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{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 14, "sc": 2186, "ep": 14, "ec": 2788} | 161,630 | Q1129329 | 14 | 2,186 | 14 | 2,788 | Wang Zongyan | Early reign | Confucian regulations. When the sheriff Zhang Shiqiao (張士喬) urged him to follow proper regulations, Wang Yan became so angry that he almost put Zhang to death, only relenting when Empress Dowager Xu interceded. (Zhang was still exiled and committed suicide on the way to exile.)
Later in 920, during a campaign against Qi, Wang Yan decided to personally, with much fanfare, head to the frontline, despite contrary urging by official Duan Rong (段融). After reaching the frontline, he then returned to Chengdu, leaving the campaign to the generals. It was said that this tour much drained the |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 14, "sc": 2788, "ep": 14, "ec": 3387} | 161,630 | Q1129329 | 14 | 2,788 | 14 | 3,387 | Wang Zongyan | Early reign | resources of the prefectures that he went through. There was also an incident where a beautiful lady, the daughter of one He Kang (何康) of Lang Prefecture (閬州, in modern Nanchong, Sichuan) was ready to be married. Wang Yan seized her, giving silk to her would-be husband as compensation, but the would-be husband became so saddened that he died. Similarly, in 921, he seized the daughter of army officer Wang Chenggang (王承綱), and when Wang Chenggang asked for her back, he exiled Wang Chenggang. (Wang Chenggang's daughter, upon hearing this, committed suicide.)
Over the years, Wang Yan |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 14, "sc": 3387, "ep": 14, "ec": 3931} | 161,630 | Q1129329 | 14 | 3,387 | 14 | 3,931 | Wang Zongyan | Early reign | had never favored Empress Gao. In 921, while he was particularly favoring Consort Wei, he sent Empress Gao back to the house of her father Gao Zhiyan (高知言), effectively divorcing her. In shock, Gao stopped eating and died shortly after. (Consort Wei was actually a niece of Empress Dowager Xu's and originally named Xu, but as Wang Yan did not want it be known that he took his cousin as a consort, he falsely claimed that she was the granddaughter of the Tang chancellor Wei Zhaodu.) (Despite his favor for Consort Wei, she did not become |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 14, "sc": 3931, "ep": 18, "ec": 161} | 161,630 | Q1129329 | 14 | 3,931 | 18 | 161 | Wang Zongyan | Early reign & Late reign | empress; rather, he created another consort, Jin Feishan, empress.) He continued to much enjoy touring, and put up tents wherever he went to hide himself so that the people could not see him. Further, as he liked wearing a kind of large hat such that one could tell where he was by the hat, he ordered the men of the realm to all start wearing the hat. Late reign Over the years, Wang Yan became accustomed to spend time in feasting, talking, and singing with Pan Zaiying, as well as the officials Han Zhao (韓昭) and Gu Zaixun |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 161, "ep": 18, "ec": 716} | 161,630 | Q1129329 | 18 | 161 | 18 | 716 | Wang Zongyan | Late reign | (顧在珣). This allowed Song Guangsi to make the key decisions in Wang Yan's name. While there were officials who submitted petitions urging him to change his behavior, he did not do so (although he also did not, as Pan suggested, punish the officials). His cousin Wang Zongshou (王宗壽) the Prince of Jia also tried to get him to change his ways, to no avail.
In 923, Later Liang was destroyed by its archrival to the north, Later Tang. When Later Tang's Emperor Zhuangzong sent the news of Later Liang's destruction to Former Shu, the state was in |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 716, "ep": 18, "ec": 1306} | 161,630 | Q1129329 | 18 | 716 | 18 | 1,306 | Wang Zongyan | Late reign | much shock, but took no further action. When a comet (then considered a sign of impending disaster) subsequently appeared and the imperial astronomer indicated that a disaster was coming, Wang Yan established a field for offering prayer to the gods to try to stop the disaster. When the official Zhang Yun (張雲) argued that the more appropriate actions to take would be to make policy changes to appease the people, Wang Yan, in anger, exiled Zhang, and Zhang died on the way to exile.
