spb/wp30_uqo

1{2  "document_id": "lb_hotpotqa_4aee23759e842807b156492356b920a11236c7ea3da20732",3  "family": "public_hotpotqa",4  "split": "test",5  "text": "Passage 1:\nEncounter with Werther\nEncounter with Werther (German: Begegnung mit Werther) is a 1949 West German historical drama film directed by Karl-Heinz Stroux and starring Horst Caspar, Heidemarie Hatheyer and Paul Klinger. It is based on the writing of the 1774 novel The Sorrows of Young Werther by Johann Wolfgang von Goethe. It was released to commemorate the writer's second hundredth birthday in August 1949.\nIt was shot at the Bavaria Studios in Munich and on location in Limburg, Wetzlar and Marburg an der Lahn.\nThe film's sets were designed by the art director Paul Markwitz.\n\nCast\nHorst Caspar as Werther\nHeidemarie Hatheyer as Lotte\nPaul Klinger as Albert\nRudolf Reiff as Amtmann as Lotte's Father\nPaul Dahlke as Napoleon\nWalter Kottenkamp as Goethe\nFritz Odemar as Graf\nHarald Mannl as Gesandter\nChristiane Felsmann as Frl. von Bassenheim\nArthur Mentz as Bauernbursche\nFriedrich Siemers as Schreiber Heinrich\nKarl Lieffen as Bediensteter Bursche\nPassage 2:\nPiano Quartet No. 3 (Brahms)\nThe Piano Quartet No. 3 in C minor, Op. 60, completed by Johannes Brahms in 1875, is scored for piano, violin, viola and cello. It is sometimes called the Werther Quartet after Goethe's The Sorrows of Young Werther. The premiere took place in Vienna on November 18th 1875 to an anxious public. Richard Wagner and his wife Cosima were in attendance.\n\nStructure\nThe quartet is in four movements:\n\nAnalysis\nFirst movement\nThe first movement is a sonata-form movement in C minor in triple meter. It begins with the piano playing bare octaves on C. The violin, viola, and violoncello then play the first theme, consisting of two sighing gestures of a descending minor second, followed by a descending theme. Some have speculated that the sighing motive is a musical utterance of the name \"Clara\", in reference to Clara Schumann, the composer, pianist, and lifelong friend and love interest of Brahms. More clear is Brahms's transposed version of Robert Schumann's \"Clara theme\", found in various pieces such as his Bunte Blätter, Op. 99 (1841), on which both Clara and Brahms wrote sets of piano variations. The Clara theme (C–B–A–G♯–A, often transposed: here E♭–D–C–B–C) was first detected by Eric Sams in his essays and books on Schumann and Brahms. In his 1971 essay “Brahms and his Clara Themes”, Sams writes on the “Clara content” in op. 60: “The first sentence of that autobiographical work is doubly expressive of Clara. Furthermore, there is direct evidence that this melodic form actually embodied her, for Brahms as for Schumann.”After the first statement of the theme, the piano plays octaves on B♭. The opening motives, again played by the strings, becomes more chromatic and unsettling, until finally coming to rest on the dominant of C, G major. The viola and violin play pizzicato octaves on E♮ before the strings cascade down the C harmonic minor scale that ushers in the first theme, stated forte. After a brief development of this theme, an ascending gesture based on sixteenth-notes alternating between the notes of a minor second serves as the transition to the second theme in the relative major of C minor, E♭ major. This second theme is an uplifting eight-measure theme stated initially in the piano alone. Brahms then uses the technique of theme and variations to construct four variations on this theme, each eight measures long. A short idea based on the opening theme closes the exposition, which is not repeated.\nThe development section begins by restating the theme from measures 32–35 in E♭ minor. This moves to B major for a new fortissimo idea (perhaps a variation) based on the same theme. The quartet's opening sighing motives become developed in an E minor passage that incorporates a triplet figure on the second beat of the measure, and eventually the previous B major idea is restated identically in G major. The second theme from the exposition is then treated in imitative (almost canonic) counterpoint in C minor. After the beginning of the third contrapuntal treatment of this theme, a dominant pedal is sustained in octaves on G. This resolves unexpectedly to an A♭ major chord that is quickly brought down to C minor by the opening sighing motive in the piano.\nThe sighing motive indicates the beginning of the recapitulation. Rather than affirming the tonic of C minor, however, Brahms takes the recapitulation in a different direction: the opening section again ends on a dominant pedal on G with the violin and viola playing pizzicato octaves on E♮, but the E♮ is used to turn the music to E minor. Chromatic descent is employed to bring the music to a half-cadence on D, leading to the second theme in G major. This is perhaps the only sonata form movement in the minor mode in which the recapitulation features the second subject in the key of the major dominant. The second theme is first stated by the viola, which is then followed by three new variations (the first being played by the violin, the second and third by the piano), and one of the same variations as the exposition. A fifth variation leads to a short digression in C major but becomes chromatic and ends with a development the first theme, coming to a cadence on C. This is followed by a brief coda that expands on the first motives heard in the piece. Nevertheless, the key of C minor is arguably not clearly established by the recapitulation (the key signature of C minor is present at the end of the movement for less than two complete pages). The movement ends with a clear tonic–dominant–tonic perfect cadence, stated piano. The expansive and exploratory nature of the movement, along with the quiet closing dynamic, helps make the conventional final cadential progression appear mysterious.\n\nSecond movement\nThe second movement is a tempestuous scherzo (ternary form) in compound duple meter in C minor, the same key as the first movement. Donald Francis Tovey argues that Brahms puts the scherzo in the same key as the first movement because the first movement does not sufficiently stabilize its own tonic and requires the second movement to \"[furnish] the tonal balance unprovided for by the end of the first movement.\" Although it is the shortest scherzo of Brahms's piano quartets, it is formally and tonally very complex.\nThe movement begins with an opening motif of a descending octave on G and a rising minor second to A♭ stated by the piano, followed by a falling diatonic line accompanied by the strings. The first theme, which clearly derives from the opening motif, is immediately by the solo piano played after this and Brahms uses the technique of developing variation to expand this theme. Most melodic ideas can be traced to the opening motif or the ascending minor second of the opening motif, which, notably, is the inversion of the descending sighs of the introduction of the first movement. This scherzo is very chromatic and unstable tonally, although it does actually move to a secondary phrase on the dominant and returns to the tonic with frequency. The scherzo ends with a pedal on the tonic C minor.\nThe middle section is not demarcated by the title of trio as are the middle sections of the scherzi from Brahms's previous two piano quartets. Moreover, this middle section serves more as a section of contrasting material than as a structural contrast—it maintains the same key signature, time signature, and tempo as the scherzo, is not musically marked off in any clear way, and even develops the same themes as the scherzo. One may argue whether it is in fact a trio at all, as nineteenth century composers knew it. Nonetheless, the middle section begins with a new theme, an ascending line in quarter notes in the strings, accompanied by a descending triplet figure played by the piano. This instrumentation is soon reversed and earlier themes from the scherzo become further developed. The transition back to the scherzo develops and rhythmically diminishes the opening motif of the scherzo and is the most chromatic, rhythmically complex, loud, and dramatic section of the movement. The scherzo is repeated almost entirely, however, the section immediately preceding the tonic pedal is omitted and replaced with a climactic dominant chord in a very high register in the strings, ending with a tierce de picardie on C major with three loud declamations of the tonic major chord.\n\nThird movement\nThe Andante is in a modified ternary form: ABCA′ with a coda. This is the only movement of the quartet that is not in C minor, and it is in the key of E major, a remote key in the context of C minor. This can be explained by its origin as the slow movement to a piano quartet in C-sharp minor, which Brahms revised and published as Op. 60 in C minor. The key of E major is easily explained in the tonal context of C♯ minor, but the key choice of this movement was not revised as was the first movement; it should also be noted that the slow movement to Brahms's Symphony No. 1 in C minor is also in E major.