fluminense, the use of você is very limited, and entirely absent among some speakers, and tu takes its place. In these areas, the verb with tu is conjugated in the third-person form (as with você) – except among educated speakers in some urban centers such as Porto Alegre and, especially, Belém. See Brazilian Portuguese.

Spanish and Portuguese have two main copulas, ser and estar. For the most part, the use of these verbs is the same in both languages, but there are a few cases where it differs. The main difference between Spanish and Portuguese is in the interpretation of the concept of state versus essence and in the generalizations one way or another that are made in certain constructions. For instance,

Also, the use of ser regarding a permanent location is much more accepted in Portuguese. Conversely, estar is often permanent in Spanish regarding a location, while in Portuguese, it implies being temporary or something within the immediate vicinity (same house, building, etc.)

Because the airport is obviously not anywhere nearby, ficar is used in Portuguese (most common), though ser can also be used.

Secondary copulas are quedar(se) in Spanish and ficar in Portuguese. Each can also mean 'to stay' or 'to remain.'

The Spanish sentence using the reflexive form of the verb (quedarse) implies that staying inside the house was voluntary, while Portuguese and English are quite ambiguous on this matter without any additional context. (See also the next section.)

Both Spanish quedar(se) and Portuguese ficar can mean 'become':

Reflexive verbs are somewhat more frequent in Spanish than in Portuguese, especially with actions relating to parts of the body:

The Portuguese and Spanish verbs for expressing "liking" are similar in form (gostar and gustar respectively) but different in their arrangement of arguments. Arguments in linguistics are expressions that enable a verb to complete its meaning. Expressions of liking typically require two arguments: (1) a person who likes something (sometimes called the "experiencer"), and (2) something that the person likes (sometimes called the "theme"). Portuguese and Spanish (as well as English) assign different grammatical cases to these arguments, as shown in the following table:

The Portuguese sentence can be translated literally as "[I] [take satisfaction] [from] [the music]", while the Spanish corresponds to "[To me] [(it) is pleasing] [the music]."

It is also possible in Spanish to express it as: "(Yo) gusto de la mÃºsica", although this use has become antiquated.

In Spanish, the compound perfect is constructed with the auxiliary verb haber (< Latin habēre). Although Portuguese used to use its cognate verb (haver) in this way, now it is more common to form these tenses with ter ('to have') (< Latin tenēre). While ter is occasionally used as an auxiliary by other Iberian languages, it is much more pervasive in Portuguese. Note that most Portuguese verb tables only contain ter with regard to the perfect.

A class of false friends between the two languages is composed of the verb forms with endings containing -ra-, such as cantara, cantaras, cantáramos, and so on. Spanish has two forms for the imperfect subjunctive, one with endings in -se- and another with endings in -ra- (e.g., cantase/cantara 'were I to sing'), which are usually interchangeable. In Portuguese, only cantasse has this value; cantara is employed as a pluperfect indicative, i.e., the equivalent to Spanish había cantado ('I had sung'). Although there is a strong tendency to use a verb phrase instead in the spoken language, like in Spanish and English (tinha cantado), the simple tense is still frequent in literature.

In European Spanish, as in English, the present perfect is normally used to talk about an action initiated and completed in the past, which is still considered relevant or influential in the present moment. In Portuguese and Latin American Spanish, the same meaning is conveyed by the simple preterite, as in the examples below:

Portuguese normally uses the present perfect (pretÃ©rito perfeito composto) for speaking of an event that began in the past, was repeated regularly up to the present, and could keep happening in the future. See the contrast with Spanish in the following example:

As this example suggests, the Portuguese present perfect is often closer in meaning to the English present perfect continuous. See also Spanish verbs: Contrasting the preterite and the perfect.

Portuguese, uniquely among the major Romance languages, has acquired a "personal infinitive", which can be used as an alternative to a subordinate clause with a finite verb in the subjunctive.

The Portuguese perfect form of the personal infinitive corresponds to one of several possible Spanish finite verbs.

On some occasions, the personal infinitive can hardly be replaced by a finite clause and corresponds to a different structure in Spanish (and English):

The personal infinitive is not used in counterfactual situations, as these require either the future subjunctive or the imperfect subjunctive. 'If we were/had been rich...' is Se fôssemos ricos..., not *Se sermos ricos... Also, it is conjugated the same as the future subjunctive (see next section), provided the latter is not irregular (ser, estar, ter, etc.) The personal infinitive is never irregular, though the circumflex accent may be dropped in writing on expanded forms (such as pôr).[59]

In the first and third person singular, the personal infinitive appears no different from the unconjugated infinitive.

The above rules also apply whenever the subjects of the two clauses are the same, but independent of each other.

