who developed the first governmental system based on merit

The earliest known example of a merit system dates to the Qin and Han dynasties. To maintain power over a large, sprawling empire, the government maintained a complex network of officials.[1] Prospective officials could come from a rural background and government positions were not restricted to the nobility. Rank was determined by merit, through the civil service examinations, and education became the key for social mobility.[1] After the fall of the Han Dynasty, the nine-rank system was established during the Three Kingdoms period. The concept of a merit system spread from China to British India during the 17th century, and then into continental Europe.[2]

Merit system

The merit system is the process of promoting and hiring government employees based on their ability to perform a job, rather than on their political connections. It is the opposite of the spoils system.

The United States civil service began to run on the spoils system in 1829 when Andrew Jackson became president. The assassination of United States President James A. Garfield by a disappointed office seeker in 1881 proved its dangers. President Garfield was shot by Charles J. Guiteau who believed that the president owed him a civil service position and in not giving him the position, threatened the very being of the republican party. Two years later, the system of appointments to the United States federal bureaucracy was revamped by the Pendleton Civil Service Reform Act, which made the merit system common practice. The merit system determines the fitness of the candidate by the ability to pass a written competitive examination, given by a commission of examiners. The answers submitted by candidates must be unsigned, so as to obviate the possibility of favoritism on the part of the examiners. A list is made of the successful candidates, arranged in the order of their merit as shown by the results of the examination. Appointments must be made from this eligible list in the order of rank unless good cause can be shown why one of higher rank should be set aside for one standing lower on the list.[4]

Proponents of the system admit that the system does not always lead to the choice of most competent candidate but is effective in eliminating those most incompetent.[4] In addition the possible exclusion of most competent candidate is outweighed by the system's benefits such as limiting the ability of nepotism and political favoritism. The power of appointment being vested in the president of the United States by the United States Constitution, it is not within the power of the United States Congress to fetter the president's action by the enactment of laws restricting the exercise of the power of appointments. Thus, in the United States, the merit system has been extensively applied by the voluntary action of the president following self-imposed rules. It has been judicially determined that the civil-service rules promulgated by the president of the United States do not have the force of general law, and confer upon members of the civil service no right to invoke the aid of the courts to protect them against violation thereof. They are the president's laws, and the president alone can enforce them.[5] Working under the supervision of the president is the Merit Systems Protection Board. The MSPB follows nine core principles when governing the executive branch workforce.

Forced Ranking is a system in which performing employees are ranked into groups a company has established. The term 'Rank and Yank' was created by the former CEO of General Electric, Jack Welch. The 'Rank and Yank' encouraged terminating the employment of poor performers and replacing them with new personnel. Many like Welch and Former Chief Executive of Microsoft believe in replacing poor performers while others, such as Tom Barry, former Managing Director at BlessingWhite, believe in're-engaging underperforming employees.'[3]

As the United States has become Anti-Bureaucratic, it has moved away from the outdated depiction of Merit System. Twenty-eight states have established an ‘At Will’ environment where civil service employees can be fired at any time without cause. In 2014 the Department of Veteran Affairs became overwhelmed with problems with scheduling appointments. Congress called for immediate action and ordered the Department of Veteran Affairs to lay off ‘miscreant’ employees. Donald F. Kettl, a Professor in the School of Public Policy at the University of Maryland, explores in his work, The Merit Principle in Crisis, ‘At will’ practices and whether they’re beneficial to the bureaucratic practices of the government. Kettl states that due to an increase in government programs, firing ‘miscreant’ bureaucratic employees would only ‘weaken the governments ability to steer’. Such repercussions such as Kettl’s are not the only measures taken by employers.[4]

Susan J. Wells, a writer for HR Magazine, expresses her take on Merit Pay and its meaning in No Results, No Raise. [5] Wells believes that the concept of ‘Tough Love’ makes a more profound impact on the balance of protecting and rewarding those whose performance excels and those whose performance could be improved. Wells elaborates that not rewarding low performers with a merit increase at the end of the year is an ideal way of showing ‘Tough Love.' The idea gives low performing employees a year to improve their performance and receive constant feedback from managerial staff.

The importance of the merit system in a work place is to provide good quality work to the public. When merit is truly assessed in the process of hiring or promoting personnel, an honest, effective, and productive workplace is created.[6] Employees build organizations and the service they provide to customers allows the organization to be successful. Without its employees or customers, an organization would be doomed. Motivated and happy employees are the key principle of the merit system. Employees who are satisfied with their jobs are likely to provide a higher level of productivity (more work in less time-costing organizations less money), less likely to quit (low or lower employee turnover rates), great communication for voicing workplace concerns (trust and comfort between supervisor and employees), little to no abuse of company benefits/incentives, i.e.: lunch breaks, sick leave, bonuses, etc. Bottom line, administration is responsible for providing and setting the atmosphere and standards of a workplace that result in success.[7]

The merit system is criticized that it leads to uncooperative behaviors between employees creating conflict that produces low work ethics. Merit system is based on performance compensation that encourages competition among employees, creating a competitive environment that puts employees at odds with one another. This can lead to unwanted behaviors of conduct that can affect the productivity of the work place. Disrupting team unity to look better on reviews and personal goals become more important than team goals.[8]


in her tomb by the sounding sea poe

The poem's narrator describes his love for Annabel Lee, which began many years ago in a "kingdom by the sea". Though they were young, their love for one another burned with such an intensity that angels became envious. It is for that reason that the narrator believes the seraphim caused her death. Even so, their love is strong enough that it extends beyond the grave and the narrator believes their two souls are still entwined. Every night, he dreams of Annabel Lee and sees the brightness of her eyes in the stars. Every night he lies down by her side in her tomb by the sea.

Annabel Lee

"Annabel Lee" is the last complete poem[1] composed by American author Edgar Allan Poe. Like many of Poe's poems, it explores the theme of the death of a beautiful woman.[2] The narrator, who fell in love with Annabel Lee when they were young, has a love for her so strong that even angels are envious. He retains his love for her even after her death. There has been debate over who, if anyone, was the inspiration for "Annabel Lee". Though many women have been suggested, Poe's wife Virginia Eliza Clemm Poe is one of the more credible candidates. Written in 1849, it was not published until shortly after Poe's death that same year.

Like many other Poe poems including "The Raven", "Ulalume", and "To One in Paradise", "Annabel Lee" follows Poe's favorite theme: the death of a beautiful woman,[2] which Poe called "the most poetical topic in the world".[3] Like women in many other works by Poe, she is struck with illness and marries young.[4] The poem focuses on an ideal love which is unusually strong. In fact, the narrator's actions show that he not only loves Annabel Lee, but he worships her, something he can only do after her death.[5] The narrator admits that he and Annabel Lee were children when they fell in love, but his explanation that angels murdered her is in itself childish, suggesting he has failed to mature since then.[6] His repetition of this assertion suggests he is trying to rationalize his own excessive feelings of loss.[6]

Unlike "The Raven", in which the narrator believes he will "nevermore" be reunited with his love, "Annabel Lee" says the two will be together again, as not even demons "can ever dissever" their souls.

"Annabel Lee" consists of six stanzas, three with six lines, one with seven, and two with eight, with the rhyme pattern differing slightly in each one.[2] Though it is not technically a ballad, Poe referred to it as one.[7] Like a ballad, the poem uses repetition of words and phrases purposely to create its mournful effect.[2] The name Annabel Lee emphasizes the letter "L", a frequent device in Poe's female characters such as "Eulalie", "Lenore", and "Ulalume".[8]

There is debate on the last line of the poem. The Edgar Allan Poe Society of Baltimore, Maryland has identified 11 versions of "Annabel Lee" that were published between 1849 and 1850.[9] However, the biggest variation is in the final line:

It is unclear on whom the eponymous character Annabel Lee is based.[10] Biographers and critics often suggest Poe's frequent use of the "death of a beautiful woman" theme stems from the repeated loss of women throughout his own life, including his mother Eliza Poe and his foster mother Frances Allan.[11] Biographers often interpret that "Annabel Lee" was written for Poe's wife Virginia, who had died two years prior, as was suggested by poet Frances Sargent Osgood, though Osgood is herself a candidate for the poem's inspiration.[10] A strong case can be made for Poe's wife Virginia: She was the one he loved as a child, the only one who had been his bride, and the only one who had died.[12] Autobiographical readings of the poem have also been used to support the theory that Virginia and Poe never consummated their marriage, as "Annabel Lee" was a "maiden".[13] Critics, including T.O. Mabbott, believed that Annabel Lee was merely the product of Poe's gloomy imagination and that Annabel Lee was no real person in particular. A childhood sweetheart of Poe's named Sarah Elmira Royster believed the poem was written with her in mind[14] and that Poe himself said so.[15] Sarah Helen Whitman and Sarah Anna Lewis also claimed to have inspired the poem.[16]

Local legend in Charleston, South Carolina tells the story of a sailor who met a woman named Annabel Lee. Her father disapproved of the pairing and the two met privately in a graveyard before the sailor's time stationed in Charleston was up. While away, he heard of Annabel's death from yellow fever, but her father would not allow him at the funeral. Because he did not know her exact burial location, he instead kept vigil in the cemetery where they had often secretly met. There is no evidence that Edgar Allan Poe had heard of this legend, but locals insist it was his inspiration, especially considering Poe was briefly stationed in Charleston while in the army in 1827.[17]

"Annabel Lee" was likely composed in May 1849.[16] Poe took steps to ensure the poem would be seen in print. He gave a copy to Rufus Wilmot Griswold, his literary executor and personal rival, gave another copy to John Thompson to repay a $5 debt, and sold a copy to Sartain's Union Magazine for publication.[12] Though Sartain's was the first authorized printing in January 1850, Griswold was the first to publish it on October 9, 1849, two days after Poe's death as part of his obituary of Poe in the New York Daily Tribune. Thompson had it published in the Southern Literary Messenger in November 1849.[12]

"Annabel Lee" was an inspiration for Vladimir Nabokov, especially for his novel Lolita (1955), in which the narrator, as a child, falls in love with the terminally ill Annabel Leigh "in a princedom by the sea". Originally, Nabokov titled the novel The Kingdom by the Sea.[18] Nabokov would later use this as the title of the Lolita "doppelganger novel" in Look at the Harlequins!.


club mate rum and lime in this german drink

Tschunk [ˈtʃʊnk] is a German cocktail consisting of Club-Mate and white or brown rum. It is usually served with limes and cane or brown sugar.[17][18]

Club-Mate

Club-Mate (German pronunciation: [ˈklʊp ˈmaːtə]) is a caffeinated carbonated mate-extract beverage made by the Loscher Brewery (Brauerei Loscher) near Münchsteinach, Germany, which originated in 1924.[1] Club-Mate has 20 mg of caffeine per 100 ml. Club-Mate has a relatively low sugar content of 5 g per 100 ml, and low calories (20 kcal per 100 ml of beverage) compared to other beverages such as Cola or most energy drinks.