\nThe Andante begins with a luscious melody played by the violoncello in its upper register (Theme A) with only the piano as accompaniment, clearly inspired by Schumann's Piano Quartet, where a similarly sumptuous melody opens the slow movement. The opening thematic material of this melody is a sequence of descending thirds, a gesture frequently used by Brahms (such as in his Op. 119, No. 1, and the opening to Symphony No. 4, to name two examples). The violin eventually joins in with a new melody over the cello. The viola enters later with a tutti descending stepwise idea. The A section, which is itself in a sort of AAB form, ends in the conventional dominant key of B major.\nThe B section (in ABAB form) begins with a syncopated ascending stepwise melodic line in the violin to be played molto dolce (Theme B). The piano begins to gain prominence with a distorted version of the opening cello line, played symmetrically across the piano (Theme C). Another theme developed in the B section is a falling line with dotted rhythms (Theme D).\nThe third section begins in B major but is highly chromatic. The piano plays a version of Theme B in broken octaves under consistent eighth-notes played by the violin and viola. This figure ends with a version of Theme C in broken octaves in the piano. This alternates with the string section, which develops Theme C. The piano rejoins and develops Themes C and D with the strings in E minor, but soon the violin plays Theme D over the other strings. At this point, the strings alternate with the piano, which plays Theme D in an unstable harmonic palette in broken octaves, while the strings play a combination of Themes C and D. This passage of alternating instruments moves from E minor to C minor to G♯ minor back to E major in the reprise of the A section.\nThe only significant differences between the first and second A sections are that in the second, the piano moves in triplets, there is a full string texture almost entirely throughout (often using pizzicato), and the piano begins the theme (although it is soon replaced by the cello). The coda is introduced by a new chord progression in the first tutti idea and by a solo cello line. Theme B is presented first by the viola and then by the violin, and the movement ends with the first measure of Theme A, stated first by the cello and then by the piano, concluding with a pianissimo affirmation of the tonic.\n\nFourth movement\nThe finale is a sonata-allegro in C minor in cut time with a secondary subject in E♭ major. The tempo is Allegro comodo and the exposition is repeated. The piano accompaniment for the first theme, stated immediately in measure 1, is derived from the opening piano line of Felix Mendelssohn's Piano Trio in C minor, Op. 66, movement 1. Mendelssohn's Piano Trio also features a quotation of a chorale melody taken from the sixteenth-century Genevan psalter 'Vor deinen Thron tret ich hiermit' (“Before Your Throne I Now Appear”). Vincent C. K. Cheung has also observed that the opening G–E♭ motion in the violin, coupled with the G–G–G–C in the piano greatly points toward the “Fate theme” in Beethoven's Fifth Symphony. Brahms's piece thus operates on multiple levels of reference (both literary and musical) and quotation.\nThe movement begins with the violin playing a theme above piano accompaniment. Both lines are separate themes that are developed individually throughout the movement, but they are similar in one major respect: both are constructed of three ascending notes preceded by a pickup, which go to a neighbor tone of the highest note and move back to that note. The essential notes of the violin theme are B–C–D–E♭–F–E♭, and the essential notes of the piano theme are: G–C–E♭–G–F♯–G (the rest of the piano theme is a descending sequence of ascending seconds: G–A♭–F–G–E♭–F–D–E♭). Therefore, the violin line uses an upper neighbor tone while the piano line uses a lower neighbor tone. This is crucial for understanding Brahms's development of the thematic ideas of this movement.\nThe violin melody is halting and primarily diatonic, played over an energetic piano accompaniment. It moves from C minor to G minor, although it ends with a change of mode to G major. After this, the violin plays a descending stepwise melody, which under close inspection is revealed to be an inversion of its own original theme (from B–C–D–E♭–F–E♭ to G–F–E♭–D–C–B) in successive quarter notes. The viola and cello soon accompany this figure. This builds up until measure 39, where a thunderous theme erupts in all instruments. This moves quickly to an idea constructed in triplets. Tonally, this passage is in C minor, and the final progression ends with an alternation between B-diminished and A♭ major. The piano plays a broken A♭ major chord, followed by a broken A♭ minor chord that is used to make a transition to E♭ major.\nThe section in the relative major begins with a theme clearly composed from the theme of the piano's accompaniment, in this case stated by the violin and viola moving in unison over a piano accompaniment based on the previous broken chordal figure. This briefly exchanges with a cello countermelody. When the violin and viola soar to an unexpectedly high register, the piano interrupts by playing an explosive broken dominant seventh chord. The strings respond by a piano, homophonic, homorythmic theme to be played mezza voce (medium voice). This idea is taken directly from the opening string theme of the first movement. Rather than accompanying this theme, the piano plays a descending broken chord after each utterance. The exposition ends in E-flat major, and Brahms indicates that it should be repeated.\nThe development begins with an exploration of the descending third that begins the violin's opening theme; when sequenced, this produces a series of descending thirds that recalls the opening theme of the third movement (G♯–E–C–A). The piano accompanies this with its initial theme. Brahms quickly eliminates accidentals from the key signature as the piece progresses to D major and A minor. Interspersed are descending chromatic phrases played by the piano. In measures 117–118, the cello introduces a new four-note idea (E–F–D–E) played pizzicato underneath the piano. This idea is taken from the second half of the first piano theme (G–A♭–F–G). The viola plays the opening of the piano's first theme, which resembles an inversion of the sequenced thirds developed moments earlier. Brahms repeats this pattern almost exactly, moving from A minor to E minor to B minor. In B minor, the piano develops its initial theme to a greater extent. This part of the development section is concluded by syncopated phrases by the viola and piano, which echo the second half of the piano's first theme in B minor.\nAustrian musicologist and educator Karl Geiringer has shown that the next section (measures 155–188) is an insertion \"in order to mitigate the excessive conciseness of this movement.\" Later insertions were atypical of Brahms because of his \"striving after compression,\" and it seems that he \"for once overshot the mark.\" The later addition explains the motion away from B minor, only to return to the key some thirty measures later. This section continues with the homorhythmic theme in G major, then in E♭ major. What follows is a quick (Tempo I) development of the initial piano theme in C minor, with all strings playing the opening four notes (moving in the often used progression i – I – iv). This exact sequence is used again in the coda to turn the movement from the minor mode to major. A dominant seventh chord in C minor is used as a pivot chord to return to B minor (a similar progression is used in Brahms's Ballade, Op. 118, No. 3, in which a dominant seventh chord built on G moves abruptly to B major). The violin develops its initial theme in B minor and then D minor with all three string instruments. The final notes of the theme (F–E♭) are sequenced and inverted repeatedly, recalling the significance of descending seconds in the first movement of this quartet. This moves from D minor to G minor to C minor. The end of the development section sees a very high and prolonged A♭, which parallels the end of the development section of the first movement.\nThe recapitulation, which reinstates the key signature of C minor, begins with the initial violin theme stated forte by all strings, accompanied by the piano playing broken octaves in triplets, outlining the main notes of its theme. After the first statement, the piano resumes its original accompaniment and the strings are reduced to a piano dynamic. This proceeds similarly to the exposition, albeit with the themes developed more extensively. Notably, the music turns toward G minor more strongly and the key signature changes to C major, as the relative major section from the exposition is in the tonic major in the recapitulation. The rest of the recapitulation is nearly identical to the exposition, ending in C major.