Later Tang, while apparently in peace with Former Shu, was then planning an eventual invasion, |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 1306, "ep": 18, "ec": 1896} | 161,630 | Q1129329 | 18 | 1,306 | 18 | 1,896 | Wang Zongyan | Late reign | which was also encouraged by the former Later Liang general Gao Jixing the military governor of Jingnan Circuit (荊南, headquartered in modern Jingzhou, Hubei), who had surrendered to Later Tang. In 924, Emperor Zhuangzong sent the emissary Li Yan (李嚴) to Former Shu, to observe the status of the Former Shu state. While at Former Shu, Li was making statements that glorified the Later Tang emperor that the Former Shu officials, including Wang Yan's adoptive brother Wang Zongchou (王宗儔), found offensive, and asked for Li to be arrested and executed, but Wang Yan did not agree. However, |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 1896, "ep": 18, "ec": 2506} | 161,630 | Q1129329 | 18 | 1,896 | 18 | 2,506 | Wang Zongyan | Late reign | he commissioned Song Guangsi's brother Song Guangbao (宋光葆) (at Song Guangbao's request) as the military governor of Wude Circuit (武德, headquartered in modern Mianyang, Sichuan), to prepare the troops at Wude for a possible Later Tang evasion.
Li returned to Later Tang's capital Luoyang later in the year. Part of his mission was to exchange Later Tang horses for Former Shu jewels, but that part of the mission was unsuccessful, as Former Shu laws prohibited the shipping of jewels to Later Tang, except for lower quality jewels that were referred to as "items to send into the wild" (入草物, rucaowu). |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 2506, "ep": 18, "ec": 3098} | 161,630 | Q1129329 | 18 | 2,506 | 18 | 3,098 | Wang Zongyan | Late reign | In displeasure, Emperor Zhuangzong stated, "How would Wang Yan know that he would not be a 'person to send into the wild'?" Li used this opportunity to further point out to Emperor Zhuangzong that Wang Yan was not personally handling the affairs of state and that Wang Zongbi and Song Guangsi, as well as other powerful officials, were corrupt, such that Former Shu should easily be conquerable.
Wang Yan was not completely oblivious to the possible Later Tang attack, as later in 924, he commissioned his adoptive brother Wang Zong'e (王宗鍔) as the commander at a task force, placed |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 3098, "ep": 18, "ec": 3690} | 161,630 | Q1129329 | 18 | 3,098 | 18 | 3,690 | Wang Zongyan | Late reign | at Yang Prefecture (洋州, in modern Hanzhong, Shaanxi), and the general Lin Si'e (林思諤) to be the military governor of Zhaowu Circuit (昭武, headquartered in modern Guangyuan, Sichuan), to increase the preparedness. Meanwhile, Wang Zongchou, seeing that Wang Yan was not capable of ruling, discussed with Wang Zongbi the possibility of deposing Wang Yan, but Wang Zongbi hesitated. In anger and fear, Wang Zongchou died later in 924. Around this time, Wang Yan also alienated the general by putting the eunuch Wang Chengxiu (王承休) in command of the elite Longwu Army (龍武軍). Further, by the end |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 3690, "ep": 18, "ec": 4294} | 161,630 | Q1129329 | 18 | 3,690 | 18 | 4,294 | Wang Zongyan | Late reign | of 924, believing that there would be peace between Former Shu and Later Tang (as the states have further sent emissaries to each other), Wang Yan began to cut back on some of the army deployments that he had ordered. In addition, at Wang Chengxiu's request, he commissioned Wang Chengxiu as the military governor of Tianxiong Circuit (天雄, headquartered in modern Tianshui, Gansu), sending the Longwu Army to serve as Wang Chengxiu's personal army. (Wang Chengxiu had gotten Wang Yan's agreement to this proposal by telling Wang Yan that Tianxiong's capital Qin Prefecture (秦州) was known for beautiful |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 4294, "ep": 18, "ec": 4876} | 161,630 | Q1129329 | 18 | 4,294 | 18 | 4,876 | Wang Zongyan | Late reign | women and that he would collect them for the emperor.) He also made his uncle Xu Yanqiong (徐延瓊) the commander of the imperial guards, replacing Wang Zongbi, against the words left by Wang Jian.