Also available is Club-Mate IceT Kraftstoff, which is an ice-tea variant with slightly higher caffeine content (22 mg per 100 ml) and with more sugar than original Club-Mate.

Club-Mate is available in 0.33-litre and 0.5-litre bottles.

Three examples of Club-Mate-based mixed drinks are vodka-mate, Tschunk,[2] a combination of rum and Club-Mate, and Jaeger-Mate, a mix of Jägermeister and Club-Mate.

Geola Beverages of Dietenhofen, Germany originally formulated and marketed Club-Mate under the name Sekt-Bronte since 1924.[3] The drink was only known regionally until acquired by Loscher and marketed under the name Club-Mate in 1994.[4]

In December 2007, Loscher marketed a Club-Mate winter edition. The limited-edition Club-Mate consists of the original formula mixed with cardamom, cinnamon, star anise and citrus extract. It is since sold regularly for a limited time during winter.

In 2009, a Club-Mate-styled cola variety was introduced. Unlike other colas, its recipe includes mate-extract.

In 2013, Club-Mate Granat, a Club-Mate variety with additional pomegranate flavor, was introduced.

As of July 2010, the company listed additional countries like the United Kingdom,[5] the United States,[6] Belgium,[7] Bulgaria [8] and Luxembourg to reach distributors in 40 countries,[9] primarily in Europe, but also in Canada, [10] Australia, Israel, Turkey and South Africa.

Club-Mate has developed a following in computer hacker culture and tech start-ups, especially in Europe. Bruce Sterling wrote in Wired magazine that it is the favorite beverage of Germany's Chaos Computer Club[11]. It is also popular at Noisebridge[12] and HOPE[13] in the United States, Electromagnetic Field in the UK and the Hack-Tic events in the Netherlands. Club-Mate appeared in numerous leading media websites like Al-Jazeera,[14] TechCrunch[15] and Vice.[16]

Like Club-Mate, the Tschunk is a typical drink within European hacker culture[19][20] and can often be found at scene typical events or locations like the Chaos Communication Congress.[18][21]


how far is central point oregon from medford oregon

Central Point is a city in Jackson County, Oregon, United States. The population was 17,169 as of 2010.[6] The city shares its southern border with Medford and is a part of the Medford metropolitan area. Central Point is home of the Jackson County Fair that occurs in July.

Central Point, Oregon

Isaac Constant, a pioneer who settled here in 1852, named the location Central Point because of its location at a crossroads in the middle of the Rogue Valley. At this point, the main northâ€“south road from the Willamette Valley met the road between Jacksonville and settlements along the Rogue River. In about 1870, Magruder Brothers opened a store at the crossroads. In 1872, a post office was established here under the name Central Point.[7]

According to the United States Census Bureau, the city has a total area of 3.90 square miles (10.10Â km2), all of it land.[1]

The city lies at an elevation of about 1,272 feet (388Â m) along Oregon Highway 99 and Interstate 5 northwest of Medford. Jacksonville is to the south and Gold Hill to the northwest.[8] The Central Oregon and Pacific Railroad passes through Central Point.[7]

Griffin Creek, a tributary of Bear Creek, joins the larger stream at Central Point.[8] The Bear Creek Greenway, a biking and hiking trail connecting Ashland, Talent, Phoenix and Medford along Bear Creek, also passes through Central Point.[9]

This region experiences warm (but not hot) and dry summers, with no average monthly temperatures above 71.6 °F (22.0 °C).  According to the Köppen Climate Classification system, Central Point has a warm-summer Mediterranean climate, abbreviated "Csb" on climate maps.[10]

Five of the eight public schools of the Central Point School District are located in the city: Central Point Elementary School, Mae Richardson Elementary School, Jewett Elementary School, Scenic Middle School, and Crater High School.

As of the census[2] of 2010, there were 17,169 people, 6,542 households, and 4,670 families residing in the city. The population density was 4,402.3 inhabitants per square mile (1,699.7/km2). There were 6,975 housing units at an average density of 1,788.5 per square mile (690.5/km2). The racial makeup of the city was 90.8% White, 0.4% African American, 1.0% Native American, 1.0% Asian, 0.4% Pacific Islander, 3.1% from other races, and 3.2% from two or more races. Hispanic or Latino of any race were 9.0% of the population.

There were 6,542 households of which 37.2% had children under the age of 18 living with them, 53.8% were married couples living together, 12.5% had a female householder with no husband present, 5.1% had a male householder with no wife present, and 28.6% were non-families. 22.5% of all households were made up of individuals and 11.4% had someone living alone who was 65 years of age or older. The average household size was 2.61 and the average family size was 3.03.

The median age in the city was 36.5 years. 26.5% of residents were under the age of 18; 8.1% were between the ages of 18 and 24; 26.8% were from 25 to 44; 23.7% were from 45 to 64; and 14.8% were 65 years of age or older. The gender makeup of the city was 48.1% male and 51.9% female.

As of the census[4] of 2000, there were 12,493 people, 4,613 households, and 3,450 families residing in the city. The population density was 4,073.6 people per square mile (1,571.2/km²). There were 4,760 housing units at an average density of 1,552.1 per square mile (598.6/km²). The racial makeup of the city was 94.00% White, 0.25% African American, 0.88% Native American, 0.73% Asian, 0.19% Pacific Islander, 1.26% from other races, and 2.69% from two or more races. Hispanic or Latino of any race were 4.22% of the population.

There were 4,613 households out of which 37.5% had children under the age of 18 living with them, 59.2% were married couples living together, 11.5% had a female householder with no husband present, and 25.2% were non-families. 20.0% of all households were made up of individuals and 9.6% had someone living alone who was 65 years of age or older. The average household size was 2.69 and the average family size was 3.06.

In the city, the population was spread out with 28.6% under the age of 18, 7.8% from 18 to 24, 29.2% from 25 to 44, 20.2% from 45 to 64, and 14.2% who were 65 years of age or older. The median age was 34 years. For every 100 females, there were 91.9 males. For every 100 females age 18 and over, there were 89.2 males.

The median income for a household in the city was $40,622, and the median income for a family was $44,849. Males had a median income of $32,778 versus $23,851 for females. The per capita income for the city was $17,003. About 5.9% of families and 6.6% of the population were below the poverty line, including 10.2% of those under age 18 and 3.1% of those age 65 or over.

Talk Radio Network, Erickson Air Crane, and Crater Rock Museum are located in Central Point.  Rogue Creamery in Central Point makes some of the world's best cheeses, according to judges at the World Cheese Awards and American Cheese Society Awards.

According to the city's 2009 Comprehensive Annual Financial Report,[18] the top employers in the city are:


who's the offense of coordinator for the cincinnati bengals

Kenneth Zampese (born July 19, 1967) is an American football coach who most recently was the offensive coordinator for the Cincinnati Bengals of the National Football League (NFL). Zampese began his coaching career at his alma mater, the University of San Diego, and has held a variety of college and professional coaching positions.

Ken Zampese

Zampese’s father, Ernie Zampese, spent 36 years as a coach in the NFL, spending time with the New York Jets, San Diego Chargers, Dallas Cowboys, New England Patriots, Washington Redskins, and both the Los Angeles Rams and St. Louis Rams. Ernie Zampese is known best for his role on the Chargers’ offensive coaching staff in the 1970s and '80s, when he helped engineer the famed "Air Coryell" offense. The "Air Coryell" offense—still considered one of the best passing offenses in NFL history—featured Hall of Famers Dan Fouts, Charlie Joiner and Kellen Winslow, along with John Jefferson and Wes Chandler. These dynamic players operated in a scheme that led the league in passing yards an NFL-record six consecutive seasons (1978-1983).

Ken Zampese began his NFL coaching career in 1998 as an offensive assistant with the Philadelphia Eagles under head coach Ray Rhodes. In 1999, Rhodes became head coach of the Green Bay Packers, and Zampese followed. He again worked as offensive assistant, mentored by QBs Coach Mike McCarthy. Packer QBs of that era were Brett Favre, Matt Hasselbeck and Aaron Brooks.

Zampese joined the St. Louis Rams in 2000 as an offensive assistant under head coach Mike Martz. He was promoted the following season to WRs coach, and again the next season to WRs coach/passing game coordinator. During his stint in St. Louis, Zampese assisted Martz with the passing game of what became known as “The Greatest Show on Turf” – a nickname for the Rams’ high-powered, record-setting offense. It was here that he gained additional exposure to the “3-Digit” passing system, pioneered by his father and expanded to new heights under Martz.

QB Kurt Warner (and backups Trent Green and Marc Bulger), Hall of Fame RB Marshall Faulk, and WRs Isaac Bruce, Torry Holt, Az-Zahir Hakim and Ricky Proehl made up what is widely considered the most prolific offense in NFL history.

Although “The Greatest Show on Turf” began its record-setting run a year prior to Zampese’s arrival in St. Louis – the 1999 Super Bowl XXXIV Rams’ Super Bowl Championship season – it lasted three seasons (’99-01), and he was with the Rams for the final two seasons of the run (2000-01).

Some of the accomplishments of the Ramsâ€™ offense over the three-season span (1999-2001):

Zampese joined the Cincinnati Bengals in 2003 as quarterbacks coach at a time when the team was searching for a quarterback to lead the franchise. He aided in the scouting and evaluation of the QBs in the 2003 NFL Draft, as the team used its No. 1 overall pick to select â€™02 Heisman Trophy winning QB Carson Palmer of Southern California.

Palmer’s rookie season was designated by Bengals management and coaches as strictly one for teaching and development, and he was held out of all regular season action. QB Jon Kitna took the reins as starter, and, under Zampese’s tutelage, he posted then-career best marks in completions (324), passing yards (3591), TD passes (26), completion percentage (62.3) and passer rating (87.4). Viewed prior to the season as an aging QB on the downside of his career, Kitna earned NFL Comeback Player of the Year honors in ’03. His success in ’03 as a starter, along with his key contributions as a backup in ’04-05, would play a key role in his eventual signing with the Detroit Lions in 2006 to be the starting QB.