\nThe coda begins at measure 311, with the piano loudly declaring the homorhythmic theme, alternating with the strings. The violin theme is then played by the strings in C major, but it soon shifts back to C minor (the key signature too returns). The four-note idea from the development section comes back, this time with its first note removed. The chromatic descending scale in the piano, an abbreviation of the violin theme in the viola, the four-note theme, and the chord progression (i – I – iv) indicate that the coda draws more from the development section than from the exposition or recapitulation. The music quietly subsides into a tranquillo section in which the inversion of the violin theme (first stated in measures 21–22 from the exposition) is sequenced across the strings while the piano continues to develop its initial theme. The violin and cello eventually sustain the tonic C for a great amount of time while the piano and viola begin to lean toward the tonic major in a continuing I – iv progression. All instruments continue to die down as the piano plays one last descending chromatic scale, the violin and viola combine the piano's initial theme with the quarter note rhythm of the violin theme, and the cello sustains a low C. As the piano and strings reach their final notes, a C major chord stated pianissimo is held briefly, shining out of the mist. Two sudden forte C major chords complete this quartet.\nPassage 3:\nWilliam Render\nWilliam Render (fl. 1800), grammarian and translator, was a native of Germany. He was a fellow student at Giessen University with a brother of Charlotte (Werther's inamorata), and was well acquainted with Werther himself. In an appendix to his English version of Goethe's romance, Render relates a conversation he had with Werther at Frankfort-on-the-Main a few days before the latter's suicide.Render was ordained to the Lutheran ministry. Subsequently he acted as 'traveling guardian to the son of a distinguished personage'. He then traveled in western Germany with 'several English gentlemen', one of whom may have been Francis, afterwards the Marquis Hastings, to whom, as Earl of Moira, he dedicated his Tour through Germany. Render came to England about 1790, and settled in London. He taught German and other languages 'in several families of distinction.' Towards the end of the century he also became 'teacher of German' at Cambridge, Oxford, and Edinburgh. In 1798 he published an English version of Kotzebue's play Count Benyowsky, which reached a second edition within the year. \nIn 1800, Render further translated The Robbers, Don Carlos, Maria Stuart, and The Armenian of Schiller. In the following year appeared his version of The Sorrows of Werther, the first translation into English made direct from the original German. In the preface he speaks of 'his friend the baron Goethe', whom he may have met at Frankfurt. Render's Tour through Germany, particularly along the Banks of the Rhine, Mayne, also appeared in 1801. A vocabulary of familiar phrases in German and English is annexed for the benefit of travelers. The remainder of Render's publications were educational manuals. The chief of these, A concise Practical Grammar of the German Tongue (1799), was very successful. \nA fifth edition, corrected and augmented with improvements made by the Berlin Academy, was issued in 1817. As a token of his appreciation of the work, Alexander I of Russia ordered Woronzow, his ambassador in England, to present Render with a ring and an autograph letter. Render also published German Exercises, a Pocket Dictionary in English and German, and other manuals of instruction in German.\nPassage 4:\nWerther, North Rhine-Westphalia\nWerther is a town in the district of Gütersloh in the state of North Rhine-Westphalia, Germany. It is located near the Teutoburg Forest, approximately 10 km (6 miles) north-west of Bielefeld. It is best known for the Werther's Original caramel sweets, which are nowadays produced in the nearby city of Halle. Werther has one Gesamtschule and one Gymnasium, which has an exchange partnership with a Yarm School, an independent school in Yarm, England.\n\nPeople\nAugust Oberwelland, entrepreneur, August Storck company founder\nPassage 5:\nOdyssey\nThe Odyssey (; Ancient Greek: Ὀδύσσεια, romanized: Odýsseia) is one of two major ancient Greek epic poems attributed to Homer. It is one of the oldest extant works of literature still widely read by modern audiences. As with the Iliad, the poem is divided into 24 books. It follows the Greek hero Odysseus, king of Ithaca, and his journey home after the Trojan War. After the war, which lasted ten years, his journey lasted for ten additional years, during which time he encountered many perils and all of his crewmates were killed. In his absence, Odysseus was assumed dead, and his wife Penelope and son Telemachus had to contend with a group of unruly suitors who were competing for Penelope's hand in marriage.\nThe Odyssey was originally composed in Homeric Greek in around the 8th or 7th century BC and, by the mid-6th century BC, had become part of the Greek literary canon. In antiquity, Homer's authorship of the poem was not questioned, but contemporary scholarship predominantly assumes that the Iliad and the Odyssey were composed independently and that the stories formed as part of a long oral tradition. Given widespread illiteracy, the poem was performed by an aoidos or rhapsode and was more likely to be heard than read.\nCrucial themes in the poem include the ideas of nostos (νόστος; \"return\"), wandering, xenia (ξενία; \"guest-friendship\"), testing, and omens. Scholars still reflect on the narrative significance of certain groups in the poem, such as women and slaves, who have a more prominent role in the epic than in many other works of ancient literature. This focus is especially remarkable when contrasted with the Iliad, which centres the exploits of soldiers and kings during the Trojan War.\nThe Odyssey is regarded as one of the most significant works of the Western canon. The first English translation of the Odyssey was in the 16th century. Adaptations and re-imaginings continue to be produced across a wide variety of media. In 2018, when BBC Culture polled experts around the world to find literature's most enduring narrative, the Odyssey topped the list.\n\nSynopsis\nExposition (books 1–4)\nThe Odyssey begins after the end of the ten-year Trojan War (the subject of the Iliad), from which Odysseus (also known by the Latin variant Ulysses), king of Ithaca, has still not returned because he angered Poseidon, the god of the sea. Odysseus' son, Telemachus, is about 20 years old and is sharing his absent father's house on the island of Ithaca with his mother Penelope and the suitors of Penelope, a crowd of 108 boisterous young men who each aim to persuade Penelope for her hand in marriage, all the while reveling in the king's palace and eating up his wealth.\nOdysseus' protectress, the goddess Athena, asks Zeus, king of the gods, to finally allow Odysseus to return home when Poseidon is absent from Mount Olympus. Disguised as a chieftain named Mentes, Athena visits Telemachus to urge him to search for news of his father. He offers her hospitality, and they observe the suitors dining rowdily while Phemius, the bard, performs a narrative poem for them.\nThat night, Athena, disguised as Telemachus, finds a ship and crew for the true prince. The next morning, Telemachus calls an assembly of citizens of Ithaca to discuss what should be done with the insolent suitors, who then scoff at Telemachus. Accompanied by Athena (now disguised as Mentor), the son of Odysseus departs for the Greek mainland to the household of Nestor, most venerable of the Greek warriors at Troy, who resided in Pylos after the war.\nFrom there, Telemachus rides to Sparta, accompanied by Nestor's son. There he finds Menelaus and Helen, who are now reconciled. Both Helen and Menelaus also say that they returned to Sparta after a long voyage by way of Egypt. There, on the island of Pharos, Menelaus encounters the old sea-god Proteus, who tells him that Odysseus was a captive of the nymph Calypso. Telemachus learns the fate of Menelaus' brother, Agamemnon, king of Mycenae and leader of the Greeks at Troy: he was murdered on his return home by his wife Clytemnestra and her lover Aegisthus. The story briefly shifts to the suitors, who have only just realized that Telemachus is gone. Angry, they formulate a plan to ambush his ship and kill him as he sails back home. Penelope overhears their plot and worries for her son's safety.