As shown, the personal infinitive can be used at times to replace both the impersonal infinitive and the subjunctive. Spanish has no such alternative.

The future subjunctive, now virtually obsolete in Spanish,[60] continues in use in both written and spoken Portuguese. It is used in subordinate clauses referring to a hypothetical future event or state â€“ either adverbial clauses (usually introduced by se 'if'or quando 'when') or adjective clauses that modify nouns referring to a hypothetical future entity. Spanish, in the analogous if-clauses, uses the present indicative[citation needed], and in the cuando- and adjective clauses uses the present subjunctive.

A number of irregular verbs in Portuguese change the main vowel to indicate differences between first and third person singular: fiz 'I did' vs fez 'he did', pude 'I could' vs pôde 'he could', fui 'I was' vs foi 'he was', tive 'I had' vs teve 'he had', etc. These vowel differences stem from vowel raising (metaphony) triggered historically by the final -ī of the first-person singular in Latin. Spanish maintains such a difference only in fui 'I was' vs fue 'he was'. In all other cases, one of the two vowels has been regularized throughout the conjugation and a new third-person ending -o adopted: hice 'I did' vs hizo 'he did', pude 'I could' vs pudo 'he could', etc.

Contrarily, Spanish maintains many more irregular forms in the future and conditional: saldré 'I will leave', pondré 'I will put', vendré 'I will come', diré 'I will say', etc. Portuguese has only three: farei 'I will do', direi 'I will say', trarei 'I will carry'.

Portuguese drops -e in "irregular" third-person singular present indicative forms after ⟨z⟩ and ⟨r⟩, according to phonological rules: faz 'he does', diz 'he says', quer 'he wants', etc. Spanish has restored -e by analogy with other verbs: hace 'he does', dice 'he says', quiere 'he wants', etc. (The same type of analogy accounts for fiz vs hice 'I did' in the past tense. In nouns such as paz 'peace', luz 'light', amor 'love', etc. -e was dropped in both languages and never restored).

In Spanish the prepositions a ('to') and de ('of, from') form contractions with a following masculine singular definite article (el 'the'): a + el > al, and de + el > del. This kind of contraction is much more extensive in Portuguese, involving the prepositions a ('to'), de ('of, from'), em ('in'), and por ('for') with articles and demonstratives regardless of number or gender.[61] All four of these prepositions join with the definite article, as shown in the following table:

1These Portuguese contractions include some potential "false friends" for the reader of Spanish, such as no (Port. 'in the', Sp. 'no, not') and dos (Port. 'of the', Sp. 'two').
2In European Portuguese, a is pronounced [ɐ], while à is pronounced [a]. Both are generally [a] in most of Brazil, although in some accents such as carioca and florianopolitano there may be distinction.

Additionally, the prepositions de and em combine with the demonstrative adjectives and pronouns as shown below:

The neuter demonstrative pronouns (isto 'this' isso, aquilo 'that') likewise combine with de and em – thus, disto, nisto, etc.  And the preposition a combines with the "distal" demonstratives (those that begin with a-) to form àquele, àquilo, etc.

The Portuguese contractions mentioned thus far are obligatory.  Contractions can also  be optionally formed from em and de with the indefinite article (um, uma, uns, umas), resulting in num, numa, dum, duma, etc. and from the third person pronouns (ele, ela, eles, elas), resulting in nele, nela, dele, dela, etc.  Other optional contractions include de with aqui >  daqui ('from here').

The Spanish con ('with', com in Portuguese) combines with the prepositional pronouns mí, ti, and sí to form conmigo, contigo, consigo ('with me', 'with you', 'with him-/herself ').  In Portuguese this process not only applies to the pronouns mim, ti, and si (giving comigo, contigo, and consigo), but also is extended to nós and, in those varieties which use it, vós, producing connosco (conosco in Brazilian Portuguese) and convosco.

Spanish employs a preposition, the so-called "personal a", before the direct object of a transitive verb (except tener) when it denotes a specific person(s), or domestic pet; thus Veo a Juan 'I see John'; Hemos invitado a los estudiantes 'We've invited the students.'
In Portuguese, personal a is virtually non-existent, except before Deus 'God':  louvar a Deus 'to praise God', amar a Deus 'to love God'.[62]

Quite common in both languages are the prepositions a (which often translates as "to") and para (which often translates as "for").  However, European Portuguese and Spanish distinguish between going somewhere for a short while versus a longer stay, especially if it is an intended destination, in the latter case using para instead of a.  While there is no  specified duration of stay before a European Portuguese speaker must switch prepositions, a implies one will return sooner, rather than later, relative to the context. This distinction is not made in English and Brazilian Portuguese[citation needed]. In Spanish the distinction is not made if the duration is given in the context (maybe implicitly), and in this case a is generally preferred.