Zampese’s lead project took center stage in 2004, when Palmer took over full-time as the Bengals’ starting QB. By 2005, Cincinnati’s passing attack was widely considered one the NFL’s best, combining Palmer with WRs Chad Johnson, T. J. Houshmandzadeh and Chris Henry. Powered by Palmer and the offense, the Bengals finished first in the NFL’s AFC North division with an 11-5 record, earning the team’s first playoff berth since the 1990 season. A severe knee injury suffered by Palmer in the opening series of the first playoff game helped derail the team’s chances of advancing further into the postseason, leading to a 31-17 loss to the eventual Super Bowl champion Pittsburgh Steelers.

Palmer returned in 2006 and continued his passing prowess, posting two of the top five per-game passing yardage totals in team history (239.6 in ’06 and 250.8 in ’07). Palmer was named to the Pro Bowl in 2005 (injury prevented participation) and again in ’06, when he earned game MVP honors. After an elbow injury prematurely ended Palmer’s 2008 season, he returned in ’09 to lead the Bengals to a 10-6 record, good for another division championship and playoff berth (24-14 loss to N.Y. Jets). Under Zampese’s watch, Palmer set Bengals records in career passer rating (86.9) and completion percentage (62.9), as well as single-season marks for completions (373), passing yards (4131), TD passes (32) and passer rating (101.1).

Zampese fielded his next challenge in the spring of 2011, as a Palmer trade request created another search for a QB to lead the franchise. Zampese was again part of a scouting/evaluation effort that yielded another starting QB via the draft, as Andy Dalton of Texas Christian University was selected in the second round (35th overall).

Upon being drafted, Dalton was named the Bengalsâ€™ starting QB. The 2011 NFL lockout made the rookie learning process more difficult: It prevented communication between players and coaches and extended into late July.

Despite having no offseason contact due to the lockout, Zampese guided Dalton to one of the best statistical seasons by a rookie QB in NFL history, and it was capped by an appearance in the Pro Bowl. Add that the Bengals’ offense featured a new offensive coordinator (Jay Gruden) and new top receiving target (rookie WR A. J. Green), and Dalton’s rookie campaign was considered even more remarkable.

He became only the fifth rookie QB in NFL history to pass for 3000 yards (totaling 3398 yards), and led a surprising Bengals team to a 9-7 record and a playoff berth (31-10 loss at Houston). In 2012, Dalton topped his impressive rookie totals in nearly every category en route to another playoff berth (19-13 loss at Houston). Dalton joined Peyton Manning and Hall of Fame QB Dan Marino as the only QBs to top 20 TD passes in each of their first two NFL seasons. His total of 47 TD passes over his first two seasons is surpassed only by Marino (68) and Manning (52). Dalton was named to the 2015 NFL Pro Bowl roster after Aaron Rodgers was injured during the playoffs. On September 15, 2017, Zampese was fired by the Bengals after the team started the season 0-2 and didn't score a single touchdown.


what type of geologic feature is humphreys peak

Humphreys Peak (Hopi: Aaloosaktukwi, Navajo: Dookʼoʼoosłííd) is the highest natural point in the U.S. state of Arizona,[5] with an elevation of 12,633 feet (3,851 m)[2] and is located within the Kachina Peaks Wilderness in the Coconino National Forest, about 11 miles (17.7 km) north of Flagstaff, Arizona. Humphreys Peak is the highest of a group of dormant volcanic peaks known as the San Francisco Peaks.

Humphreys Peak

The summit can be most easily reached by hiking the 4.8 miles (7.7Â km) long Humphreys Summit Trail that begins at the Arizona Snowbowl ski resort in the Coconino National Forest.[4]

Humphreys Peak was named in about 1870 for General Andrew A. Humphreys, a U.S. Army officer who was a Union general during the American Civil War, and who later became Chief of Engineers of the United States Army Corps of Engineers. However, a General Land Office map from 1903 showed the name San Francisco Peak applied to this feature (apparently borrowed from San Francisco Mountain on which the peak stands). Thus the United States Board on Geographic Names approved the variant name in 1911. In 1933, the application of the names was rectified.[6]


when did jane austen wrote sense and sensibility

Jane Austen wrote the first draft of the novel in the form of a novel-in-letters (epistolary form) perhaps as early 1795 when she was about 19 years old, or 1797, at age 21, and is said to have given it the title Elinor and Marianne. She later changed the form to a narrative and the title to Sense and Sensibility.[4] The title of the book, and that of her next published novel, Pride and Prejudice (1813), may be suggestive of political conflicts of the 1790s, as well as the movement from the Neoclassic to the Romantic Era (Elinor representing the Neoclassic, and Marianne representing the Romantic).[5][clarification needed]

Sense and Sensibility

Sense and Sensibility is a novel by Jane Austen, published in 1811. It was published anonymously; By A Lady appears on the title page where the author's name might have been. It tells the story of the Dashwood sisters, Elinor (age 19) and Marianne (age 16 1/2) as they come of age. They have an older, stingy half-brother, John, and a younger sister, Margaret, 13.

The novel follows the three Dashwood sisters as they move with their widowed mother from the estate on which they grew up, Norland Park, to their new home, Barton Cottage. The four women must move to a meagre cottage on the property of a distant relative, where they experience love, romance, and heartbreak. The novel is likely set in southwest England, London and Sussex between 1792 and 1797.[1]

The novel, which sold out its first print run of 750 copies in the middle of 1813, marked a success for its author. It had a second print run later that year. The novel continued in publication throughout the 19th, 20th and early 21st centuries and has many times been illustrated, excerpted, abridged, and adapted for stage and film.[2]

Henry Dashwood, his second wife, and their three daughters live for many years with Henry's wealthy bachelor uncle. That uncle decides, in late life, to will the use and income only of his property first to Henry, then to Henry's first son John Dashwood (by his first marriage), so that the property should pass intact to John's three-year-old son Harry. The uncle dies, but Henry lives just a year after that and he is unable in such short time to save enough money for his wife Mrs Dashwood, and their daughters, Elinor, Marianne and Margaret, who are left only a small income. On his deathbed, Mr Henry Dashwood extracts a promise from his son John to take care of his half-sisters. But before Henry is long in the grave, John's greedy wife, Fanny, persuades her husband to renege on the promise, appealing to his concerns about diminishing his own son Harry's inheritance despite the fact that John is independently wealthy thanks to his inheritance from his mother and his wife's dowry. Henry Dashwood's love for his second family is also used by Fanny to arouse her husband's jealousy and convince him not to help his sisters economically.

John and Fanny immediately move in as the new owners of Norland, while the Dashwood women are treated as unwelcome guests by a spiteful Fanny. Mrs Dashwood seeks somewhere else to live. In the meantime, Fanny's brother, Edward Ferrars visits Norland and soon forms an attachment with Elinor. Fanny disapproves of the match and offends Mrs Dashwood by implying that Elinor must be motivated by his expectations of coming into money.

Mrs Dashwood moves her family to Barton Cottage in Devonshire, near the home of her cousin, Sir John Middleton. Their new home is modest, but they are warmly received by Sir John and welcomed into local society, meeting his wife, Lady Middleton, his mother-in-law, the garrulous but well-meaning Mrs Jennings, and his friend, Colonel Brandon. Colonel Brandon is attracted to Marianne, and Mrs Jennings teases them about it. Marianne is not pleased, as she considers the thirty-five-year-old Colonel Brandon an old bachelor, incapable of falling in love or inspiring love in anyone.

While out for a walk, Marianne gets caught in the rain, slips, and sprains her ankle. The dashing John Willoughby sees the accident and assists her, picking her up and carrying her back to her home. After his rescue of her, Marianne quickly comes to admire his good looks and his similar tastes in poetry, music, art, and love. His attentions, and Marianne's behavior, lead Elinor and Mrs Dashwood to suspect that the couple are secretly engaged. Elinor cautions Marianne against her unguarded conduct, but Marianne refuses to check her emotions. Willoughby engages in several intimate activities with Marianne, including taking her to see the home he expects to inherit one day and obtaining a lock of her hair. When an engagement, or at least the announcement of one, seems imminent, Mr Willoughby informs the Dashwoods that his aunt, upon whom he is financially dependent, is sending him to London on business, indefinitely. Marianne is distraught and abandons herself to her sorrow.

Edward Ferrars pays a short visit to Barton Cottage but seems unhappy. Elinor fears that he no longer has feelings for her, but she will not show her heartache. After Edward departs, the sisters Anne and Lucy Steele, who are vulgar cousins of Mrs. Jennings, come to stay at Barton Park. Lucy informs Elinor in confidence of her secret four-year engagement to Edward Ferrars that started when he was studying with her uncle, and she displays proof of their intimacy. Elinor realises that Lucy's visit and revelations are the result of Lucy's jealousy and cunning calculation, and it helps her to understand Edward's recent sadness and behavior towards her. She acquits Edward of blame and pities him for being held to a loveless engagement to Lucy by his sense of honour.

Elinor and Marianne accompany Mrs Jennings to London. On arriving, Marianne rashly writes several personal letters to Willoughby, which go unanswered. When they meet by chance at a dance, Willoughby is standing with another woman. He greets Marianne reluctantly and coldly, to her extreme distress. She shows him how shocked she is that he barely acknowledges her, and she leaves the party completely distraught. Soon Marianne receives a curt letter enclosing their former correspondence and love tokens, including a lock of her hair. Willoughby informs her of his engagement to a young lady, Miss Grey, who has a large fortune. Marianne is devastated. After Elinor has read the letter, Marianne admits to Elinor that she and Willoughby were never engaged. She behaved as if they were because she knew she loved him and thought that he loved her.

As Marianne grieves, and Willoughby's engagement to Miss Grey is made public, Colonel Brandon visits the sisters. He reveals to Elinor that Willoughby is a scoundrel. His aunt disinherits him after she learns that he has seduced, impregnated, then abandoned Brandon's young ward, Miss Eliza Williams, and refuses to marry her. Willoughby, in great personal debt, chooses to marry Miss Grey for money rather than love. Eliza is the illegitimate daughter of Brandon's first love, also called Eliza, a young woman that was his father's ward and an heiress. She was forced into an unhappy marriage to Brandon's elder brother, in order to shore up the family's debts and that marriage ended in scandal and divorce while Brandon was abroad with the Army. After Colonel Brandon's father and brother die, he inherits the family estate and returns to find Eliza dying in a pauper's home and Brandon takes charge of raising her young daughter. Brandon tells Elinor that Marianne strongly reminds him of the elder Eliza for her sincerity and sweet impulsiveness. Brandon removes the younger Eliza to the country, and reveals to Elinor all of these details in the hope that Marianne could get some consolation since Willoughby was revealed as a villain.