\n\nEscape to the Phaeacians (books 5–8)\nIn the course of Odysseus' seven years as a captive of Calypso on the island Ogygia, she has fallen deeply in love with him, even though he spurns her offers of immortality as her husband and still mourns for home. She is ordered to release him by the messenger god Hermes, who has been sent by Zeus in response to Athena's plea. Odysseus builds a raft and is given clothing, food, and drink by Calypso. When Poseidon learns that Odysseus has escaped, he wrecks the raft, but helped by a veil given by the sea nymph Ino, Odysseus swims ashore on Scherie, the island of the Phaeacians. Naked and exhausted, he hides in a pile of leaves and falls asleep.\nThe next morning, awakened by girls' laughter, he sees the young Nausicaä, who has gone to the seashore with her maids after Athena told her in a dream to do so. He appeals for help. She encourages him to seek the hospitality of her parents, Arete and Alcinous. Alcinous promises to provide him a ship to return him home without knowing the identity of Odysseus. He remains for several days. Odysseus asks the blind singer Demodocus to tell the story of the Trojan Horse, a stratagem in which Odysseus had played a leading role. Unable to hide his emotion as he relives this episode, Odysseus at last reveals his identity. He then tells the story of his return from Troy.\n\nOdysseus' account of his adventures (books 9–12)\nOdysseus recounts his story to the Phaeacians. After a failed raid against the Cicones, Odysseus and his twelve ships were driven off course by storms. Odysseus visited the lotus-eaters who gave his men their fruit which caused them to forget their homecoming. Odysseus had to drag them back to the ship by force.\nAfterward, Odysseus and his men landed on a lush, uninhabited island near the land of the Cyclopes. The men entered the cave of Polyphemus, where they found all the cheeses and meat they desired. Upon returning to his cave, Polyphemus sealed the entrance with a massive boulder and proceeded to eat Odysseus' men. Odysseus devised an escape plan in which he, identifying himself as \"Nobody,\" plied Polyphemus with wine and blinded him with a wooden stake. When Polyphemus cried out, his neighbors left after Polyphemus claimed that \"Nobody\" had attacked him. Odysseus and his men finally escaped the cave by hiding on the underbellies of the sheep as they were let out of the cave.\nAs they escaped, however, Odysseus taunted Polyphemus and revealed himself. The Cyclops prayed to his father Poseidon, asking him to curse Odysseus to wander for ten years. After the escape, Aeolus gave Odysseus a leather bag containing all the winds except the west wind, a gift that should have ensured a safe return home. Just as Ithaca came into sight, the sailors opened the bag while Odysseus slept, thinking it contained gold. The winds flew out, and the storm drove the ships back the way they had come. Aeolus, recognizing that Odysseus had drawn the ire of the gods, refused to further assist him.\n\nAfter the cannibalistic Laestrygonians destroyed all of his ships except his own, Odysseus sailed on and reached the island of Aeaea, home of witch-goddess Circe. She turned half of his men into swine with drugged cheese and wine. Hermes warned Odysseus about Circe and gave Odysseus an herb called moly, making him resistant to Circe's magic. Odysseus forced Circe to change his men back to their human forms and was seduced by her. They remained with her for one year. Finally, guided by Circe's instructions, Odysseus and his crew crossed the ocean and reached a harbor at the western edge of the world, where Odysseus sacrificed to the dead. Odysseus summoned the spirit of the prophet Tiresias and was told that he may return home if he is able to stay himself and his crew from eating the sacred livestock of Helios on the island of Thrinacia and that failure to do so would result in the loss of his ship and his entire crew. He then meets his dead mother Anticleia and first learns of the suitors and what happened in Ithaca in his absence. Odysseus also converses with his dead comrades from Troy.\nReturning to Aeaea, they buried Elpenor and were advised by Circe on the remaining stages of the journey. They skirted the land of the Sirens. All of the sailors had their ears plugged up with beeswax, except for Odysseus, who was tied to the mast as he wanted to hear the song. He told his sailors not to untie him as it would only make him drown himself. They then passed between the six-headed monster Scylla and the whirlpool Charybdis. Scylla claimed six of his men.\nNext, they landed on the island of Thrinacia, with the crew overriding Odysseus's wishes to remain away from the island. Zeus caused a storm that prevented them from leaving, causing them to deplete the food given to them by Circe. While Odysseus was away praying, his men ignored the warnings of Tiresias and Circe and hunted the sacred cattle. Helios insisted that Zeus punish the men for this sacrilege. They suffered a shipwreck, and all but Odysseus drowned as he clung to a fig tree. Washed ashore on Ogygia, he remained there as Calypso's lover.\n\nReturn to Ithaca (books 13–20)\nHaving listened to his story, the Phaeacians agree to provide Odysseus with more treasure than he would have received from the spoils of Troy. They deliver him at night, while he is fast asleep, to a hidden harbour on Ithaca. Odysseus awakens and believes that he has been dropped on a distant land before Athena appears to him and reveals that he is indeed on Ithaca. She hides his treasure in a nearby cave and disguises him as an elderly beggar so he can see how things stand in his household. He finds his way to the hut of one of his own slaves, swineherd Eumaeus, who treats him hospitably and speaks favorably of Odysseus. After dinner, the disguised Odysseus tells the farm laborers a fictitious tale of himself.\nTelemachus sails home from Sparta, evading an ambush set by the suitors. He disembarks on the coast of Ithaca and meets Odysseus. Odysseus identifies himself to Telemachus (but not to Eumaeus), and they decide that the suitors must be killed. Telemachus goes home first. Accompanied by Eumaeus, Odysseus returns to his own house, still pretending to be a beggar. He is ridiculed by the suitors in his own home, especially Antinous. Odysseus meets Penelope and tests her intentions by saying he once met Odysseus in Crete. Closely questioned, he adds that he had recently been in Thesprotia and had learned something there of Odysseus's recent wanderings.\nOdysseus's identity is discovered by the housekeeper Eurycleia when she recognizes an old scar as she is washing his feet. Eurycleia tries to tell Penelope about the beggar's true identity, but Athena makes sure that Penelope cannot hear her. Odysseus swears Eurycleia to secrecy.\n\nSlaying of the Suitors (books 21–24)\nThe next day, at Athena's prompting, Penelope maneuvers the suitors into competing for her hand with an archery competition using Odysseus' bow. The man who can string the bow and shoot an arrow through a dozen axe heads would win. Odysseus takes part in the competition, and he alone is strong enough to string the bow and shoot the arrow through the dozen axe heads, making him the winner. He then throws off his rags and kills Antinous with his next arrow. Odysseus kills the other suitors, first using the rest of the arrows and then by swords and spears. Once the battle is won, Telemachus also hangs twelve of their household maids whom Eurycleia identifies as guilty of betraying Penelope or having sex with the suitors. Odysseus identifies himself to Penelope. She is hesitant but recognizes him when he mentions that he made their bed from an olive tree still rooted to the ground. She embraces him and they sleep.\nThe next day, Odysseus goes to his father Laertes's farm and reveals himself. Following them to the farm is a group of Ithacans, led by Eupeithes, father of Antinous, who are out for revenge for the murder of the suitors. A battle breaks out, but it is stopped by Athena and Zeus.\n\nStructure\nThe Odyssey is 12,109 lines composed in dactylic hexameter, also called Homeric hexameter. It opens in medias res, in the middle of the overall story, with prior events described through flashbacks and storytelling. The 24 books correspond to the letters of the Greek alphabet; the division was likely made after the poem's composition, by someone other than Homer, but is generally accepted.In the Classical period, some of the books (individually and in groups) were commonly given their own titles:\n\nBook 1–4: Telemachy—the story focuses on the perspective of Telemachus.\nBooks 9–12: Apologoi—Odysseus recalls his adventures for his Phaeacian hosts.\nBook 22: Mnesterophonia ('slaughter of the suitors'; Mnesteres, 'suitors' + phónos, 'slaughter').Book 22 concludes the Greek Epic Cycle, though fragments remain of the \"alternative ending\" of sorts known as the Telegony. The Telegony aside, the last 548 lines of the Odyssey, corresponding to Book 24, are believed by many scholars to have been added by a slightly later poet.