Note, though, in the first example, para could be used in Portuguese if in contrast to a very brief period of time.

In informal, non-standard Brazilian Portuguese, em (in its original form or combined with a given article in a contraction, yielding no, na, numa, etc.), often replaces the preposition a from standard Portuguese.

Such a construction is not used in Spanish or in European Portuguese.

In Portuguese the preposition atÃ© can also be used when the duration of the stay is expected to be short or when there is a specific reason for going somewhere. In Spanish hasta has the same meaning and function.

Spanish has two prepositions of direction: para ('for', including 'headed for [a destination]') and hacia ('toward [not necessarily implying arrival]'). Of them, only para exists in Portuguese, covering both meanings.

Colloquially, para is often reduced in both languages:  to pa' in Spanish,[63] and to pra (sometimes written p'ra and this form may be used in literature) or pa (only in slang in Portugal and Rio de Janeiro, and not permitted in writing) in Portuguese. Portuguese pra, in turn, may join with the definite article:  pra + o > pro (BP) or prò (EP), pra + a > pra (BP) or prà (EP), etc.[64] In reference to the slang option pa, these become: pa + o > pò, pa + a > pà, etc.

Both languages have a construction similar to the English "going-to" future. Spanish includes the preposition a between the conjugated form of ir "to go" and the infinitive: Vamos a cantar "We're going to sing" or "Let's sing" (present tense of ir + a + infinitive). Usually, in Portuguese, there is no preposition between the helping verb and the main verb: Vamos cantar (present tense of ir + infinitive).  This also applies when the verb is in other tenses:

While as a rule the same prepositions are used in the same contexts in both languages, there are many exceptions.

The traditional Spanish alphabet had 28 letters, while the Portuguese had 23. Modern versions of recent years added k and w (found only in foreign words) to both languages. Portuguese also added y for loanwords.

With the reform in 1994 by the 10th congress of the Association of Spanish Language Academies, Spanish alphabetization now follows the same pattern as that of other major West European languages. Prior to this date, however, the digraphs ch and ll were independently alphabetized. For example, the following surnames would be put in this order: Cervantes, Contreras, Cruz, Chávez, Dávila.  Many Spanish dictionaries and other reference material still exist using the pre-reform rule of alphabetization.

⟨Sc⟩ in Latin American Spanish is not called a digraph, however it is a single sound as in Brazilian Portuguese. Also Spanish has taken ⟨sh⟩ /ʃ/ from English as a loan sound; e.g., sherpa, show, flash. Brazilian Portuguese uses the trigraph ⟨tch⟩ /tʃ/ for loanwords; e.g., tchau, 'ciao', tcheco 'Czech', República Tcheca 'Czech Republic', tchê 'che' (this latter is regional), etc. European Portuguese normally replace the trigraph ⟨tch⟩ with ⟨ch⟩ /ʃ/: chau, checo, República Checa, etc.

Both Spanish and Portuguese use ⟨zz⟩ /ts/ (never as /dz/ – this sequence appears only in loanwords from Japanese, e.g., adzuki) for some Italian loanwords, but in Portuguese may sometimes not be pronounced as affricate, but having an epenthetic /i/ or /ɨ/; e.g., Sp. and Port. pizza 'pizza', Sp. and Port. paparazzo 'paparazzo', etc. Spanish also utilizes ⟨tz⟩ /ts/ for Basque, Catalan and Nahuatl loanwords, and ⟨tl⟩ /tɬ/ (or /tl/) for Nahuatl loanwords; e.g., Ertzaintza, quetzal, xoloitzcuintle, Tlaxcala, etc. Portuguese utilizes ⟨ts⟩ for German, originarily ⟨z⟩, and Japanese loanwords.

Only in Spanish do interrogatives and exclamations use the question mark or exclamation point respectively at the beginning of a sentence. The same punctuation marks are used, but these are inverted. This prepares the reader in advance for either a question or exclamation type of sentence.

On the other hand, in Portuguese, a person reading aloud lengthy sentences from an unfamiliar text may have to scan ahead to check if what at first appears to be a statement, is actually a question. Otherwise, it would be too late to enable proper voice inflection. Neither language has the equivalent of the auxiliary verb to do, which is often used to begin a question in English. Both Spanish and English can place the verb before the subject noun to indicate a question, though this is uncommon in Portuguese, and almost unheard of in Brazil. In fact, most yes/no questions in Portuguese are written the same as a statement except for the final question mark.

Aside from changes of punctuation in written language, in speech, converting any of the above examples from a question to a statement would involve changes of both intonation and syntax in English and Spanish, but intonation only in Portuguese.

The palatal consonants are spelled differently in the two languages.