Meanwhile, the Steele sisters have come to London as guests of Mrs Jennings. After a brief acquaintance, they are asked to stay at John and Fanny Dashwoods' London house. Lucy sees the invitation as a personal compliment, rather than what it is, a slight to Elinor and Marianne who, being family, should have received such invitation first. Too talkative, Anne Steele betrays Lucy's secret engagement to Edward Ferrars, Fanny's brother. As a result, the Misses Steele are turned out of the house, and Edward is ordered by his wealthy mother to break off the engagement on pain of disinheritance. Edward refuses to comply and is immediately disinherited in favour of his brother, Robert, which gains him respect for his conduct and sympathy from Elinor and Marianne. Colonel Brandon shows his admiration by offering Edward the living (a clergyman's income) of Delaford parsonage so that he might one day be able to afford to marry Lucy after he takes orders.

As Marianne grieves over Willoughby, Mrs Jennings takes Elinor and Marianne to the country to visit her second daughter, Mrs. Charlotte Palmer, at her husband's estate, called Cleveland. Marianne, still in misery over Willoughby's marriage, goes walking in the rain and becomes dangerously ill. She is diagnosed with putrid fever, and it is believed that her life is in danger. Elinor writes to Mrs. Dashwood to explain the gravity of the situation, and Colonel Brandon volunteers to go and bring Marianne's mother to Cleveland to be with her. In the night, Willoughby arrives and reveals to Elinor that his love for Marianne was genuine and that losing her has made him miserable. He elicits Elinor's pity because his choice has made him unhappy, but she is disgusted by the callous way in which he talks of Miss Williams and his own wife. He also reveals that his aunt said she would have forgiven him if he married Miss Williams but that he refused.

Marianne recovers from her illness, and Elinor tells her of Willoughby's visit. Marianne realises that she could never have been happy with Willoughby's immoral, erratic, and inconsiderate ways. She values Elinor's more moderated conduct with Edward and resolves to model herself after Elinor's courage and good sense. Edward arrives and reveals that, after his disinheritance, Lucy jilted him in favour of his now wealthy younger brother, Robert. Elinor is overjoyed. Edward and Elinor marry, and later Marianne marries Colonel Brandon, having gradually come to love him. The two couples live as neighbors, with both sisters and husbands in harmony with each other. Willoughby considers Marianne as his ideal but the narrator tells the reader not to suppose that he was never happy.

Austen drew inspiration for Sense and Sensibility from other novels of the 1790s that treated similar themes, including Adam Stevenson's "Life and Love" (1785) which he had written about himself and a relationship that was not meant to be. Jane West's A Gossip's Story (1796), which features one sister full of rational sense and another sister of romantic, emotive sensibility, is considered to have been an inspiration as well. West’s romantic sister-heroine also shares her first name, Marianne, with Austen’s. There are further textual similarities, described in a modern edition of West's novel.[6]

"Sense" means good judgment, wisdom, or prudence, and "sensibility" means sensitivity, sympathy, or emotionality. Elinor is described as a character with great "sense" (although Marianne, too, is described as having sense), and Marianne is identified as having a great deal of "sensibility" (although Elinor, too, feels deeply, without expressing it as openly). By changing the title, Austen added "philosophical depth" to what began as a sketch of two characters.[7]

Sense and Sensibility, much like Austen's other fiction, has attracted a large body of criticism from many different critical approaches. Early reviews of Sense and Sensibility focused on the novel as providing lessons in conduct (which would be debated by many later critics) as well as reviewing the characters. The Norton Critical Edition of Sense and Sensibility, edited by Claudia Johnson, contains a number of reprinted early reviews in its supplementary material. An "Unsigned Review" in the February 1812 Critical Review praises Sense and Sensibility as well written with well supported and drawn characters, realistic, and with a "highly pleasing" plot in which "the whole is just long enough to interest the reader without fatiguing." [8] This review praises Mrs. Dashwood, the mother of the Dashwood sisters, as well as Elinor, and claims that Marianne's extreme sensibility makes her miserable.[8] It claims that Sense and Sensibility has a lesson and moral which is made clear through the plot and the characters.[8] Another "Unsigned Review" from the May 1812 British Critic further emphasizes the novel's function as a type of conduct book. In this author's opinion, Austen's favoring of Elinor's temperament over Marianne's provides the lesson.[8] The review claims that "the object of the work is to represent the effects on the conduct of life, of discreet quiet good sense on the one hand, and an overrefined and excessive susceptibility on the other."[8] The review states that Sense and Sensibility contains "many sober and salutary maxims for the conduct of life" within a "very pleasing and entertaining narrative."[8] W. F. Pollock's 1861 review from Frasier's Magazine, titled "British Novelists," becomes what editor Claudia Johnson terms an "early example of what would become the customary view of Sense and Sensibility." [9] In addition to emphasizing the novel's morality, Pollock reviews the characters in catalogue-like fashion, praising and criticizing them in according to the notion that Austen favors Elinor's point of view and temperament.[9] Pollock even praises Sir John Middleton and Mrs. Jennings, even commenting on the humor of Mr. Palmer and his "silly wife." [9] Pollock criticizes Sir John Dashwood's selfishness without mentioning Fanny's influence upon them. He also criticizes the Steele sisters for their vulgarity.[9]

An anonymous piece titled "Miss Austen" published in 1866 in The Englishwoman's Domestic Magazine departs from other early criticism in its sympathizing with Marianne over Elinor, claiming that Elinor is "too good" of a character.[10] The article also differs from other reviews in that it claims that the "prevailing merit" of the book is not in its sketch of the two sisters; rather, the book is effective because of its "excellent treatment of the subordinate characters."[10] Alice Meynell's 1894 article "The Classic Novelist" in the Pall Mall Gazette also concurs with Austen's attention to small things. Meynell claims that Austen deals in lesser characters and small matters because "that which makes life, art, and work trivial is a triviality of relations." [11] In her attention to secondary characters, Meynell discusses the children's function to "illustrate the folly of their mothers," especially Lady Middleton.[11]

Austen biographer Claire Tomalin argues that Sense and Sensibility has a "wobble in its approach", which developed because Austen, in the course of writing the novel, gradually became less certain about whether sense or sensibility should triumph.[12] Austen characterises Marianne as a sweet lady with attractive qualities: intelligence, musical talent, frankness, and the capacity to love deeply. She also acknowledges that Willoughby, with all his faults, continues to love and, in some measure, appreciate Marianne. For these reasons, some readers find Marianne's ultimate marriage to Colonel Brandon an unsatisfactory ending.[13]

The American scholar Rachel Brownstein wrote that the novel begins with the Dashwood sisters being disinherited and cast off from their homes, and the narrator offers in the account of how this came to be that men would always use women and cast them aside when they are no longer convenient; that one's good character counts for nothing in a society dominated by greed, ingratitude and selfishness; and that one can behave badly yet still remain eminently respectable as one has money.[14] Brownstein said that in a world where men are generally greedy, selfish, dishonest, and generally cold is "...a harsh one for young women".[15] The marriage of John and Fanny Dashwood is portrayed as devoid of love and held together only by greed with Mrs. Dashwood being "more narrow-minded and selfish" than her repulsive husband.[15] Likewise, Sir John and Lady Middleton are described as having a "total want of talent and taste" with Sir John's interests being only hunting while Lady Middleton's being spoiling her children.[15] Lady Middleton condemns the Dashwood sisters for being "satirical" despite the fact as the narrator notes that she does not know what the word satirical actually means.[16] Most of the gentry characters are in varying ways stupid, selfish and malicious. For example, Mrs. Palmer breaks out laughing and saying "It is so ridiculous!" when she imagines that her husband will be elected to the House of Commons. Mrs. Jennings telling painfully unfunny jokes at the expense of Edward Ferrars and Sir John laughs at gossip and remarks that he does not really understand.[17]

Brownstein noted the dismal picture the novel draws of well-established gentry families is not counterbalanced by the men who court the Dashwood sisters which has the effect of "further dimming the view of romantic love" as all three men have a "depressing similarity" to make the same mistakes as each had another relationship with another women and each leaves the Dashwood sisters with no explanation.[18] The interchangeability of Colonel Brandon, Willoughby, and Edward Ferrars is stressed by the fact that at various points in the novel the Dashwood sisters keep confusing one of the men for another.[18] Even the mother of the Ferrars brothers has trouble distinguishing between them as both brothers go through an "annihilation".[18] In this regard, Brownstein wrote that Marianne's insistence on an absolute, all-consuming romantic love for only one man once with no "second attachments" to another man ever being possible seems quixotic and absurd, all the more as Elinor points out that their father had married twice.[19] Brownstein noted that while Elinor is "judgemental" about Marianne's romantic creed, Colonel Brandon is more understanding, all the more so as Marianne reminds him of a woman he once loved and lost.[19]

The Dashwood sisters stand apart as being virtually the only characters capable of intelligent thought and any sort of deep thinking.[16] Brownstein wrote that the differences between the Dashwood sisters have been exaggerated, and in fact the sisters are more alike than they are different, with Elinor having "excellent heart" and capable of the same romantic passions as Marianne feels while Marianne has much sense as well.[16] Elinor is more reserved, more polite, and less impulsive than Marianne who loves poetry, taking walks across picturesque landscapes and believes in intense romantic relationships, but it is very closeness between the sisters that allows these differences to emerge during their exchanges.[16]

Many critics explore Sense and Sensibility in relation to authors and genres popular during Austen's time. One of the most popular forms of fiction in Austen's time was epistolary fiction. This is a style of writing in which all of the action, dialogue, and character interactions are reflected through letters sent from one or more of the characters. In her book Romantic Correspondence: Women, Politics, and the Fiction of Letters, Mary Favret explores Austen's fraught relationship with epistolary fiction, claiming that Austen "wrestled with epistolary form" in previous writings and, with the publication of Sense and Sensibility, "announced her victory over the constraints of the letter." [20] Favret contends that Austen's version of the letter separates her from her "admired predecessor, Samuel Richardson" in that Austen's letters are "a misleading guide to the human heart which, in the best instances, is always changing and adapting." [20] According to Favret, with the character of Elinor Dashwood is an "anti-epistolary heroine" whose "inner world" of thoughts and feelings does not find "direct expression in the novel, although her point of view controls the story." [20] Sense and Sensibility establishes what Favret calls a "new privacy" in the novel, which was constrained by previous notions of the romance of letters.[20] This new privacy is a "less constraining mode of narration" in which Austen's narrator provides commentary on the action, rather than the characters themselves through the letters.[20] Favret claims that in Sense and Sensibility, Austen wants to "recontextualize" the letter and bring it into a "new realism."[20] Austen does so by imbuing the letter with dangerous power when Marianne writes to Willoughby; both their love and the letter "prove false."[20] Additionally, Favret claims that Austen uses both of the sisters' letter writing to emphasize the contrasts in their personalities.[20] When both of the sisters write letters upon arriving in London, Elinor's letter is the "dutiful letter of the'sensible sister'" and Marianne writes a "vaguely illicit letter" reflecting her characterization as the "sensitive" sister.[20] What is perhaps most striking about Favret's analysis is that she notes that the lovers who write to one another never unite with each other.[20]