\n\nGeography\nThe events in the main sequence of the Odyssey (excluding Odysseus' embedded narrative of his wanderings) have been said to take place in the Peloponnese and in what are now called the Ionian Islands. There are difficulties in the apparently simple identification of Ithaca, the homeland of Odysseus, which may or may not be the same island that is now called Ithakē (modern Greek: Ιθάκη). The wanderings of Odysseus as told to the Phaeacians, and the location of the Phaeacians' own island of Scheria, pose more fundamental problems, if geography is to be applied: scholars, both ancient and modern, are divided as to whether any of the places visited by Odysseus (after Ismaros and before his return to Ithaca) are real. Both antiquated and contemporary scholars have attempted to map Odysseus' journey but now largely agree that the landscapes, especially of the Apologia (Books 9 to 11), include too many mythological aspects as features to be unequivocally mappable. Classicist Peter T. Struck created an interactive map which plots Odysseus' travels, including his near homecoming which was thwarted by the bag of wind.\n\nInfluences\nScholars have seen strong influences from Near Eastern mythology and literature in the Odyssey. Martin West notes substantial parallels between the Epic of Gilgamesh and the Odyssey. Both Odysseus and Gilgamesh are known for traveling to the ends of the earth and on their journeys go to the land of the dead. On his voyage to the underworld, Odysseus follows instructions given to him by Circe, who is located at the edges of the world and is associated through imagery with the sun. Like Odysseus, Gilgamesh gets directions on how to reach the land of the dead from a divine helper: the goddess Siduri, who, like Circe, dwells by the sea at the ends of the earth, whose home is also associated with the sun. Gilgamesh reaches Siduri's house by passing through a tunnel underneath Mt. Mashu, the high mountain from which the sun comes into the sky. West argues that the similarity of Odysseus' and Gilgamesh's journeys to the edges of the earth are the result of the influence of the Gilgamesh epic upon the Odyssey.In 1914, paleontologist Othenio Abel surmised the origins of the Cyclops to be the result of ancient Greeks finding an elephant skull. The enormous nasal passage in the middle of the forehead could have looked like the eye socket of a giant, to those who had never seen a living elephant. Classical scholars, on the other hand, have long known that the story of the Cyclops was originally a folk tale, which existed independently of the Odyssey and which became part of it at a later date. Similar stories are found in cultures across Europe and the Middle East. According to this explanation, the Cyclops was originally simply a giant or ogre, much like Humbaba in the Epic of Gilgamesh. Graham Anderson suggests that the addition about it having only one eye was invented to explain how the creature was so easily blinded.\n\nThemes and patterns\nHomecoming\nHomecoming (Ancient Greek: νόστος, nostos) is a central theme of the Odyssey. Anna Bonafazi of the University of Cologne writes that, in Homer, nostos is \"return home from Troy, by sea\". Agatha Thornton examines nostos in the context of characters other than Odysseus, in order to provide an alternative for what might happen after the end of the Odyssey. For instance, one example is that of Agamemnon's homecoming versus Odysseus'. Upon Agamemnon's return, his wife Clytemnestra and her lover, Aegisthus, kill Agamemnon. Agamemnon's son, Orestes, out of vengeance for his father's death, kills Aegisthus. This parallel compares the death of the suitors to the death of Aegisthus and sets Orestes up as an example for Telemachus. Also, because Odysseus knows about Clytemnestra's betrayal, Odysseus returns home in disguise in order to test the loyalty of his own wife, Penelope. Later, Agamemnon praises Penelope for not killing Odysseus. It is because of Penelope that Odysseus has fame and a successful homecoming. This successful homecoming is unlike Achilles, who has fame but is dead, and Agamemnon, who had an unsuccessful homecoming resulting in his death.\n\nWandering\nOnly two of Odysseus's adventures are described by the narrator. The rest of Odysseus' adventures are recounted by Odysseus himself. The two scenes described by the narrator are Odysseus on Calypso's island and Odysseus' encounter with the Phaeacians. These scenes are told by the poet to represent an important transition in Odysseus' journey: being concealed to returning home.Calypso's name comes from the Greek word kalúptō (καλύπτω), meaning 'to cover' or 'conceal', which is apt, as this is exactly what she does with Odysseus. Calypso keeps Odysseus concealed from the world and unable to return home. After leaving Calypso's island, the poet describes Odysseus' encounters with the Phaeacians—those who \"convoy without hurt to all men\"—which represents his transition from not returning home to returning home.Also, during Odysseus' journey, he encounters many beings that are close to the gods. These encounters are useful in understanding that Odysseus is in a world beyond man and that influences the fact he cannot return home. These beings that are close to the gods include the Phaeacians who lived near the Cyclopes, whose king, Alcinous, is the great-grandson of the king of the giants, Eurymedon, and the grandson of Poseidon. Some of the other characters that Odysseus encounters are the cyclops Polyphemus, the son of Poseidon; Circe, a sorceress who turns men into animals; and the cannibalistic giants, the Laestrygonians.\n\nGuest-friendship\nThroughout the course of the epic, Odysseus encounters several examples of xenia (\"guest-friendship\"), which provide models of how hosts should and should not act. The Phaeacians demonstrate exemplary guest-friendship by feeding Odysseus, giving him a place to sleep, and granting him many gifts and a safe voyage home, which are all things a good host should do. Polyphemus demonstrates poor guest-friendship. His only \"gift\" to Odysseus is that he will eat him last. Calypso also exemplifies poor guest-friendship because she does not allow Odysseus to leave her island. Another important factor to guest-friendship is that kingship implies generosity. It is assumed that a king has the means to be a generous host and is more generous with his own property. This is best seen when Odysseus, disguised as a beggar, begs Antinous, one of the suitors, for food and Antinous denies his request. Odysseus essentially says that while Antinous may look like a king, he is far from a king since he is not generous.According to J. B. Hainsworth, guest-friendship follows a very specific pattern:\nThe arrival and the reception of the guest.\nBathing or providing fresh clothes to the guest.\nProviding food and drink to the guest.\nQuestions may be asked of the guest and entertainment should be provided by the host.\nThe guest should be given a place to sleep, and both the guest and host retire for the night.\nThe guest and host exchange gifts, the guest is granted a safe journey home, and the guest departs.Another important factor of guest-friendship is not keeping the guest longer than they wish and also promising their safety while they are a guest within the host's home.\n\nTesting\nAnother theme throughout the Odyssey is testing. This occurs in two distinct ways. Odysseus tests the loyalty of others and others test Odysseus' identity. An example of Odysseus testing the loyalties of others is when he returns home. Instead of immediately revealing his identity, he arrives disguised as a beggar and then proceeds to determine who in his house has remained loyal to him and who has helped the suitors. After Odysseus reveals his true identity, the characters test Odysseus' identity to see if he really is who he says he is. For instance, Penelope tests Odysseus' identity by saying that she will move the bed into the other room for him. This is a difficult task since it is made out of a living tree that would require being cut down, a fact that only the real Odysseus would know, thus proving his identity.Testing also has a very specific type scene that accompanies it. Throughout the epic, the testing of others follows a typical pattern. This pattern is:\nOdysseus is hesitant to question the loyalties of others.\nOdysseus tests the loyalties of others by questioning them.\nThe characters reply to Odysseus' questions.\nOdysseus proceeds to reveal his identity.\nThe characters test Odysseus' identity.\nThere is a rise of emotions associated with Odysseus' recognition, usually lament or joy.\nFinally, the reconciled characters work together.