The symbols ⟨ll⟩ and ⟨ñ⟩ are etymological in Spanish, as the sounds they represent are often derived from Latin ll and nn (for those positions, Portuguese has simple ⟨l⟩ and ⟨n⟩; cf. rodilla/rodela, peña/pena). The Portuguese digraphs ⟨lh⟩ and ⟨nh⟩ were adopted from Occitan, as poetry of the troubadours was the most important influence on Portuguese literature up until the 14th century. King Denis of Portugal, who established Portuguese instead of Latin as the official language, was an admirer of the poetry of the troubadours and a poet himself. Examples include names such as Port. Minho (Sp. Miño) and Magalhães (Sp. Magallanes).

The letter ⟨y⟩ was used in Portuguese from the 16th to the early 20th century in Greek loans, much as in English (e.g., Psychologia, modern Psicologia 'Psychology'). The orthographic reform in 1911 officially replaced it with ⟨i⟩. The corresponding sound can be regarded as an allophone of the vowel /i/ in both languages. Compare Sp. rey ('king'), mayor ('larger, greater, elder') with Port. rei ('king'), maior ('larger, greater').

The exact pronunciation of these three consonants varies somewhat with dialect. The table indicates only the most common sound values in each language. In most Spanish dialects, the consonants written ⟨ll⟩ and ⟨y⟩ have come to be pronounced the same way, a sound merger known as yeísmo. A similar phenomenon can be found in some dialects of Brazilian Portuguese (e.g., “muié” for mulher, 'woman'), but it is much less widespread than in Spanish.

The Portuguese letter ⟨ç⟩ (c-cedilha), based on a Visigothic form of the letter ⟨z⟩: "ꝣ". In Portuguese it is used before ⟨a⟩, ⟨o⟩, and ⟨u⟩ (including nasals), and never at the beginning or end of any word. It always represents the "soft c"  sound, namely [s]. In modern Spanish, it has been replaced by ⟨z⟩. Example: calzado (Sp.), calçado (Port.) 'footwear'.

Various word endings are consistently different in the two languages.

Both languages use diacritics to mark the stressed syllable of a word whenever it is not otherwise predictable from spelling. Since Spanish does not differentiate between mid-open and mid-close vowels and nasal vowels, it uses only one accent, the acute. Portuguese usually uses the acute accent ( ´ ), but also uses the circumflex accent ( ˆ ) on the mid-close vowels ⟨ê⟩ and ⟨ô⟩ and the stressed (always nasal in Brasil) ⟨â⟩.

Although the Spanish ⟨y⟩ can be either a consonant or a vowel, as a vowel it never takes an accent.  At the end of a word, the Portuguese diphthong -ai is the equivalent of the Spanish -ay, however, -ai can have an accent on the ⟨í⟩ to break the diphthong into two separate vowels, e.g., açaí (three syllables). Without the accent, as in Spanish, the last syllable would be a diphthong: Paraguai (Portuguese) and Paraguay (Spanish) 'Paraguay'.

Portuguese nasal vowels occur before ⟨n⟩ and ⟨m⟩ (see phonology below) without an accent mark, as these consonants are not fully pronounced in such cases.  The tilde (~), is only used on nasal diphthongs such as ⟨ão⟩ [ɐ̃w̃] and ⟨õe⟩ [õj̃], plus the final ⟨ã⟩ [ɐ̃], which replaces the -am ending, as the latter is reserved for verbs, e.g., amanhã [amɐˈɲɐ̃] 'tomorrow'.

These do not alter the rules for stress, though note endings -im, -ins and -um, -uns are stressed, as are their non-nasal counterparts (see below). A couple of two-letter words consist of only the nasal vowel:  em and um.

Phonetic vowel nasalization occurs in Spanish—vowels may get slightly nasalized in contact with nasal consonants—but it is not phonemically distinctive.  In Portuguese, on the other hand, vowel nasalization is distinctive, and therefore phonemic: pois /ˈpojs/ or /ˈpojʃ/ 'because' vs pões /ˈpõj̃s/ or /ˈpõj̃ʃ/ '(you) put'.

Portuguese changes vowel sounds with (and without) accents marks. Unaccented ⟨o⟩ (/u/, /o/, /ɔ/) and ⟨e⟩ (/i/, /ɨ/, /e/, /ɛ/, /ɐ/), acute accented ⟨ó⟩ (/ɔ/) and ⟨é⟩ (/ɛ/), or circumflex accented ⟨ô⟩ (/o/) and ⟨e⟩ (/e/).  Thus, nós [ˈnɔs] or [ˈnɔʃ] 'we' vs nos [nus] or [nuʃ] 'us', avô [aˈvo] 'grandfather' vs avó [aˈvɔ] 'grandmother', se [si] or [sɨ] 'itself, himself, herself' reflexive pronoun vs sé [ˈsɛ]'seat, headquarters' vs sê [ˈse] 'to be' 2nd person imperative. Spanish pronunciation makes no such distinction.