A common theme of Austen criticism has been on the legal aspects of society and the family, particularly wills, the rights of first and second sounds, and lines of inheritance. Gene Ruoff's book Jane Austen's Sense and Sensibility explores these issues in an entire book-length discussion on the novel. Ruoff's first two chapters deal extensively on the subject of wills and on the discourse of inheritance. These topics reveal what Ruoff calls "the cultural fixation on priority of male birth." [21] According to Ruoff, male birth is by far the dominant issue in these legal conversations. Ruoff observes that, within the linear family, the order of male birth decides issues of eligibility and merit.[21] When Robert Ferrars becomes the eldest son, Edward is no longer appealing to his "opportunistic fiance" Lucy, who quickly turns her attention to the foppish Robert and "entraps him" in order to secure the inheritance for herself.[21] According to Ruoff, Lucy is specifically aiming for a first son because of the monetary advantage for a man in this birth order.[21] William Galperin, in his book The History Austen, comments on the tendency of this system of patriarchal inheritance and earning as working to ensure the vulnerability of women.[22] Because of this vulnerability, Galperin contends that Sense and Sensibility shows marriage as the only practical solution "against the insecurity of remaining an unmarried woman." [22]

Feminist critics have long been engaged in conversations about Jane Austen, and Sense in Sensibility has figured in these discussions, especially around the patriarchal system of inheritance and earning. Sandra M. Gilbert and Susan Gubar's seminal feminist work The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Imagination contains several discussions of Sense and Sensibility. Gilbert and Gubar read the beginning Sense and Sensibility as a retelling of King Lear from a female perspective and contend that these "reversals imply that male traditions need to be evaluated and reinterpreted from a female perspective."[23] Gilbert and Gubar argue that Austen explores the effects of patriarchal control over women in which women cannot earn or inherit their money and use Sense and Sensibility as an example of this as the male heir, Mr. John Dashwood, deprives his sisters from their home as well as promised income. They also point to the "despised" Mrs. Ferrars' tampering with the patriarchal line of inheritance in her disowning of her eldest son, Edward Ferrars, as proof that this construction is ultimately arbitrary.[23] Gilbert and Gubar contend that while Sense and Sensibility's ultimate message is that "young women like Marianne and Elinor must submit to powerful conventions of society by finding a male protector," women such as Mrs. Ferrars and Lucy Steele demonstrate how women can "themselves become agents of repression, manipulators of conventions, and survivors." [23] In order to protect themselves and their own interests, Mrs. Ferrars and Lucy Steele must participate in the same patriarchal system that oppresses them.

In her chapter "Sense and Sensibility: Opinions Too Common and Too Dangerous" from her book Jane Austen: Women, Politics, and the Novel, Claudia Johnson also performs a feminist reading of Sense and Sensibility. She differs from previous critics, especially the earliest ones, in her contention that Sense and Sensibility not, as it is often assumed to be, a "dramatized conduct book" that values "female prudence" (associated with Elinor's sense) over "female impetuosity" (associated with Marianne's sensibility).[24] Rather, Johnson sees Sense and Sensibility as a "dark and disenchanted novel" that views "institutions of order" such as property, marriage, and family in a negative light, making the novel the "most attuned to social criticism" out of Austen's works.[24] According to Johnson, Sense and Sensibility critically examines the codes of propriety as well as their enforcement by the community.[24] Key to Austen's criticism of society, per Johnson's argument, is the depiction of the unfair marginalization of women due to the "death or simple absence of male protectors." [24] Additionally, the male characters in Sense and Sensibility are depicted unfavorably. Johnson calls the gentlemen in Sense and Sensibility "uncommitted sorts" who "move on, more or less unencumbered, by human wreckage from the past" [24] In other words, the men do not feel a responsibility to anyone else. Johnson compares Edward to Willoughby in this regard, claiming that all of the differences between them as individuals do not hide the fact that their failures are actually identical; Johnson calls them both "weak, duplicitous, and selfish," lacking the honesty and forthrightness with which Austen endows other "exemplary gentlemen" in her work.[24] Johnson's comparison of Edward and Willoughby reveals the depressing picture about gentlemen presented in the novel.

Mary Poovey's analysis in The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley and Jane Austen confers with Johnson's on the dark tone of Sense and Sensibility. Poovey contends that Sense and Sensibility has a "somber tone" in which conflict breaks out between Austen's engagement with her "self-assertive characters" and the moral codes necessary to control their potentially "anarchic" desires.[25] Austen shows, according to Poovey, this conflict between individual desire and the restraint of moral principles through the character of Elinor herself.[25] Except for Elinor, all of the female characters in Sense and Sensibility experience some kind of female excess. Poovey argues that while Austen does recognize "the limitations of social institutions," she demonstrates the necessity of controlling the "dangerous excesses of female feeling" rather than liberating them.[25] She does so by demonstrating that Elinor's self-denial, especially in her keeping of Lucy Steele's secret and willingness to help Edward, even though both of these actions were hurtful to her, ultimately contribute to her own contentment and that of others.[25] In this way, Poovey contends that Austen suggests that the submission to society that Elinor demonstrates is the proper way to achieve happiness in life.

Sense and Sensibility criticism also includes ecocritical approaches. Susan Rowland's article "The 'Real Work': Ecocritical Alchemy and Jane Austen's Sense and Sensibility" studies the effects of alienation upon Edward and Ferrars. Edward is alienated from society because he lacks what Rowland calls "useful employment."[26] According to Rowland, Edward's condition represents problems with the history of work in Western industrialized societies. Edward's alienation from work also represents "the culture evolution of work" as a "progressive estrangement from nonhuman nature." [26] Rowland argues that human culture estranges people from nature rather than returning them to it. Marianne also suffers from this estrangement of nature as she is ripped from her childhood home where she enjoyed walking the grounds and looking at trees.[26] Rowland thus connects both Edward's and Marianne's progressive discomfort throughout the novel to their alienation from nature.

In 1811, Thomas Egerton of the Military Library publishing house in London accepted the manuscript for publication in three volumes. Austen paid to have the book published and paid the publisher a commission on sales. The cost of publication was more than a third of Austen's annual household income of £460 (about £15,000 in 2008 currency).[27] She made a profit of £140 (almost £5,000 in 2008 currency)[27] on the first edition, which sold all 750 printed copies by July 1813. A second edition was advertised in October 1813.

The novel has been in continuous publication through to the 21st century as popular and critical appreciation of all the novels by Jane Austen slowly grew. The novel was translated into French by Madame Isabelle de Montolieu as Raison et SensibilitÃ©.[28] Montolieu had only the most basic knowledge of English, and her translations were more of "imitations" of Austen's novels as Montolieu had her assistants provide a summary of Austen's novels, which she then translated into an embellished French that often radically altered Austen's plots and characters.[28] The "translation" of Sense and Sensibility by Montolieu changes entire scenes and characters, for example having Marianne call Willoughby an "angel" and an "Adonis" upon first meeting him, lines that are not in the English original.[29] Likewise, the scene where Mrs. Dashwood criticizes her husband for planning to subsidise his widowed stepmother might be disadvantageous to "our little Harry", Mrs. Dashwood soon forgets about Harry and it is made apparent her objections are founded in greed; Montolieu altered the scene by having Mrs. Dashwood continuing to speak of "our little Harry" as the basis of her objections, completely changing her motives.[30] When Elinor learns the Ferrars who married Lucy Steele is Robert, not Edward, Montolieu adds in a scene where Edward, the Dashwood sisters and their mother all break down in tears while clasping hands that was not in the original.[31] Austen has the marriage of Robert Ferrars and Lucy Steele end well while Montolieu changes the marriage into a failure.[32]

Film and television adaptations:
• 1971: This adaptation for BBC television was dramatized by Denis Constanduros and directed by David Giles.
• 1981: This seven-episode TV serial was directed by Rodney Bennett.
• 1995: This theatrical release was adapted by Emma Thompson and directed by Ang Lee.
• 2000: A Tamil version called Kandukondain Kandukondain stars Ajith Kumar (Edward Ferrars), Tabu (Elinor), and Aishwarya Rai.[33]
• 2008: This three-episode BBC TV series was adapted by Andrew Davies and directed by John Alexander.
• 2008: The film Material Girls is a loose adaptation of the novel, based on a script by John Quaintance and directed by Martha Coolidge.
• 2011: The Spanish- and English-language film From Prada to Nada is a loose adaptation of the novel directed by Angel Gracia.
• 2011: The Scents and Sensibility (theatrically released in Brazil as Aromas e Sensibilidade) is a loose adaptation of the novel directed by Brian Brough.

Stage adaptations:
• 2013: Sense & Sensibility, the Musical (book and lyrics by Jeffrey Haddow and music by Neal Hampton) received its world premiere by the Denver Center Theatre Company in April 2013, as staged by Tony-nominated director Marcia Milgrom Dodge.
• 2014: The Utah Shakespeare Festival presented Joseph Hanreddy and J.R. Sullivan's adaptation.
• 2016: The Bedlam theatrical troupe mounted a well-received minimalist production that was adapted by Kate Hamill and directed by Eric Tucker, from a repertory run in 2014.[34]

Novel:
• In 2013, author Joanna Trollope published Sense & Sensibility: A Novel[35] as a part of series called The Austen Project by the publisher, bringing the characters into the present day and providing modern satire.[36]
• 2009: Sense and Sensibility and Sea Monsters is a mashup parody novel by Ben H. Winters, with Jane Austen credited as co-author.


where did i dream of jeannie come from

The series was created and produced by Sidney Sheldon in response to the great success of rival network ABC's Bewitched series, which had debuted in 1964 as the second-most watched program in the United States. Sheldon, inspired by the movie The Brass Bottle, which had starred Tony Randall, Barbara Eden, and Burl Ives as the jinn Fakrash, conceived of the idea for a beautiful female genie. Both I Dream of Jeannie and Bewitched were Screen Gems productions. The show debuted at 8 pm, Saturday, September 18, 1965, on NBC.

I Dream of Jeannie

I Dream of Jeannie is an American fantasy and comedy sitcom starring Barbara Eden as a 2,000-year-old genie and Larry Hagman as an astronaut who becomes her master, with whom she falls in love and eventually marries. Produced by Screen Gems, the show originally aired from September 18, 1965 to May 26, 1970 with new episodes, and through September 1970 with season repeats, on NBC. The show ran for five seasons and produced 139 episodes.