\n\nOmens\nOmens occur frequently throughout the Odyssey. Within the epic poem, they frequently involve birds. According to Thornton, most crucial is who receives each omen and in what way it manifests. For instance, bird omens are shown to Telemachus, Penelope, Odysseus, and the suitors. Telemachus and Penelope receive their omens as well in the form of words, sneezes, and dreams. However, Odysseus is the only character who receives thunder or lightning as an omen. She highlights this as crucial because lightning, as a symbol of Zeus, represents the kingship of Odysseus. Odysseus is associated with Zeus throughout both the Iliad and the Odyssey.Omens are another example of a type scene in the Odyssey. Two important parts of an omen type scene are the recognition of the omen, followed by its interpretation. In the Odyssey, all of the bird omens—with the exception of the first—show large birds attacking smaller birds. Accompanying each omen is a wish which can be either explicitly stated or only implied. For example, Telemachus wishes for vengeance and for Odysseus to be home, Penelope wishes for Odysseus' return, and the suitors wish for the death of Telemachus.\n\nTextual history\nComposition\nThe date of the poem is a matter of some disagreement among classicists. In the middle of the 8th century BC, the inhabitants of Greece began to adopt a modified version of the Phoenician alphabet to write down their own language. The Homeric poems may have been one of the earliest products of that literacy, and if so, would have been composed some time in the late 8th century BC. Inscribed on a clay cup found in Ischia, Italy, are the words \"Nestor's cup, good to drink from.\" Some scholars, such as Calvert Watkins, have tied this cup to a description of King Nestor's golden cup in the Iliad. If the cup is an allusion to the Iliad, that poem's composition can be dated to at least 700–750 BC.Dating is similarly complicated by the fact that the Homeric poems, or sections of them, were performed regularly by rhapsodes for several hundred years. The Odyssey as it exists today is likely not significantly different. Aside from minor differences, the Homeric poems gained a canonical place in the institutions of ancient Athens by the 6th century. In 566 BC, Peisistratos instituted a civic and religious festival called the Panathenaia, which featured performances of Homeric poems. These are significant because a \"correct\" version of the poems had to be performed, indicating that a particular version of the text had become canonised.\n\nTextual tradition\nThe Iliad and the Odyssey were widely copied and used as school texts in lands where the Greek language was spoken throughout antiquity. Scholars may have begun to write commentaries on the poems as early as the time of Aristotle in the 4th century BC. In the 3rd and 2nd centuries BC, scholars affiliated with the Library of Alexandria—particularly Zenodotus and Aristarchus of Samothrace—edited the Homeric poems, wrote commentaries on them, and helped establish the canonical texts.The Iliad and the Odyssey remained widely studied and used as school texts in the Byzantine Empire during the Middle Ages. The Byzantine Greek scholar and archbishop Eustathios of Thessalonike (c. 1115 – c. 1195/6 AD) wrote exhaustive commentaries on both of the Homeric epics that became seen by later generations as authoritative; his commentary on the Odyssey alone spans nearly 2,000 oversized pages in a twentieth-century edition. The first printed edition of the Odyssey, known as the editio princeps, was produced in 1488 by the Greek scholar Demetrios Chalkokondyles, who had been born in Athens and had studied in Constantinople. His edition was printed in Milan by a Greek printer named Antonios Damilas.Since the late 19th century, many papyri containing fragments of the Odyssey have been found in Egypt, some with content different from later medieval versions.\nIn 2018, the Greek Cultural Ministry revealed the discovery of a clay tablet near the Temple of Zeus at Olympia, containing 13 verses from the Odyssey's 14th book. While it was initially reported to date from the 3rd century AD, the date is unconfirmed.\n\nEnglish translations\nGeorge Chapman's English translations of the Odyssey and the Iliad, published together in 1616 but serialised earlier, were the first to enjoy widespread success. The texts had been published in translation before, with some translated not from the original Greek. Chapman worked on these for a large part of his life. In 1581, Arthur Hall translated the first 10 books of the Iliad from a French version. Chapman's translations persisted in popularity, and are often remembered today through John Keats' sonnet  \"On First Looking into Chapman's Homer\" (1816). Years after completing his translation of the Iliad, Alexander Pope began to translate the Odyssey because of his financial situation. His second translation was not received as favourably as the first.Emily Wilson, a professor of classical studies at the University of Pennsylvania, notes that as late as the first decade of the 21st century, almost all of the most prominent translators of Greek and Roman literature had been men. She calls her experience of translating Homer one of \"intimate alienation.\" Wilson writes that this has affected the popular conception of characters and events of the Odyssey, inflecting the story with connotations not present in the original text: \"For instance, in the scene where Telemachus oversees the hanging of the slaves who have been sleeping with the suitors, most translations introduce derogatory language (\"sluts\" or \"whores\") [...] The original Greek does not label these slaves with derogatory language.\" In the original Greek, the word used is hai, the feminine article, equivalent to \"those female people\".\n\nLegacy\nThe influence of the Homeric texts can be difficult to summarise because of how greatly they have impacted the popular imagination and cultural values. The Odyssey and the Iliad formed the basis of education for members of ancient Mediterranean society. That curriculum was adopted by Western humanists, meaning the text was so much a part of the cultural fabric that it became irrelevant whether an individual had read it. As such, the influence of the Odyssey has reverberated through over a millennium of writing. The poem topped a poll of experts by BBC Culture to find literature's most enduring narrative. It is widely regarded by western literary critics as a timeless classic and remains one of the oldest works of extant literature commonly read by Western audiences.\n\nLiterature\nIn Canto XXVI of the Inferno, Dante Alighieri meets Odysseus in the eighth circle of hell, where Odysseus appends a new ending to the Odyssey in which he never returns to Ithaca and instead continues his restless adventuring. Edith Hall suggests that Dante's depiction of Odysseus became understood as a manifestation of Renaissance colonialism and othering, with the cyclops standing in for \"accounts of monstrous races on the edge of the world\", and his defeat as symbolising \"the Roman domination of the western Mediterranean\".Irish poet James Joyce's modernist novel Ulysses (1922) was significantly influenced by the Odyssey. Joyce had encountered the figure of Odysseus in Charles Lamb's Adventures of Ulysses, an adaptation of the epic poem for children, which seems to have established the Latin name in Joyce's mind. Ulysses, a re-telling of the Odyssey set in Dublin, is divided into 18 sections (\"episodes\") which can be mapped roughly onto the 24 books of the Odyssey. Joyce claimed familiarity with the original Homeric Greek, but this has been disputed by some scholars, who cite his poor grasp of the language as evidence to the contrary. The book, and especially its stream of consciousness prose, is widely considered foundational to the modernist genre.Modern writers have revisited the Odyssey to highlight the poem's female characters. Canadian writer Margaret Atwood adapted parts of the Odyssey for her novella, The Penelopiad (2005). The novella focuses on Penelope and the twelve female slaves hanged by Odysseus at the poem's ending, an image which haunted Atwood. Atwood's novella comments on the original text, wherein Odysseus' successful return to Ithaca symbolises the restoration of a patriarchal system. Similarly, Madeline Miller's Circe (2018) revisits the relationship between Odysseus and Circe on Aeaea. As a reader, Miller was frustrated by Circe's lack of motivation in the original poem and sought to explain her capriciousness. The novel recontextualises the sorceress' transformations of sailors into pigs from an act of malice into one of self-defence, given that she has no superhuman strength with which to repel attackers.\n\nFilm and television\nL'Odissea (1911) is an Italian silent film by Giuseppe de Liguoro.