By fall 925, Later Tang was deep in the preparation of an invasion of Former Shu, and Emperor Zhuangzong commissioned his son Li Jiji the Prince of Wei to serve as titular commander of the operations while making the major general Guo Chongtao Li Jiji's deputy, in actual command of the operations. Around the same time, Wang Yan, oblivious to the impending invasion, was still |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 4876, "ep": 18, "ec": 5452} | 161,630 | Q1129329 | 18 | 4,876 | 18 | 5,452 | Wang Zongyan | Late reign | touring the realm with his mother and aunt, including to such places as Mount Qincheng, Peng Prefecture (彭州, in modern Chengdu), and Han Prefecture (in modern Deyang, Sichuan). Further, at Wang Chengxiu's urging, he made plans to visit Qin Prefecture, partly because he wanted to see Wang Chengxiu's wife Lady Yan, with whom he was having an affair. He paid no heed to advice to the contrary, including urging by Wang Zongbi and even Empress Dowager Xu not to undertake the trip. When he reached Han Prefecture, news came from the Wang Chengjie (王承捷) the military governor |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 5452, "ep": 18, "ec": 6032} | 161,630 | Q1129329 | 18 | 5,452 | 18 | 6,032 | Wang Zongyan | Late reign | of Wuxing Circuit (武興, headquartered in modern Baoji, Shaanxi) that Later Tang had launched from an invasion, but Wang Yan believed this to be false report to dissuade him from the Qin trip, and therefore paid no heed. Only after, when he reached Li Prefecture (利州, Zhaowu's capital) and fleeing soldiers from Wuxing (where Wang Chengjie had surrendered by this point) arrived there as well did he believe that there was an actual Later Tang invasion. At Wang Zongbi's and Song Guangsi's advice, he stayed at Li and sent the generals Wang Zongxun (王宗勳), Wang Zongyan (王宗儼), and |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 6032, "ep": 18, "ec": 6602} | 161,630 | Q1129329 | 18 | 6,032 | 18 | 6,602 | Wang Zongyan | Late reign | Wang Zongyu (王宗昱) to command the main Former Shu army to resist. However, they were crushed by the Later Tang forward commander Li Shaochen. Hearing of their defeat, in fear, Wang Yan fled back to Chengdu and put Wang Zongbi in charge at Li Prefecture; he also ordered Wang Zongbi to execute Wang Zongxun, Wang Zongyan, and Wang Zongyu. Meanwhile, other Former Shu generals surrendered or were defeated in droves by the Later Tang forces; this included Song Guangbao (who surrendered Wude Circuit) and Wang Chengxiu (who tried to launch his own forces to cut off the |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 6602, "ep": 18, "ec": 7237} | 161,630 | Q1129329 | 18 | 6,602 | 18 | 7,237 | Wang Zongyan | Late reign | Later Tang army, but lost much of his troops as casualties against Qiang tribal forces, which stopped him from retreating), such that of his initial, 12,000-men army, only 2,000 survived.
Meanwhile, when Wang Zongxun, Wang Zongyan, and Wang Zongyu retreated to Li Prefecture, instead of executing them, Wang Zongbi showed them the order and planned with them to surrender to Later Tang together. Wang Zongbi marched his army back to Chengdu and seized the palace, putting the imperial household, including Wang Yan and Empress Dowager Xu, under effective house arrest, while seizing the imperial treasury. He sent letters to |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 7237, "ep": 18, "ec": 7745} | 161,630 | Q1129329 | 18 | 7,237 | 18 | 7,745 | Wang Zongyan | Late reign | Li Jiji and Guo, offering to surrender, and also a letter in Wang Yan's name to Li Yan, offering to surrender as soon as Li Yan arrived. Li Yan thus went to Chengdu, where Wang Yan met Li Yan and entrusted his mother and wife to Li Yan. Wang Zongbi took the opportunity to also carry out a general purge of officials that he had long despised, while claiming that both he and Wang Yan had long wanted to submit but were stopped by these officials. When the main Later Tang forces under Li Jiji arrived at |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 18, "sc": 7745, "ep": 22, "ec": 508} | 161,630 | Q1129329 | 18 | 7,745 | 22 | 508 | Wang Zongyan | Late reign & After surrender to Later Tang | Chengdu, Wang Yan formally surrendered. After surrender to Later Tang Emperor Zhuangzong initially tried to appear lenient, sending an edict addressed to Wang Yan, stating:
I will surely create a fiefdom for you. I will not use your disaster to harm you. I will use sun, moon, and the stars as my proof, that I am not deceiving you.
In spring 926, Li Jiji sent Wang Yan and his household, as well as a large group of Former Shu officials, from Chengdu, on a journey to the Later Tang capital Luoyang, to formally surrender themselves to Emperor Zhuangzong. By |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 22, "sc": 508, "ep": 22, "ec": 1118} | 161,630 | Q1129329 | 22 | 508 | 22 | 1,118 | Wang Zongyan | After surrender to Later Tang | the time that Wang Yan reached Chang'an, however, the Later Tang realm had begun to fall into disorder due to mutinies, spurred by a famine at that time, as well as Emperor Zhuangzong's unjustified killing of the major generals Guo Chongtao and Zhu Youqian earlier in the year. Emperor Zhuangzong ordered Wang Yan to stay at Chang'an to wait for the situation to clear.