In the pilot episode, "The Lady in the Bottle", astronaut Captain Tony Nelson, United States Air Force, is on a space flight when his one-man capsule Stardust One comes down far from the planned recovery area, near a deserted island in the South Pacific. On the beach, Tony notices a strange bottle that rolls by itself. When he rubs it after removing the stopper, smoke starts shooting out and a Persian-speaking female genie materializes and kisses Tony on the lips, shocking him.

They cannot understand each other until Tony expresses his wish that Jeannie (a homophone of genie) could speak English, which she then does. Then, per his instructions, she "blinks" and causes a recovery helicopter to show up to rescue Tony, who is so grateful, he tells her she is free, but Jeannie, who has fallen in love with Tony at first sight after being trapped for 2,000 years, re-enters her bottle and rolls it into Tony's duffel bag so she can accompany him back home. One of the first things Jeannie does, in a subsequent episode, is break up Tony's engagement to his commanding general's daughter, who, along with that particular general, is never seen again. This event reflects producer Sidney Sheldon's decision that the engagement depicted in the pilot episode would not be part of the series continuity; he realized the romantic triangle he created between Jeannie, "Master", and Melissa Stone would not pan out in the long run.

Tony at first keeps Jeannie in her bottle most of the time, but he finally relents and allows her to enjoy a life of her own. However, her life is devoted mostly to his, and most of their problems stem from her love and affection towards Tony, and her desire to please him and fulfill her ancient heritage as a genie, especially when he does not want her to do so. His efforts to cover up Jeannie's antics, because of his fear that he would be dismissed from the space program if her existence were known, brings him to the attention of NASA's resident psychiatrist, U.S. Air Force Colonel Dr. Alfred Bellows. In a running gag, Dr. Bellows tries over and over to prove to his superiors that Tony is either crazy or hiding something, but he is always foiled ("He's done it to me, again!") and Tony's job remains secure. A frequently used plot device is that Jeannie loses her powers when she is confined in a closed space. She is unable to leave her bottle when it is corked, and under certain circumstances, the person who removed the cork would become her new master. A multiple-episode story arc involves Jeannie (in miniature) becoming trapped in a safe when it is accidentally locked.

Tony's best friend and fellow astronaut, United States Army Corps of Engineers Captain Roger Healey, does not know about Jeannie for several episodes; when he finds out (in the episode "The Richest Astronaut in the Whole Wide World" [January 15, 1966]), he steals her so he can live in luxury, but not for long before Tony reclaims his status as Jeannie's master. Roger is often shown trying to make a quick buck or girl-crazy, and hopes to claim Jeannie so he can use her to live a princely life or gain beautiful girlfriends, but overall he is respectful that Tony is Jeannie's master, and later her husband. Both Tony and Roger are promoted to the rank of major late in the first season. In later seasons, Roger's role is retconned to portray him knowing about Jeannie from the beginning (i.e., to him having been with Tony on the space flight that touched down, and thus having seen Jeannie introduce herself to Tony).

Jeannie's evil fraternal twin sister, mentioned in a second-season episode (also named Jeannie and also portrayed by Barbara Eden in a brunette wig), proves to have a mean streak starting in the third season (demonstrated in her initial appearance in "Jeannie or the Tiger?" [September 19, 1967]), repeatedly trying to steal Tony for herself, with her as the real "master". Her final attempt in the series comes right after Tony and Jeannie get married, with a ploy involving a man played by Barbara Eden's real-life husband at the time, Michael Ansara (in a kind of in-joke, while Jeannie's sister pretends to be attracted to him, she privately scoffs at him). The evil sister, whose name is never revealed, wears a green costume, with a skirt rather than pantaloons.

Early in the fifth season (September 30, 1969), Jeannie is called upon by her Uncle Sully (Jackie Coogan) to become queen of their family's native country, Basenji. Tony inadvertently gives grave offense to Basenji national pride in their feud with neighboring Kasja. To regain favor, Tony is required by Sully to marry Jeannie and avenge Basenji's honor, by killing the ambassador from Kasja when he visits NASA. After Sully puts Tony through an ordeal of nearly killing the ambassador, Tony responds in a fit of anger that he is fed up with Sully and his cohorts and he would not marry Jeannie if she were "the last genie on earth". Hearing this, Jeannie bitterly leaves Tony and returns to Basenji. With Jeannie gone, Tony realizes how deeply he loves her. That outweighs all concerns he has had about Jeannie's threat to his career. He flies to Basenji to win Jeannie back. Upon their return to NASA, Tony introduces Jeannie as his fiancÃ©e, in which she attires herself as a modern American woman in public and it is easily accepted Tony found a girlfriend. This changed the show's premise in that instead of the avoidance of Jeannie's exposure, it was to hide her magical abilities. This is contrary to the mythology created by Sidney Sheldon's own season-two script for "The Birds and Bees Bit", in which it was claimed that, upon marriage, a genie loses all of her magical powers.

When casting was opened for the role of Jeannie, producer Sidney Sheldon could not find an actress who could play the role the way that he had written it. He did have one specific rule: He did not want a blonde genie, because the similarity with the blonde witch on Bewitched would be too much. However, after many unsuccessful auditions, he called Barbara Eden's agent. When NBC began telecasting most of its prime-time television programs in color in fall 1965, Jeannie was one of two regular programs on NBC that remained in black and white, in this case because of the special photographic effects employed to achieve Jeannie's magic. By the second season, however, further work had been done on techniques to create the visual effects in color, necessary because by 1966 all prime-time series in the United States were being made in color.

According to Dreaming of Jeannie, a book by Stephen Cox and Howard Frank, Sheldon originally wanted to film season one in color, but NBC did not want to pay for the extra expenses, as the network (and Screen Gems) believed the series would not make it to a second season. According to Sheldon in his autobiography The Other Side of Me, he offered to pay the extra US$400 an episode needed for color filming at the beginning of the series, but Screen Gems executive Jerry Hyams advised him: "Sidney, don't throw your money away."[1]

The first few episodes after the pilot (episodes two through eight) used a nonanimated, expository opening narrated by Paul Frees; the narration mentions that Nelson lived in "a mythical town" named Cocoa Beach in "a mythical state called Florida". The remaining episodes of that first season featured an animated sequence that was redone and expanded in season two, when the show switched from black and white to color. This new sequence, used from season 2â€“5, featured Captain Nelson's space capsule splashing down on the beach, and Jeannie dancing out of her bottle (modified to reflect its new decoration) and then kissing Nelson. Both original versions of the show's animated opening sequence were done by famed animator Friz Freleng.

Although the series was set in and around Cape Kennedy, Florida, and Nelson lived at 1020 Palm Drive[2][3] in nearby Cocoa Beach, locales in California were used in place of those in Florida. The exterior of the building where Healey and he had offices was actually the main building at the Dryden Flight Research Center at Edwards Air Force Base, north of Los Angeles.[4] "If you look at some of those old [episodes], it's supposed to be shot in Cocoa Beach, but in the background you have mountains â€” the Hollywood Hills," Bill Daily said.[5] In actuality, the home of Major Nelson was filmed at the Warner Ranch, in Burbank (on Blondie Street). Many exteriors were filmed at this facility. Interior filming was done at the Sunset Gower Studios in Hollywood.

The cast and crew only made two visits to Florida's Space Coast, both in 1969. On June 27, a parade in Cocoa Beach escorted Eden and the rest of the cast to Cocoa Beach City Hall, where she was greeted by fans and city officials. They were then taken to LC-43 at Cape Canaveral where she pressed a button to launch a Loki-Dart weather rocket. They had dinner at Bernard's Surf, where Eden was given the state of Florida's Commodore Award for outstanding acting. Later, the entourage went to Lee Caron's Carnival Club, where Eden was showered with gifts and kissed astronaut Buzz Aldrin on the cheek, just two weeks before the Apollo 11 launch.[6]

The cast and crew returned on November 25, 1969, for three days for a mock wedding of Eden and Hagman staged for television writers from around the nation (timed to the airing of the nuptials episode on December 2) at the Patrick Air Force Base Officers Club.[5] Then-Florida Governor Claude R. Kirk, Jr., attended and cut the cake for the couple.[6]

Eden returned 27 years later, in July 1996, as a featured speaker for Space Days at the Kennedy Space Center. Cocoa Beach Mayor Joe Morgan presented her an "I Dream of Jeannie Lane" street sign, later installed on a short street off Florida State Road A1A near Lori Wilson Park.[6]

On September 15, 2005, the area held a "We Dream of Jeannie" festival, including a Jeannie lookalike contest. Plans for one in 2004 were interrupted by Hurricane Frances and Hurricane Jeanne. However, a Jeannie lookalike contest was held in 2004, with Bill Daily attending.

On August 24, 2012, Cocoa Beach City leaders honored the show with a roadside plaque outside Lori Wilson Park.[7]

In the first season, Jeannie clearly was originally a human who was turned into a genie by (as later revealed (Season 1, Episode 2: My Hero?) the Blue Djinn when she refused to marry him (the term "djinn" is synonymous with "genie"). Several members of Jeannie's family, including her parents, are rather eccentric, but none is a genie. Her mother describes the family as "just peasants from the old country" (Season 1, Episode 14, What House Across the Street?). The Blue Djinn was played by Barbara Eden's first husband, Michael Ansara. In later seasons, he also played King Kamehameha (Season 3, Episode 15 The Battle of Waikiki), and Biff Jellico (Season 5, Episode 12 My Sister, the Homewrecker).

The topic of Jeannie originally being human is restated in season two during the episode, "How to be a Genie in 10 Easy Lessons". Jeannie mentions that she has a sister who is a genie, but the phrasing – "she was a genie when I left Baghdad" – does bring up the question of whether she, too, was born a genie. One small subplot that lasted over multiple episodes was WHEN Jeanie was born. In Season 2, Episode 10, "The Girl Who Never Had a Birthday" it was revealed that Jeanie was born in 46 BC and in Season 2, Episode 13 "My Master, the Great Caruso" it was revealed that she was born on April 1.

In the third season, this continuity was changed retroactively and Jeannie was assumed to have always been a genie. All her relatives are then also genies, including, by the fourth season, her mother (also played by Barbara Eden beginning in Season 4, Episode 2 Jeannie and the Wild Pipchicks). This may have been done to increase the similarity with Bewitched, or simply to increase the number of possible plotlines. Whatever the reason, this new concept was retained for the rest of the series.