\nUlysses (1954) is a film adaptation starring Kirk Douglas as Ulysses, Silvana Mangano as Penelope and Circe, and Anthony Quinn as Antinous.\nL'Odissea (1968) is an Italian-French-German-Yugoslavian television miniseries praised for its faithful rendering of the original epic.\nNostos: The Return (1989) is an Italian film about Odysseus' homecoming. Directed by Franco Piavoli, it relies on visual storytelling and has a strong focus on nature.\nUlysses' Gaze (1995), directed by Theo Angelopoulos, has many of the elements of the Odyssey set against the backdrop of the most recent and previous Balkan Wars.\nThe Odyssey (1997) is a television miniseries directed by Andrei Konchalovsky and starring Armand Assante as Odysseus and Greta Scacchi as Penelope.\nO Brother, Where Art Thou? (2000) is a crime comedy drama film written, produced, co-edited and directed by the Coen brothers and is very loosely based on Homer's poem.\n\nOpera and music\nIl ritorno d'Ulisse in patria, first performed in 1640, is an opera by Claudio Monteverdi based on the second half of Homer's Odyssey.\nRolf Riehm composed an opera based on the myth, Sirenen – Bilder des Begehrens und des Vernichtens (Sirens – Images of Desire and Destruction), which premiered at the Oper Frankfurt in 2014.\nRobert W. Smith's second symphony for concert band, The Odyssey, tells four of the main highlights of the story in the piece's four movements: \"The Iliad\", \"The Winds of Poseidon\", \"The Isle of Calypso\", and \"Ithaca\".\n\nSciences\nPsychiatrist Jonathan Shay wrote two books, Achilles in Vietnam: Combat Trauma and the Undoing of Character  (1994) and Odysseus in America: Combat Trauma and the Trials of Homecoming (2002), which relate the Iliad and the Odyssey to posttraumatic stress disorder and moral injury as seen in the rehabilitation histories of combat veteran patients..\nPassage 6:\nAlbert Odyssey (Super Famicom game)\nAlbert Odyssey (アルバートオデッセイ, Arubaato Odessei) is a tactical role-playing video game developed and published by Sunsoft and released for the Super Nintendo Entertainment System in Japan in March 1993. The game features strategy-based combat in addition to traditional role-playing game elements in two-dimensional environments. It is the first game in the Albert Odyssey series, and was followed by two sequels, Albert Odyssey 2: Jashin no Taidou in 1994, and Albert Odyssey: Legend of Eldean in 1996.  On June 12, 1996, Albert Odyssey was made available as a full game download on the Satellaview add-on as BS Albert Odyssey (BSアルバートオデッセイ, BS Arubaato Odessei), and the original Albert Odyssey was re-released for Satellaview in March 1998.Players assume the role of Albert, the young heroic swordsman who lives in a fantasy world filled with monsters and mythical creatures. While much of the world remains in relative peace following a great war many years before, a military faction led by the dark magician Globus has emerged to conquer the newly pacified nations and expand their empire. With the help of Albert's friends as well as hired mercenaries, the player must travel the world and eventually confront Golbus and his forces to prevent another large-scale conflict.\n\nGameplay\nAlbert Odyssey is a role-playing video game with strategy elements where players must travel through a fantasy environment battling monsters and other enemies to advance the story. The game uses two-dimensional character sprites and environments accompanied by the Super Nintendo Entertainment System's Mode 7 graphics capabilities that give the impression of three dimensions. Players move their characters from a top-down perspective through towns and other peaceful areas, while the game's overworld and dungeons are rendered as large battlefields laden with enemies. Throughout the game, players take part in the story by interacting with non-player characters and performing story-driven quests that continually expand the game's narrative.\nUsing a turn-based system, both the player and computer opponent take turns moving and attacking across the field. A player may choose to move, attack, perform magic, use an item in their possession to aid themselves, or retreat to the nearest safe area to rest or restock supplies. Once two characters come in contact with one another, a battle sequence ensues where the attacking character deals damage to the opponent, lowering their health. When the player or enemy's health reaches zero, they are defeated and ejected from the field. Player's advance by confronting and defeating enemies, gaining experience points in the process that go towards making characters stronger and learn new abilities. A character can be further augmented with progressively more powerful weapons and equipment can be purchased in towns or found on defeated enemies. Progress is recorded by using save points found in set areas throughout the game that utilize the Famicom's battery backup-up system. If all of a player's characters are defeated at any time, they are forced to restart the game from the last recorded save file.\n\nAudio\nThe music for Albert Odyssey was written and programmed by Sunsoft in-house composer Naoki Kodaka, with the game being his first Super Famicom and role-playing endeavor. On June 25, 1993, Sunsoft released an official soundtrack titled All Sounds of Albert Odyssey in Japan published by Datam Polystar featuring all background music and jingles from the game.  Later that year, selected music from Albert Odyssey was performed by the Tokyo City Philharmonic Orchestra as part of the third Game Music Concert series in Tokyo, Japan, later made available as a commercial album the following December. The two tracks represented were \"The Road Walked by Heroes\" and \"Hometown Tibelis\", retitled as \"Albert Odyssey Theme\" and \"God's People\" respectively.\n\nSequel\nAlbert Odyssey 2: Jashin no Taidou (アルバートオデッセイ2 邪神の胎動, Aruberto Odesei Tsu Jashin no Taidou, lit. Albert Odyssey 2: Sign of the Devil) is a tactical role-playing video game developed and published by Sunsoft for the Super Famicom and released in December 1994. It is the sequel to the original Albert Odyssey and retains many of the same gameplay and story elements while featuring enhanced graphics and battle features.\nThe game is set ten years after the previous title and follows the story of Dean, a young warrior who is enthralled by the exploits of the hero Albert who saved the world a decade earlier from an evil magician.  Setting off on his own journey to investigate the conflict, Dean becomes entangled in an adventure of his own while meeting characters from the previous game. He soon learns that the world is once again in danger from an ancient evil god known as Okutoba, and must become a hero himself to stop him from throwing the world into darkness.\n\nGameplay\nLike its predecessor, Albert Odyssey 2 is a traditional strategy-based role-playing video game featuring two-dimensional character and background graphics. While towns and other safe areas are presented in a top-down fashion where players can move about freely, the game's overworld and dungeons take the appearance of a grid-like strategy board filled with monsters and other enemies.  Using the Super Famicom's Mode 7 graphics function, environments can scroll and zoom smoothly based on the player's point of view, and give the appearance of three-dimensions. Players advance the game's story by taking part in large-scale battles and interacting with non-player characters.\nThe battle system in Albert Odyssey 2 has been modified slightly from the original.  While players can still move in eight directions to engage opponents, the size of many battlefields, as well as the number of enemies represented, has been reduced, with the entire system becoming more streamlined. Characters move about the battle environment using a turn-based system where enemies and the player's party take turns attacking in phases, with one entire side acting before another. On a player's turn, characters may move, fight, use a magic attack, use an item from their inventory, or retreat to a nearby safe location. Battle are won when an entire enemy party has been defeated, yielding experience points that allow characters to gain levels and become stronger as well as give access to new abilities.  Players record their progress using the game cartridge's built-in battery back-up system by accessing preset save points during gameplay.\nPassage 7:\nSorrows of Werther\n\"Sorrows of Werther\" is a satirical poem by William Makepeace Thackeray written in response to the enormous success of Johann Wolfgang von Goethe's novel The Sorrows of Young Werther.\n\n\n== Text ==\nPassage 8:\nWerther (film)\nWerther is an opera by Jules Massenet.