The grave accent ( ` ) is also used in Portuguese to indicate the contraction of the preposition a (to) with a few words beginning with the vowel a, but not to indicate stress. In other cases, it is the combination of the preposition and the feminine definite article; in other words, the equivalent of a la ('to the') in Spanish. Ã€s is used for the plural (a las in Spanish).

The diaeresis or trema ( ¨ ) is used in Spanish to indicate ⟨u⟩ is pronounced in the sequence ⟨gu⟩; e.g., desagüe [deˈsaɣwe]. As the Portuguese grave accent, the trema does not indicate stress. In Brazilian Portuguese it was also used for the digraphs ⟨gu⟩ and ⟨qu⟩ for the same purpose as Spanish (e.g., former BP spelling *qüinqüênio [kwĩˈkwẽɲu], EP quinquénio [kwĩˈkwɛnju] 'five-year period'), however since the implementation of the Portuguese Language Orthographic Agreement in Brazil, the trema was abolished (current BP spelling quinquênio [kwĩˈkwẽɲu]), and its usage was restricted to some loanwords (e.g., mülleriano 'Müllerian').

The accentuation rules (including those of predictable stress) of Portuguese and Spanish are similar, but not identical. Discrepancies are especially pervasive in words that contain i or u in their last syllable.  Note the Portuguese diphthongs ei and ou are the approximate Spanish equivalent of e and o respectively, but any word ending with these diphthongs is, by default, stressed on its final syllable.

Compare the following pairs of cognates, where the stress falls on the same syllable in both languages:

Semivowelâ€“vowel sequences are treated differently in both languages when it comes to accentuation rules. A sequence of a semivowel adjacent to a vowel is by default assumed to be read as a diphthong (part of the same syllable) in Spanish, whereas it is by default assumed to be read as a hiatus (belonging to different syllables) in Portuguese. For both languages, accentuation rules consistently indicate something other than the default.

A consequence of this is that words that are pronounced alike in both languages are written according to different accentuation rules. Some examples:

Another consequence (though less common) is that some words are written exactly (or almost exactly) the same in both languages, but the stress falls on different syllables:

Although the vocabularies of Spanish and Portuguese are similar (at times identical), the two languages differ phonologically from each other, very likely because of the stronger Celtic substratum[66] in Portuguese. Phonetically Portuguese bears  similarities to French and to Catalan while the phonetics of Spanish are more comparable to those of Sardinian and Sicilian. Portuguese has a significantly larger phonemic inventory than Spanish. This may partially explain why it is generally not very intelligible to Spanish speakers despite the lexical similarity between the two languages.

One of the main differences between the Spanish and Portuguese pronunciation are the vowel sounds. Standard Spanish has a basic vowel phonological system, with five phonemic vowels (/a/, /e̞/, /i/, /o̞/, /u/). Phonetic nasalization occurs in Spanish for vowels occurring between nasal consonants or when preceding a syllable-final nasal consonant (/n/ and /m/), but it is not distinctive as in Portuguese. Dialectally, there are Spanish dialects with a greater number of vowels, with some (as Murcian and Eastern Andalusian) reaching up to 8 to 10 vowel sounds. On the other hand, Portuguese has seven to nine oral vowels (/a/, /ɐ/*, /e/, /ɛ/, /ɨ/*, /i/, /o/, /ɔ/, /u/) (/ɐ/ is closer to [ə] in Portugal, while the near-close near-back unrounded vowel /ɨ/—also rendered as [ɯ̟] or [ʊ̜]—is only found in European Portuguese) plus five phonemic nasal vowels (/ɐ̃/, /ẽ/, /ĩ/, /õ/, /ũ/) when preceding an omitted syllable-final nasal (⟨n⟩ and ⟨m⟩) or when is marked with a tilde (~): ⟨ã⟩ and ⟨õ⟩. This appears to be, similarly to French, a Celtic[67] phonological adaptation to Latin. Portuguese, as Catalan, uses vowel height, contrasting stressed and unstressed (reduced) vowels. Moreover, Spanish has two semivowels as allophones, [j, w]; while Portuguese has four, two oral [i̯ ~ ɪ̯], [u̯ ~ ʊ̯] and two nasalized glides [j̃ ~ ɪ̯̃], [w̃ ~ ʊ̯̃] (non-syllabic near-close vowels, as those of most English speech, are allophones of the glides in the Brazilian dialects where near-closeds are used).