As the mutinies multiplied, Emperor Zhuangzong's favorite actor Jing Jin (景進) suggested to Emperor Zhuangzong that given the size of Wang Yan's train of imperial household members and officials, they might pose a threat for mutiny |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 22, "sc": 1118, "ep": 22, "ec": 1698} | 161,630 | Q1129329 | 22 | 1,118 | 22 | 1,698 | Wang Zongyan | After surrender to Later Tang | as well, and therefore called for Wang Yan's death. Emperor Zhuangzong agreed and sent the eunuch Xiang Yansi (向延嗣) to do so, initially decreeing that Wang Yan's entire train be executed. However, Emperor Zhuangzong's chief of staff, Zhang Juhan reviewed the edict and changed the edict to state that Wang Yan's entire family be executed, sparing over 1,000 of the Former Shu officials and palace servants. Wang Yan and his family were executed that It was said that as Empress Dowager Xu was to be executed, she cried out in cursing Emperor Zhuangzong, "My son surrendered an |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 22, "sc": 1698, "ep": 22, "ec": 2332} | 161,630 | Q1129329 | 22 | 1,698 | 22 | 2,332 | Wang Zongyan | After surrender to Later Tang | empire to you but could not avoid having his clan slaughtered. You abandoned your faith and your righteousness, and I know that you will soon suffer disaster as well!" (Her curse came true, as mutineers supporting Emperor Zhuangzong's adoptive brother Li Siyuan would rise at Luoyang shortly after, killing Emperor Zhuangzong in battle.)
By 928, at which time Li Siyuan was emperor (as Emperor Mingzong), Wang Zongshou, who was then a military commander at Later Tang's Baoyi Circuit (保義, headquartered in modern Sanmenxia, Henan) requested permission to try to locate Wang Yan's body and bury it properly. Emperor Mingzong |
{"datasets_id": 161630, "wiki_id": "Q1129329", "sp": 22, "sc": 2332, "ep": 22, "ec": 2579} | 161,630 | Q1129329 | 22 | 2,332 | 22 | 2,579 | Wang Zongyan | After surrender to Later Tang | agreed, and also posthumously created Wang Yan the Duke of Shunzheng, ordering that he be buried with ceremony due a prince. Wang Zongshou located Wang Yan's and the bodies of 17 other members of the imperial household, and buried them properly. |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 2, "sc": 0, "ep": 6, "ec": 527} | 161,631 | Q1438387 | 2 | 0 | 6 | 527 | Wat Pa Ban Tat | History of Ban Tat Monastery | Wat Pa Ban Tat History of Ban Tat Monastery In 1950 Ajahn Maha Bua looked for a quiet, secluded place, and so he went to stay at Huey Sai village, in what is now Mukdahan Province. During his stay here he was very strict and serious in teaching the monks and novices, both in the subject of the austere dhutanga practices as well as in meditation. He pursued this method of teaching until these same principles of practice became increasingly established within his followers.
He then learned that his mother was ill and so returned to his village near Udon Thani |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 6, "sc": 527, "ep": 6, "ec": 1070} | 161,631 | Q1438387 | 6 | 527 | 6 | 1,070 | Wat Pa Ban Tat | History of Ban Tat Monastery | so that he might look after her. Back at home, villagers and relatives requested that he settle in the forested area south of the village. They also asked him to make his residence permanent, as a favor to them, and to no longer wander in the manner of a forest monk. Through the donation of a piece of land of approximately 64 acres (260,000 m²), he would be able to establish a monastery. Considering that his mother was very old and that it was appropriate for him to look after her, he accepted the offer and began to build this monastery |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 6, "sc": 1070, "ep": 6, "ec": 1607} | 161,631 | Q1438387 | 6 | 1,070 | 6 | 1,607 | Wat Pa Ban Tat | History of Ban Tat Monastery | in November 1955. It was named Wat Pa Ban Tat.