\nWerther may also refer to:\n\nPlaces\nWerther, North Rhine-Westphalia, a town in western Germany\nWerther, Thuringia, a municipality in eastern Germany\n\nPeople with the surname\nGustav Werther (1815–1869), German chemist\nHeinrich Wilhelm von Werther (1772–1859), Prussian diplomat and politician\n\nArts\nThe Sorrows of Young Werther, a novel by Johann Wolfgang von Goethe that the opera Werther is loosely based on\nWerther (1986 film), a Spanish film based on the novel\nWerther (1927 film), a Czech film\n\nOthers\nWerther's Original, a toffee-and-cream candy\nThe New Werther, by the statistician Karl Pearson\nPassage 9:\nWerther\nWerther is an opera (drame lyrique) in four acts by Jules Massenet to a French libretto by Édouard Blau, Paul Milliet and Georges Hartmann (who used the pseudonym Henri Grémont). It is loosely based on Goethe's epistolary novel The Sorrows of Young Werther, which was based both on fact and on Goethe's own early life. Earlier examples of operas using the story were made by Kreutzer (1792) and Pucitta (1802).\n\nPerformance history\nMassenet started composing Werther in 1885, completing it in 1887. He submitted it to Léon Carvalho, the director of the Paris Opéra-Comique, that year, but Carvalho declined to accept it on the grounds that the scenario was too serious. With the disruption of the fire at the Opéra-Comique and Massenet's work on other operatic projects (especially Esclarmonde), it was put to one side, until the Vienna Opera, pleased with the success of Manon, asked the composer for a new work. Werther received its premiere on 16 February 1892 (in a German version translated by Max Kalbeck) at the Imperial Theatre Hofoper in Vienna.The French-language premiere followed in Geneva on 27 December 1892. The first performance in France was given by the Opéra-Comique at the Théâtre Lyrique on the Place du Châtelet in Paris on 16 January 1893, with Marie Delna as Charlotte and Guillaume Ibos in the title role, conducted by Jules Danbé, but was not immediately successful.Werther entered the repertoire at the Opéra-Comique in 1903 in a production supervised by Albert Carré, and over the next half-century the opera was performed over 1,100 times there, Léon Beyle becoming a distinguished interpreter of Werther.The United States premiere with the Metropolitan Opera took place in Chicago on 29 March 1894 and then in the company's main house in New York City three weeks later. The UK premiere was a one-off performance at Covent Garden, London, on 11 June 1894 with Emma Eames as Charlotte, Sigrid Arnoldson as Sophie, and Jean de Reszke in the title role.\nWerther is still regularly performed around the world and has been recorded many times. Although the role of Werther was written for a tenor, Massenet adjusted it for a baritone, when Mattia Battistini sang it in Saint Petersburg in 1902. It is very occasionally performed in this version, in which the changes affect only the vocal line for the title character. There are no other changes to the words, to the lines for other characters, or to the orchestration.\n\nRoles\nInstrumentation\n2 flutes (2nd doubling piccolo),\n2 oboes (doubling English horns),\n2 clarinets in B-flat and A,\nalto saxophone,\n2 bassoons,\n4 horns in F,\n2 cornets in B-flat and A,\n3 trombones,\ntuba,\ntimpani,\npercussion (1) (bass drum, triangle),\nharp,\nstrings.\n\nSynopsis\nTime: Within the period July to December, in an undefined year in the 1780s.\nPlace: Wetzlar in Germany.\n\nAct 1\nIn July, the widowed Bailiff (a Magistrate, rather than one who comes to seize property), is teaching his six youngest children a Christmas carol (\"Noël! Jésus vient de naître\"). His drinking companions, Johann and Schmidt, arrive as Charlotte, the eldest daughter, dresses for a ball. Since her fiancé Albert is away, she is to be escorted by Werther, whom the Bailiff and his companions find gloomy. Werther arrives (\"O Nature, pleine de grâce\"), and watches as Charlotte prepares her young siblings' supper, just as her mother had before she died. He greets her and they leave for the ball. Albert returns unexpectedly after a six-month trip. He is unsure of Charlotte's intentions and disappointed not to find her at home, but is reassured and consoled by Charlotte's younger sister Sophie. He leaves after promising to return in the morning. After an orchestral interlude, Werther and Charlotte return very late; he is already enamoured of her. His declaration of love is interrupted by the announcement of Albert's return. Charlotte recalls how she promised her dying mother she would marry Albert. Werther is in despair.\n\nAct 2\nIt is three months later, and Charlotte and Albert are now married. They walk happily to church to celebrate the minister's 50th wedding anniversary, followed by the disconsolate Werther (\"Un autre est son époux!\"). First Albert and then Sophie (\"Du gai soleil, plein de flamme\") try to cheer him up. When Charlotte exits the church, he speaks to her of their first meeting. Charlotte begs Werther to leave her, though she indicates that she would be willing to receive him again on Christmas Day. Werther contemplates suicide (\"Lorsque l'enfant revient d'un voyage\"). He encounters Sophie but the tearful girl does not understand his distressing behavior. Albert now realizes that Werther loves Charlotte.\n\nAct 3\nCharlotte is at home alone on Christmas Eve. She spends time rereading the letters that she has received from Werther (\"Werther! Qui m'aurait dit ... Ces lettres!\"), wondering how the young poet is and how she had the strength to send him away. Sophie comes in and tries to cheer up her older sister (\"Ah! le rire est béni\"), though Charlotte is not to be consoled (\"Va! laisse couler mes larmes\"). Suddenly Werther appears, and while he reads to her some poetry of Ossian (\"Pourquoi me réveiller?\"), he realizes that she does indeed return his love. They embrace for a moment, but she quickly bids him farewell. He leaves with thoughts of suicide. Albert returns home to find his wife distraught. Werther sends a messenger to Albert, requesting to borrow his pistols, explaining he is going on an extended trip. After the servant has taken them, Charlotte has a terrible premonition and hurries to find Werther. An orchestral intermezzo (\"La nuit de Noël\") leads without a break into the final Act.\n\nAct 4\n\"The death of Werther\": At Werther's apartment, Charlotte has arrived too late to stop him from shooting himself; he is dying. She consoles him by declaring her love. He asks for forgiveness. After he dies, Charlotte faints. Outside children are heard singing the Christmas carol.\n\nNoted arias\nRecordings\nA well-regarded recording of the complete opera was made in January 1931 by French Columbia with a French cast and the orchestra and chorus of the Opéra-Comique under the direction of Élie Cohen. Henry Fogel of Fanfare magazine, writing in 1992, counted 14 complete recordings and considered it the finest of the lot. His colleague, James Camner, reviewing the Opera d'Oro reissue in 2003, called it \"one of the treasures of recorded opera. ... Unfortunately, the transfer is over filtered. The high frequencies are lost, giving the performance an unwarranted flatness. Happily, Naxos offers the same recording expertly transferred by Ward Marston, and acquiring it is a must.\" Alan Blyth, while giving a very positive review of the reissue of the recording with Albert Lance as Werther and Rita Gorr as Charlotte in 2004, nevertheless pointed out that \"neither quite has the ideal subtlety of the best Massenet singers, such as Vallin and Thill on the classic, pre-war set, now on Naxos\".In addition, many of the greatest French and Italian singers of the past century or more have recorded individual arias from Massenet's masterwork.\nPassage 10:\nThe Novel of Werther\nThe Novel of Werther (French: Le Roman de Werther) is a 1938 French historical drama film directed by Max Ophüls and starring Pierre Richard-Willm, Annie Vernay and Jean Galland. It is based on the 1774 novel The Sorrows of Young Werther by Goethe.The film was made by Nero Film, a company run by German exiles who had left following the Nazi rise to power.\n\nCast\nPierre Richard-Willm as Werther\nAnnie Vernay as Charlotte\nJean Galland as Albert\nPaulette Pax as Aunt Emma\nJean Périer as President\nEdmond Beauchamp as murderer\nGeorges Bever as chamberlain\nGeno Ferny as portraitist\nFernand Blot as Werther's colleague\nDenise Kerny as the right one\nHenri Guisol as Schertz, the clerk\nRoger Legris as Franz, valet\nJean Buquet as little Gustave\nMaurice Schutz as le sonneur\nLéonce Corne asle majordome\nPhilippe Richard as Grand Duke\nCharles Nossent as le cocher\nLéon Larive as comedian\nGeorges Vitray as bailiff\nGénia Vaury as girl\nHenri Beaulieu\nHenri Darbrey\nPierre Darteuil\nMaurice Devienne\nMartial Rèbe\nRobert Rollis",6  "char_len": 70741,7  "document_hash": "81463818cc5056c6b3be7568d735db3e353c5039acad9658a48100ca0667b48d",8  "questions": [9    {10      "question_id": "q00",11      "qtype": "hotpotqa",12      "question": "Are Werther and The Odyssey both operas?"13    }14  ]15}