The following considerations are based on a comparison of standard versions of Spanish and Portuguese. Apparent divergence of the information below from anyone's personal pronunciation may indicate one's idiolect (or dialect) diverges from the mentioned standards. Information on Portuguese phonology is adapted from Celso Pedro Luft (Novo Manual de Português, 1971), and information on Spanish phonology adapted from Manuel Seco (Gramática Esencial del Español, 1994).

Comparing the phonemic inventory of the two languages, a noticeable divergence stands out. First, standard Portuguese has more phonemes than Spanish. Also, each language has phonemes that are not shared by the other.

Spanish and Portuguese have been diverging for over a thousand years. One of the most noticeable early differences between them concerned the result of the stressed vowels of Latin:

1The vowels /a/ and /ɐ/ occur largely in complementary distribution.
2This diphthong has been reduced to the monophthong /o/ in many dialects of modern Portuguese.

As vowel length ceased to be distinctive in the transition from Latin to Romance, the stressed vowels e and o became ie and ue in Spanish whenever they were short (Latin petra → Spanish piedra'stone'; Latin moritvr → Spanish muere "he dies"). Similar diphthongizations can be found in other Romance languages (French pierre, Italian pietra, Romanian piatră; French meurt, Italian muore, Romanian moare), but in Galician-Portuguese these vowels underwent a qualitative change instead (Portuguese/Galician pedra, morre), becoming lower, as also happened with short i and short u in stressed syllables. The Classical Latin vowels /e/-/eː/ and /o/-/oː/ were correspondingly lowered in Spanish and turned into diphthongs /je̞/ and /we̞/. In Spanish, short e and o and long ē and ō merged into mid vowels, /e̞/ and /o̞/, while in Portuguese these vowels stayed as close-mid, /e/ and /o/ and open-mid, /ɛ/ and /ɔ/, as in Vulgar Latin.

Portuguese has five phonemic nasal vowels (/ɐ̃/, /ẽ/, /ĩ/, /õ/, /ũ/), which, according to historical linguistics, arose from the assimilation of the nasal consonants /m/ and /n/, often at the end of syllables. Syllable-final m and n are still written down to indicate nasalization, even though they are no longer fully pronounced, that is, either [ⁿ] (before obstruents) or elided completely. In other cases, nasal vowels are marked with a tilde (ã, õ).  Not all words containing vowel + n have the nasal sound, as the subsequent letter must be a consonant for this to occur: e.g., anel /ɐˈnɛw/ ('ring') –oral/non-nasal– vs  anca /ˈɐ̃kɐ/ ('hip') –nasal–.

However, in some Brazilian dialects, most vowels (including the allophones present only in unstressed environment) have nasal allophones before one of the nasal consonants /m/, /n/, /É²/, followed by another vowel. In other Brazilian dialects, only stressed vowels can be nasalized this way. In European Portuguese, nasalization is absent in this environment.

The Portuguese digraph ou (pronounced usually as the diphthong [ow], but sometimes as a monophthong [o]) corresponds to the final -ó of Spanish -ar verbs in the preterite tense; e.g., Spanish descansó and Portuguese descansou ("he/she rested"). The Spanish irregular verb forms in -oy (e.g., doy "I give", estoy "I am", soy "I am", voy "I go") correspond to Portuguese forms in -ou (e.g., dou, estou, sou, vou). But in some other words, conversely, Spanish o corresponds to Portuguese oi, e.g., Spanish cosa, Portuguese coisa "thing"; Spanish oro "gold", Portuguese usually ouro, but sometimes oiro.

Stressed vowel alternations may occur in Portuguese, but not in Spanish:

novo   [ˈnovu]

nova   [ˈnɔvɐ]

new (f. sg.)

novos   [ˈnɔvuʃ]

new (m. pl.)

novas   [ˈnɔvɐʃ]

new (f. pl.)

The history of the unstressed vowels in Spanish and Portuguese is not as well known as that of the stressed vowels, but some points are generally agreed upon. Spanish has the five short vowels of classical Latin, /a/, /e̞/, /i/, /o̞/, /u/. It has also two semivowels, [j] and [w], that appear in diphthongs, but these can be considered allophones of /i/ and /u/, respectively. The pronunciation of the unstressed vowels does not differ much from that of stressed vowels. Unstressed, non-syllabic /e̞/ /o̞/, and /a/ can be reduced to [ʝ], [w̝] and complete elision in some dialects; e.g., poetisa [pw̝e̞ˈtisa] ('poet' f.), línea [ˈlinʝa] ('line'), ahorita [o̞ˈɾita] ('now').