"This monastery has always been a place for meditation. Since the beginning it has been a place solely for developing the mind. I haven‘t let any other work disturb the place. If there are things which must be done, I‘ve made it a rule that they take up no more time than is absolutely necessary. The reason for this is that, in the eyes of the world and the Dhamma, this is a meditation temple. We‘re meditation monks. The work of the meditation monk was handed over to him on the |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 6, "sc": 1607, "ep": 6, "ec": 2122} | 161,631 | Q1438387 | 6 | 1,607 | 6 | 2,122 | Wat Pa Ban Tat | History of Ban Tat Monastery | day of his ordination by his Preceptor - in all its completeness. This is his real work, and it was taught in a form suitable for the small amount of time available during the ordination ceremony - five meditation objects to be memorized in forward and reverse order - and after that it‘s up to each individual to expand on them and develop them to whatever degree of breadth or subtlety he is able to. In the beginning the work of a monk is given simply as: Kesa - hair of the head, Loma - hair of the body, Nakha |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 6, "sc": 2122, "ep": 10, "ec": 318} | 161,631 | Q1438387 | 6 | 2,122 | 10 | 318 | Wat Pa Ban Tat | History of Ban Tat Monastery & The Wat and tigers | - nails, Danta - teeth, Taco - the skin which enwraps the body. This is the true work for those monks who practice according to the principles of Dhamma as were taught by the Lord Buddha.“ The Wat and tigers Along the Khon Kaen - Udon Thani highway, at kilometer-post 555, 7 kilometers from the town of Udon Thani, is an intersection in front of Kum Gling village. Here is a sign and an arrow pointing out the tarmac road to Ban Tat village. Eight kilometers further down the road from Ban Tat village is a piece of land cool, |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 10, "sc": 318, "ep": 10, "ec": 920} | 161,631 | Q1438387 | 10 | 318 | 10 | 920 | Wat Pa Ban Tat | The Wat and tigers | shady and quiet. It is covered with forest well looked after, and protected by a concrete wall that encircles the area. Since this monastery was established 30 years ago, the general condition of the forest remains as it originally was, lush in vegetation of many types and home to many types of forest animals. The overall view is that of forest hilltop surrounded by rice fields. This is probably the only unspoiled piece of forest left in Mueng district, Udon Thani Province.
"There were three tigers and about three leopards that came and went. The leopards walked around the dwellings but |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 10, "sc": 920, "ep": 10, "ec": 1453} | 161,631 | Q1438387 | 10 | 920 | 10 | 1,453 | Wat Pa Ban Tat | The Wat and tigers | weren‘t interested in human beings, only the dogs. They‘re used to eating animals, like dogs, which are dependent on man, and so whenever they hear a human voice anywhere, they‘ll sneak right in and peep around, looking here and there. If there are no dogs, they won‘t stick around long and will slip away. But if they find a dog, they‘ll keep after it until they catch it. They‘ll sneak around it and lie in wait, and as soon as the dog is off its guard, they‘ll immediately pounce on it. This is the way leopards are. So they were |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 10, "sc": 1453, "ep": 10, "ec": 2020} | 161,631 | Q1438387 | 10 | 1,453 | 10 | 2,020 | Wat Pa Ban Tat | The Wat and tigers | in this monastery around every dwelling area. How did we know? Well, isn‘t this place swept so that it‘s spotless? Even if a mouse runs by, don‘t we know about it? And these were big cats, so how could we help but see their tracks?“
The wilderness surrounding the monastery has disappeared since the area has been cleared for cultivation. The forest that remains inside the domain of the monastery is only a remnant of what the forest once was. Wat Pa Ban Tat has tried to conserve its remnant of the forest in its original, natural condition, so that monks, |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 10, "sc": 2020, "ep": 14, "ec": 144} | 161,631 | Q1438387 | 10 | 2,020 | 14 | 144 | Wat Pa Ban Tat | The Wat and tigers & The Relics of Saints | novices, and lay people can make use of its tranquility for the practice of the Dhamma taught by the Lord Buddha.
As the Venerable Acariya has taught repeatedly:
"From a desire to make this teaching a reality, and not just a ceremony, comes a model for a lifestyle devoted towards serious practice. As a consequence, life goes on here with the utmost simplicity - making do with what little one has - and with great contentment." The Relics of Saints In the display case stand urns containing the relics of Venerable Ajahn Sao Kantasilo Mahathera, Venerable Ajahn Mun, and Venerable Acariya Sing |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 14, "sc": 144, "ep": 14, "ec": 804} | 161,631 | Q1438387 | 14 | 144 | 14 | 804 | Wat Pa Ban Tat | The Relics of Saints | Khatayakhamo of Wat Pa Salawan. There also are pictures of the Elder Meditation Masters who followed them in the forest meditation tradition. These include: Venerable Acariya Waen Suchinno, Venerable Acariya Khao Analayo, Venerable Ajahn Lee Dhammadharo of Wat Asokaram, and Venerable Ajahn Fun Ajaro.