The TV movie I Dream of Jeannie... Fifteen Years Later (1985) reiterates most of Jeannie's first-season origin when she tells her son, Tony Jr., that she was trapped in her bottle by an evil djinn after she refused to marry him. (No specific statement is given, however, about whether he turned her into a genie at that time or if she had been born one.)

In a 1966 paperback novel I Dream of Jeannie, by Dennis Brewster, published by Pocket Books, very loosely based on the series, Jeannie (in the book, her real name is revealed as "Fawzia") and her immediate family were established in the story as genies living in Tehran hundreds of years before Tony found her bottle on an island in the Persian Gulf (instead of the South Pacific, as depicted on TV).

The first-season theme music was an instrumental jazz waltz written by Richard Wess. Eventually, Sidney Sheldon became dissatisfied with Wess's theme and musical score.[citation needed] From the second season on, it was replaced by a new theme entitled "Jeannie", composed by Hugo Montenegro with lyrics by Buddy Kaye. Episodes 20 and 25 used a rerecorded ending of "Jeannie" for the closing credits with new, longer drum breaks and a different closing riff. The lyrics were never used in the show.

Songwriters Gerry Goffin and Carole King wrote a theme, called "Jeannie", for Sidney Sheldon before the series started, but it was not used.[8]

In the third and fourth seasons of the show, another instrumental theme by Hugo Montenegro was introduced that was played during the show's campy scenes. Simply titled "Mischief", the theme was heard mainly on outdoor locations, showing the characters attempting to do something such as Jeannie learning to drive, Major Nelson arriving up the driveway, a monkey walking around, or reactions to Doctor Bellows. This theme featured the accompaniment of a sideshow organ, a trombone, and electric bass. It was introduced in the first episode of season 3, "Fly Me to the Moon".[citation needed]

The I Dream of Jeannie theme music was sampled by Dutch dance music DJ Ben Liebrand for the 1990 re-release of American hip-hop artist Dimples D.'s single, "Sucker DJ".

Jeannie's famous bottle was not created for the show. The actual bottle was a special Christmas 1964 Jim Beam liquor decanter containing "Beam's Choice" bourbon whiskey. It was designed by Roy Kramer for the Wheaton Bottle Company. For years, Sidney Sheldon was said to have received one as a gift and thought it would be a perfect design for the series. Several people in the Screen Gems art department also take credit for finding the bottle. Strong evidence, however, indicates first season director Gene Nelson saw one in a liquor store and bought it, bringing it to Sheldon.[citation needed]

Jeannie's bottle was left in its original dark, smoke-green color, with a painted gold-leaf pattern (to make it look like an antique), during the first season. The plot description of the pilot episode in TV Guide in September 1965 referred to it as a "green bottle". In that first episode, it also looked quite rough and weathered. Since the show was originally filmed in black and white, a lot of colors and patterns were not necessary. When the show switched to color, the show's art director came up with a brightly colored purple bottle to replace the original. The colorized version of the show's first season tried to make out that the smoked glass look of the original gold-leaf design is in fact purple, to match the consistent look of the bottle used in the second through fifth seasons.

The first season bottle had a clear glass stopper that Tony took from a 1956 Old Grand-Dad Bourbon bottle in his home, as the original stopper was left behind on the beach where Tony found Jeannie. In the first color episode, Jeannie returns to the beach, and her bottle is seen to have its original stopper (painted to match the bottle), presumably retrieved by her upon her return there. The rest of the TV series (and the movies) used the original bottle stopper. (During some close-ups, one can still see the plastic rings that hold the cork part of the stopper in place.)

During the first season, in black and white, the smoke effect was usually a screen overlay of billowing smoke, sometimes combined with animation. Early color episodes used a purely animated smoke effect. Sometime later, a live smoke pack, lifted out of the bottle on a wire, was used.

Jeannie's color-episodes bottle was painted mainly in pinks and purples, while the bottle for the Blue Djinn was a first-season design with a heavy green wash, and Jeannie's sister's bottle was simply a plain, unpainted Jim Beam bottle.

No one knows exactly how many bottles were used during the show, but members of the production have estimated that 12 bottles were painted and used during the run of the series. The stunt bottle used mostly for the smoke effect was broken frequently by the heat and chemicals used to produce Jeannie's smoke. In the pilot episode, several bottles were used for the opening scene on the beach; one was drilled through the bottom for smoke, and another was used to walk across the sand and slip into Tony's pack. Two bottles were used from promotional tours to kick off the first season, and one bottle was used for the first-season production.

Barbara Eden got to keep the color stunt bottle used on the last day of filming the final episode of the television series. It was given to her by her make-up woman after the show was canceled while the show was on hiatus. According to the DVD release of the first season, Bill Daily owns an original bottle, and according to the Donny & Marie talk show, Larry Hagman also owned an original bottle.

In the penultimate episode, "Hurricane Jeannie", Nelson dreams that Dr. Bellows discovers Jeannie's secret, and that Jeannie's bottle is broken when dropped. A broken bottle is shown on camera. This was intended to be the series' final episode and is often shown that way in syndication.

On several occasions, multipart story arcs were created to serve as backgrounds for national contests. During the second season, in a story that is the focus of a two-part episode and a peripheral plot of two further episodes (the "Guess Jeannie's Birthday" contest began with the opening two-part episode on November 14, 1966, concluding with the name of the winner revealed after the end of the fourth episode, "My Master, the Great Caruso", on December 5), it was established that Jeannie did not know her birthday, and her family members could not agree when it was, either. Tony and Roger use NASA's powerful new computer and horoscopic guidance based on Jeannie's traits to calculate it. The year is quickly established as 64 BC, but only Roger is privy to the exact date and he decides to make a game out of revealing it. This date became the basis of the contest. Jeannie finally forces it out of him at the end of the fourth episode: April 1. This date conflicts with the birthday given to her in the season 1 episode "G.I. Jeannie": July 1.

In a third-season four-part episode ("Genie, Genie, Who's Got the Genie?" January 16 – February 6, 1968), Jeannie is locked in a safe bound for the moon. Any attempt to force the safe or use the wrong combination will destroy it with an explosive. Jeannie is in there so long that whoever opens the safe will become her master. The episodes spread out over four weeks, during which a contest was held to guess the safe's combination. This explains why Larry Hagman is never seen saying the combination out loud: His mouth is hidden behind the safe or the shot is on Jeannie when he says it. The combination was not decided until just before the episode aired, with Hagman's voice dubbed in. Over the closing credits, Barbara Eden announced and congratulated the contest winner, with 4–9–7 as the winning combination.

In the fourth season, a two-part episode, "The Case Of My Vanishing Master" (January 6â€“13, 1969), concerned Tony being taken to a secret location somewhere in the world, while a perfect double took his place at home. A contest was held to guess the location where Tony had been taken. Unlike earlier contests, the answer was not revealed within the story. At the end of "Invisible House For Sale" (February 3, 1969), a special "contest epilogue" had Jeannie and Tony reveal to the audience the "secret location", Puerto Rico, followed by the name of the "Grand Prize Winner".

When reruns debuted on New York's WPIX, Jeannie won its time period with a 13 rating and a 23 share of the audience.[14] The series averaged a 14 share and 32 share of the audience when WTTG in Washington, DC began airing the series.[15] It was the first off-network series to best network competition in the ratings: "The big switch no doubt representing the first time in rating history that indies (local stations) have knocked over the network stations in a primetime slot was promoted by WPIX's premiere of the off-web Jeannie reruns back to back from 7 to 8 pm."[16]

Two made-for-television reunion movies were made that followed the further exploits of Jeannie and Tony in the successive years. For various reasons, Larry Hagman did not reprise his role as Anthony Nelson in either of these reunion movies. In 1985, Wayne Rogers played the role of retiring Colonel Nelson in I Dream of Jeannie... Fifteen Years Later. In 1991, I Still Dream of Jeannie was released with Hagman's Dallas co-star Ken Kercheval essentially playing the role of Jeannie's "master". A third film was planned, but never finalized.

Hanna-Barbera Productions produced an animated series Jeannie. This animated series is completely separate from the Eden live-action series. Jeannie the animated series was originally broadcast from September 1973 to 1975, which featured Jeannie (voiced by Julie McWhirter) and genie-in-training Babu (voiced by former Three Stooges star Joe Besser) as the servants of Corey Anders, a high-school student and surfer (voiced by Mark Hamill).

NASA astronauts did not live in Florida at the time of the series. Since 1962, they lived and trained at the Manned Spacecraft Center (now Lyndon B. Johnson Space Center) in Houston.

Many of the exterior shots of Tony's home or other areas show mountains or hills in the background. The actual respective terrains of Florida and southeast Texas – where the real-life astronauts of that time lived and trained – are flat (especially the areas around Cape Canaveral and Cocoa Beach where the Nelsons were shown to have lived in the sitcom).


who sold more albums michael jackson or elvis presley

Michael Jackson sold 750 million Records Alive The Beatles sold 500+ million records Alive Elvis Presley sold 350+ million records Alive

Talk:Best-selling music artist

The guiness book of records did a huge research into Beatles sales in 1972 based on tax sales returns during the 1960s, and they had already sold over 500 million by 1971.

This is a section made to talk about the best selling artists and albums. — Preceding unsigned comment added by 104.219.190.70 (talk) 08:10, 9 March 2018 (UTC)

"I don't think it's fair to compare such sales as they were alive. You then discriminate by age - for example, Buddy Holly could have been more successful than either one of these, he had that chance to make great sales until his death at only 21 by plane crash, thus ending his musical career at such an early stage and time - only been doing music a couple of years too - and you're also not taking in the incredibly tedious procedures older generations had to do to sell their albums than newer generations' technology and widespread credibility. Michael Jackson after Jackson 5, came at a time when TV more recent than both Elvis and The Beatles, and to this respect alone, you could argue that with the amount of sales they both did, both Elvis and The Beatles are more successful than Michael Jackson. I think, also, not to include the Jackson 5 sales in with Michael Jackson's sales as a solo artist, they are both two different times. My thoughts." think Michael Jackson is pretty well covered, but if anyone has any additional information about The Beatles' or Elvis Preley's total sales, please add any credible, sourced and relevant information you have. Also, ABBA is sometimes called the biggest selling act ever. If anyone has information to support this claim, I think adding a section about ABBA would be good. If you want to add an ABBA section, structure it that same as Michael Jackson, Beatles and Elvis. That is, heading, image, intro (where they are from, when they were active, any records they hold, then go into detail about their sales. But I think ABBA should be the only other artist to be added to this list. I don't want it to turn into a big long list. Only add artists if they have been claimed by many sources as being the best-selling ever and they are well known for being one of the best-selling artists ever. Please limit it to Michael Jackson, The Beatles, Elvis Presley and maybe ABBA. Otherwise, it might as well be List of best-selling music artists. Street walker 16:35, 12 January 2006 (UTC)

Have re-worded article, too much "doubt" mentioned for Elvis and The Beatles, while Jacksons entry seemed to be an essay to convert us over to all beliving he was the number 1 artist.