The system of seven oral vowels of Vulgar Latin has been fairly well preserved in Portuguese, as in the closely related Galician language. In Portuguese, unstressed vowels have been more unstable, both diachronically (across time) and synchronically (between dialects), producing new vowel sounds. The vowels written ⟨a⟩, ⟨e⟩ and ⟨o⟩ are pronounced in different ways according to several factors, most notably whether they are stressed, and whether they occur in the last syllable of a word. The basic paradigm is shown in the following table (it has some exceptions).

1 Always nasalized in this environment in most dialects, that is, [ɐ̃ ~ ə̃]

2 Mostly in Northeastern Brazil. In some other dialects (including those of northern Brazil, Rio de Janeiro, Espírito Santo, Minas Gerais and the Brazilian Federal District), this also occurs if the stressed vowel is open rather than closed (/ɛ/ or /ɔ/, rather than /e/ or /o/) due to vowel harmony.

3 Only in some dialects, the first mainly in the area including and surrounding Lisbon (not present in much of northern and insular Portugal, as in Brazil), and the latter mainly in some hinterland northern Portuguese accents (not present in southern and insular Portugal, as in Brazil)

Brazilian unstressed vowel allophones vary according to the geographical region of the country. Near-close [ʊ], [ɪ] and unstressed close-mid [e], [o] are found in southern and western accents, where postvocalic /r/ has a "soft" allophone (a flap, a coronal approximant, or a rhotic vowel), and postvocalic sibilants (written ⟨s⟩, ⟨x⟩, and ⟨z⟩) in native words are always alveolar [s, z]. Meanwhile, these close allophones do not occur in the northern and eastern accents, where postvocalic /r/ has a "hard" allophone (velar, uvular, or glottal) and postvocalic sibilants may be, consistently or not, post-alveolar [ʃ, ʒ, ɕ, ʑ]. In the accents where postvocalic sibilants are always post-alveolar, such as those of Florianópolis and Rio de Janeiro, or in the accents influenced by them, any unstressed /a ~ ɐ/, [e̞ ~ ɛ] and [o̞ ~ ɔ] may be raised (like in Portugal), to [ɐ], [i] and [u], respectively. While this is true of all colloquial BP, it is especially characteristic of the latter dialects). This increased vowel reduction is also present in accents of the Brazilian Northeast, particularly from Alagoas to Piauí.

Similar alternation patterns to these exist in other Romance languages such as Catalan and Occitan. Although it is mostly an allophonic variation, some dialects have developed minimal pairs that distinguish the stressed variants from the unstressed ones. The vowel /É¨/ is often elided in connected speech (it is not present in Brazilian Portuguese).

Some Brazilian dialects diphthongize stressed vowels to [ai̯], [ɛi̯], [ei̯], etc. (except /i/), before a sibilant at the end of a syllable (written ⟨s⟩, ⟨x⟩, ⟨z⟩, or rarely, ⟨sh⟩). For instance, Jesus [ʒe̞ˈzui̯s] 'Jesus', faz [ˈfai̯s] 'he does', dez [ˈdɛi̯s] 'ten'. This has led to the use of meia (meaning meia dúzia, 'half a dozen') for seis [sei̯s]'six' when making enumerations, to avoid any confusion with três [tɾei̯s] 'three' on the telephone. In Lisbon and surrounding areas, stressed /e/ is pronounced [ɐ] or [ɐj] when it comes before an alveolo-palatal /ʎ/, /ɲ/, [ɕ], [ʑ] or palato-alveolar /ʃ/, /ʒ/ consonants followed by another vowel.

The orthography of Portuguese, which is partly etymological and analogical, does not indicate these sound changes. This makes the written language look deceptively similar to Spanish. For example, although breve ('brief') is spelled the same in both languages, it is pronounced [ˈbɾe̞βe̞] in Spanish, but [ˈbɾɛvi ~ ˈbɾɛv(ɨ)] in Portuguese. In Brazilian Portuguese, in the vast majority of cases, the only difference between final -e and -i is the stress, as both are pronounced as /i/. The former is unstressed, and the latter is stressed without any diacritical mark. In European Portuguese, final -e is not pronounced or is pronounced as [ɨ], unlike i, which is consistently [i].

Some of the most characteristic sound changes undergone by the consonants from Latin to Spanish and Portuguese are shown in the table below.

clāmāre → S. llamar, P. chamar
plumbum → S. plomo, P. chumbo
flammam → S. llama, P. chama
plēnum → S. lleno, P. cheio (also pleno)

'to call'
'lead' (metal)
'flame'
'full'

multum → S. mucho, P. muito
noctem → S. noche, P. noite
pectum → S. pecho, P. peito

'much'
'night'
'chest'

fābulāre → S. hablar, P. falar
fīlium → S. hijo, P. filho
focum → S. fuego, P. fogo

'to speak'
'son'
'fire'

iam → S. ya, P. já
iacere → S. yacer, P. jazer (both archaic)