Thank-you for doing that. You know, it's not that I was trying to make Jackson look good, it's that I knew more about the nature of his sales than the Beatles and Elvis. Sorry if it appeared otherwise. Street walker 03:43, 14 January 2006 (UTC)

Then it's funny how you keep removing words such as "sales claims" and such like from the Jackson article, as well as the disclaimer about the WMA's. It may also be mentioned at the top, but it is relevant to MJ, not Elvis and the Beatles. There is also a disclaimer at the top that also states sales are disputed and given by record companies, yet, that didn't stop you repeating it time and again in the articles of the Beatles and Elvis, if you're not trying to make MJ look good and the other two look bad, well, you could have fooled me!.

As a matter of fact, The BJP (Beatles/Jackson/Presley) are the best selling artists of all time. That is the reason why we do need all objective fans (from Beatles/Jackson/Presley) and other fans/non fans to fill any reliable information so as to rule this wikipedia page.Readerweb 12:47, 15 January 2006 (UTC)

There is no 'fact' on this at all. It is all speculation and guestimation. Why these artists have been singled out as the best sellers is because they have received awards for such... and these awards are bogus to say the least. Without a doubt The Beatles and Elvis Presley stand supreme, but Michael Jackson is not the 'third biggest'. Bing Crosby appears to have sold more, and so do ABBA. With Mariah Carey now having 16 number 1 hits in the US, being 2 behind Elvis, and 4 behind the Beatles, I also wonder what her true figures are.

The International Federation of the Phonographic Industry (IFPI) has just published its updated list of the 150 highest selling artists ever. IFPI has finally come up with a list of the top-selling acts in History. Its about time.

The Top 9 is as follows: 01. The Beatles 40 400,000,000 UK 60s (1962-1970) Rock/Pop Guinness/EMI

02. Michael Jackson 14 350,000,000 US 70s-00s (1979-2009) Pop/R&B

03. Elvis Presley 150 300,000,000 US 50s-70s (1956-1977) Country/Rock

04. Madonna 16 275,000,000 US 80s-00s (1984-) Pop/ Dance and Techno

05. Cliff Richard 60 250,000,000 UK 50s-00s (1959-1969,1977-1979,1986-1999) Rock/Pop

06. The Rolling Stones 54 ~250,000,000 UK 60s-00s (1964-1981) Rock

07. Mariah Carey 14 230,000,000 US 90s-00s (1990-) Pop/R&B

08. Elton John 43 ~220,000,000 UK 70s-00s (1972-1976,1989-1991,1997-) Pop

09. Celine Dion 21 220,000,000 Canada 80s-00s (1990-) Pop Music/Pop

Source: IFPI http://mjtkop.com/home/ http://www.madonna.com/

It is quite intersting this. I'm not sure whetehr we should structure the page around their list, but it could well be worth at least a mention, perhaps its own section within the page. However, I can't find this anywhere on the IFPI's webiste. Indeed, the only place I can see it referred to is on madonna's website; I think we'd need something more concrete Robdurbar 10:28, 27 January 2006 (UTC)

Why theres so many artist missing in the list like Patti Page, Shakira, and Enrique Igleasias? — Preceding unsigned comment added by 112.198.101.97 (talk) 04:52, 12 June 2016 (UTC)

According to ESCTODAY (Eurovision Song Contest Today) which is refering to IFPI, here are the 20 (of 150) best selling artists of all time [1]Â :

This "independant" Eurovision site is reliable but there is something that bothered me though. The World Music Awards is always refering to IFPI [2] so why did WMA awarded Mariah Carey as the World's Best-Selling Female Artist of the Millennium in 2000 as she's only number 8 and Madonna number 4? I don't think Madonna has sold 50 million records since 2000 and then outsold Mariah Carey within 5 or 6 years. Anyway, WMA is keeping secret on this list, except the Beatles news on their website (as best selling act of all time), why can't they provide the second, the third,...? IFPI website is just providing certifications of the year. IMO it is too conflicting for both (WMA and IFPI) to publish officially a list of the best selling artists of all time (with figures) as Music Companies and Majors won't probably accept it (again, it's my opinion).Readerweb 20:23, 24 March 2006 (UTC)

I can answer the question about Mariah, according to a rep at the WMA, Madonna was offered this award first--however they never rec. a responce from her rep..Liz, they stated that since there was no responce they gave the award to another "deserving" artist.

Madonna has sold well over the 275 million albums stated above, none of COADF is accounted for in this number. Madonna's ablbum sales outside the USA were over 200 million in 2000. This was stated already, not including sales in the USA. The above IFPI sales totals are proven and accurate based on the time frame of up to mid year 2005.

Hope this answers the question.

This is the same list thats been floating around wikipedia the last couple months. It is a fake list, and IFPI currently tracking down the source of it i believe. The fact that theres no indication of its existence on IFPI's official website should've already rung alarm bells.--Count Chocula 07:11, 25 March 2006 (UTC)

i dont know who changed my opinion on the page. Elvis presley is dead, The beatles are defunct so michael jackson is the highest selling artist ALIVE AND ACTIVE 59.92.95.181 09:08, 13 May 2006 (UTC) paul newman

So what? That dosen't mean anything. Jacksons sales include that of a defunct group. Paul McCartney and Ringo Starr are both alive and active and have outsold Jackson! 74.65.39.59 02:17, 7 July 2006 (UTC)

Oh great............if they go out and branch as solo acts then they are on their own.it is being said that michael jackson alone has sold 300 million copies as a solo act.i think we should include only tat.omit the jackson 5 part.now probing a little deeper i think we should have a seperate biggest selling page for the solo artists such as elvis presley, brooks, jackson etc. But heck with it......... its the music that matters not the sales......to me beatles are junk....elvis and jackson are the true kings.59.92.61.24 08:58, 12 July 2006 (UTC)Paul Newman

has AC/DC really sold more records than ABBA???? I don't know, since the WMA's are secretive about this sort of thing, I call it all into question.

Michael jckson has sold 350million and the Jacksons 150million so Michael Jackson has sold 350+150=500million=> so he is the real number one. And it's not finished...(actually it is)

The Jacksons/Jackson 5 sold 60 million not 150 million and if you actually add up Mjs album and singles sales it comes closer to 300 million.

UPDATE: Madonna has been confirmed by The Guinness Book of World Records and IFPI(International Federation of Phonographic Industry) as the top selling female artist of all time with certified sales of 182mil albums and 125mil singles, 305 mil records in total. The updated chart of the "United World Chart", the tracking authority which monitors the RIAA and SoundScan, lists Madonna at #5 in their "All Time Best Selling Album Artist" and she's the only female singer on the list(Mariah Carey, Celine Dion and Nana Mouskouri are not mentioned). Also, Madonna is the all time singles artist with 25 world-wide #1 songs, more than The Beatles, Elvis Presley and Michael Jackson. She's also the best selling singles and album artist in several markets including the USA, England, Spain, Germany, etc..

Even though this is kinda off topic can someone help the new list of best-selling remix albums worldwide with its structure.


who invaded spain in the 8th century moops

The Trivial Pursuit game ends prematurely when George disputes the answer to the question: "Who invaded Spain in the 8th century?" Donald answers "the Moors," but — due to a misprint or deliberate copyright trap — the question card says that the answer is "the Moops." George refuses to give Donald credit, causing Donald to attack him. As Susan tries to defend George, she punctures and depressurizes the bubble, inadvertently causing George to be accused of trying to kill him, since he was the one struggling with Donald.

The Bubble Boy (Seinfeld)

"The Bubble Boy" is the 47th episode of the American sitcom Seinfeld, as well as the nickname of Donald Sanger, one of the characters in the episode. It is the seventh episode of the fourth season.

The episode was directed by Tom Cherones and written by Larry David and Larry Charles, airing on October 7, 1992.

American journalists had in the past covered "bubble boys" who lived in quarantine due to an immune deficiency. The coverage often played for sympathy, ignoring anything about the subject other than his medical condition. In contrast, the bubble boy in this episode (voiced by Jon Hayman) is rude, selfish, and impossible to sympathize with. He is never seen fully on-screen, except for a pair of gloves that he uses to reach through the barrier; when he is shown exiting the house on a stretcher, he is partially covered by paramedics. The Bubble Boy also appears in the final episode of the series. He tells the court the story of what happened and George yells "it was Moops!"

Jerry, George, Elaine, and George's girlfriend Susan plan to travel upstate to Susan's family's lakeside cabin. In the coffee shop, Elaine and Jerry meet a kindly father (Brian Doyle-Murray) who describes the sad life of his young son Donald who lives in a "plastic bubble" (a plastic divider which creates a germ-free sterile environment). Because Donald is a fan of Jerry's, Jerry is forced by Elaine to visit Donald on the way to the cabin to cheer him up. However, Jerry gets lost and George and Susan arrive before him. While waiting for Jerry to arrive, they play Trivial Pursuit with the "bubble boy."

While this is happening, Jerry and Elaine decide to exit the highway and go to a diner. It turns out that a waitress (O-Lan Jones) is a fan of Jerry's as well. She asks for an autographed picture of Jerry, who was mispronounced as "Gary Seinfield." Jerry does not like what he writes, so he asks for it back. The waitress refuses, and it escalates to the point of the waitress attacking Jerry in the same manner Donald attacked George. However, this is interrupted by a man who announces that Donald was attacked by a "bald man from the city" (George), who claims that Donald tried to kill him, and that his house is right down the street from the cafe. Jerry and Elaine meet up with George and Susan at the house before being chased away by the residents of the town, who targets George for revenge.

Meanwhile, Kramer and Naomi (Jerry's girlfriend, played by Jessica Lundy) attempt to rendezvous with Jerry, Elaine, George, and Susan at Susan's family's country home. Kramer carelessly leaves his lit cigar near some newspapers, which causes a fire that destroys Susan's family's cabin. The other four travelers arrive shortly after the firefighters.[1]

On November 10, 1999, a computer virus named "BubbleBoy" was discovered, apparently named after this episode. This was the first malware of its kind, having been actually able to activate itself (via an embedded Visual Basic script) upon the recipient opening the e-mail contents, as opposed to running an attachment. As such, in spite of not actually being dangerous, the virus changed the concept of antivirus technology.[2]