'already'
'to lie, as in a grave'

caelum → S. cielo, P. céu (arch. ceo)
volāre → S. volar, P. voar

'sky'
'to fly'

oculum → S. ojo, P. olho
fīlium → S. hijo, P. filho

'eye'
'son'

castellum â†’ S. castillo, P. castelo

'castle'

generālem → S. general, P. geral
tenēre → S. tener, P. ter

'general' (adj.)
'to have'

annum → S. año, P. ano
cannam → S. caña, P. cana

'year'
'reed'

Peculiar to early Spanish (as in the Gascon dialect of Occitan, possibly due to a Basque substratum) was the loss of Latin initial f- whenever it was followed by a vowel that did not diphthongize. Thus, Spanish hijo and hablar correspond to Portuguese filho and falar (from Latin fīlium and fābulāre,'son' and 'to speak' respectively). Nevertheless, Portuguese fogo corresponds to Spanish fuego (from Latin focum 'fire').

Another typical difference concerned the result of Latin -l- and -n- in intervocalic position:

Other consonant clusters of Latin also took markedly different routes in the two languages in their archaic period:

Learned words such as pleno, ocular, no(c)turno, tremular, and so on, were not included in the examples above, since they were adapted directly from Classical Latin in later times.

The tables above represent only general trends with many exceptions, due to:

Portuguese has tended to eliminate hiatuses that were preserved in Spanish, merging similar consecutive vowels into one (often after the above-mentioned loss of intervocalic -l- and -n-). This results in many Portuguese words being one syllable shorter than their Spanish cognates:

In other cases, Portuguese reduces consecutive vowels to a diphthong, again resulting in one syllable fewer:

There are nevertheless a few words where the opposite happened, such as Spanish comprender versus Portuguese compreender, from Latin comprehendere.

Since the late Middle Ages, both languages have gone through sound shifts and mergers that set them further apart.

The most marked phonetic divergence between Spanish and Portuguese in their modern period concerned the evolution of the sibilants. In the Middle Ages, both had a rich system of seven sibilants – paired according to affrication and voicing: /s/, /ts/, /z/, /dz/, /ʃ/, /tʃ/, and /dʒ/ (the latter probably in free variation with /ʒ/, as still happens today in Ladino) – and spelled virtually the same in Spanish and Portuguese.

1Before vowels; in the coda position, there are dialectal variations within each language, not discussed here.
2Modern Portuguese has for the most part kept the medieval spelling.

After the Renaissance, the two languages reduced their inventory of sibilants, but in different ways:

Since no distinction is made anymore between the pronunciation of ⟨b⟩ and ⟨v⟩, Spanish spelling has been reformed according to Classical Latin. In Portuguese, the spelling of these letters is based on pronunciation, which is closer to Latin and modern Italian. This leads to some orthographic disparities:

In Spanish, the plosives b, d, g are lenited, usually realized as "soft" approximants [β̞, ð̞, ɣ̞] (here represented without the undertracks) after continuants. While similar pronunciations can be heard in European Portuguese, most speakers of Brazilian Portuguese pronounce these phonemes consistently as "hard" plosives [b, d, ɡ]. This can make a Portuguese phrase such as uma bala ("a bullet") sound like una pala ("a shovel") to a Spanish-speaker.


which sinus rhythm has a rate of less than 60 beats per minute

Sinus bradycardia is a sinus rhythm with a rate that is lower than normal. In humans, bradycardia is generally defined to be a rate of under 60 beats per minute.

Sinus bradycardia

The decreased heart rate can cause a decreased cardiac output resulting in symptoms such as lightheadedness, dizziness, hypotension, vertigo, and syncope. The slow heart rate may also lead to atrial, junctional, or ventricular ectopic rhythms.

Bradycardia is not necessarily problematic. People who regularly practice sports may have sinus bradycardia, because their trained hearts can pump enough blood in each contraction to allow a low resting heart rate. Sinus bradycardia can also be an adaptive advantage; for example, diving seals may have a heart rate as low as 12 beats per minute, helping them to conserve oxygen during long dives.[1]

Sinus bradycardia is a common condition found in both healthy individuals and those who are considered well conditioned athletes.

Heart rates considered bradycardic vary by species; for example, in the common housecat, a rate of under 120 beats per minute is abnormal. Generally, smaller species have higher heart rates while larger species have lower rates.


who sings the song king of wishful thinking

"King of Wishful Thinking" is a 1990 song by the British pop duo Go West. It was featured in the film Pretty Woman and appeared on its soundtrack. It was later featured on Go West's fourth studio album, Indian Summer, in 1992.

King of Wishful Thinking

The song was written by Peter Cox, Richard Drummie & Martin Page.