To these images, pictures and relics, the monks and novices pay their respects every morning and evening. From the sala are many paths running off towards the areas assigned as dwelling places for the monks and novices. The dwelling structures themselves - called kutis - are single units scattered throughout the dense forest. They stand fairly far |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 14, "sc": 804, "ep": 14, "ec": 1350} | 161,631 | Q1438387 | 14 | 804 | 14 | 1,350 | Wat Pa Ban Tat | The Relics of Saints | apart and are separated from each other by strips of forest dense enough so that the inhabitants can't see one another. The whole area is tranquil and quiet, more so than the front area of the monastery which we have just mentioned. A monk will stay alone at his kuti without interactions with others. He spends all his time concentrating on his own practice - exerting himself in the practice of sitting and walking meditation in the area of his own kuti as if he were the only person around. He doesn't stop to chat with others, but follows in |
{"datasets_id": 161631, "wiki_id": "Q1438387", "sp": 14, "sc": 1350, "ep": 14, "ec": 1422} | 161,631 | Q1438387 | 14 | 1,350 | 14 | 1,422 | Wat Pa Ban Tat | The Relics of Saints | full detail the methods and forest practices taught by the Lord Buddha. |
{"datasets_id": 161632, "wiki_id": "Q1061026", "sp": 2, "sc": 0, "ep": 6, "ec": 663} | 161,632 | Q1061026 | 2 | 0 | 6 | 663 | Western plantain-eater | Taxonomy | Western plantain-eater Taxonomy The western plantain-eater was described by the French polymath Georges-Louis Leclerc, Comte de Buffon in 1770 in his Histoire Naturelle des Oiseaux from a specimen collected in Senegal. The bird was also illustrated in a hand-coloured plate engraved by François-Nicolas Martinet in the Planches Enluminées D'Histoire Naturelle which was produced under the supervision of Edme-Louis Daubenton to accompany Buffon's text. Neither the plate caption nor Buffon's description included a scientific name but in 1783 the Dutch naturalist Pieter Boddaert coined the binomial name Falco piscator in his catalogue of the Planches Enluminées. The western plantain-eater is |
{"datasets_id": 161632, "wiki_id": "Q1061026", "sp": 6, "sc": 663, "ep": 6, "ec": 1342} | 161,632 | Q1061026 | 6 | 663 | 6 | 1,342 | Western plantain-eater | Taxonomy | now placed in the genus Crinifer that was erected by the Polish zoologist Feliks Paweł Jarocki in 1821. The generic name combines the Latin crinis meaning "hair" and -fer meaning "bearing". The specific name piscator is Latin for "fisherman.
The American ornithologist James L. Peters rejected the identification of Daubenton's plate with the western plantain-eater and instead used the specific epithet africanus that had been proposed by John Latham in 1790: "To recognize Daubenton's plate as representing Phasianus africanus Latham requires more imagination than I am capable of using." The plate may instead depict the African fish eagle. The western plantain-eater |
{"datasets_id": 161632, "wiki_id": "Q1061026", "sp": 6, "sc": 1342, "ep": 6, "ec": 1356} | 161,632 | Q1061026 | 6 | 1,342 | 6 | 1,356 | Western plantain-eater | Taxonomy | is monotypic. |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 2, "sc": 0, "ep": 6, "ec": 515} | 161,633 | Q856274 | 2 | 0 | 6 | 515 | Who's Afraid of Virginia Woolf? | Act One: "Fun and Games" | Who's Afraid of Virginia Woolf? Act One: "Fun and Games" George and Martha engage in dangerous emotional games. George is an associate professor of history and Martha is the daughter of the president of the college where George teaches. After they return home from a faculty party, Martha reveals she has invited a young married couple, whom she met at the party, for a drink. The guests arrive – Nick, a biology professor (who Martha thinks teaches math), and his wife, Honey. As the four drink, Martha and George engage in scathing verbal abuse of each other in front of |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 6, "sc": 515, "ep": 6, "ec": 1128} | 161,633 | Q856274 | 6 | 515 | 6 | 1,128 | Who's Afraid of Virginia Woolf? | Act One: "Fun and Games" | Nick and Honey. The younger couple is first embarrassed and later enmeshed. They stay.
Martha taunts George aggressively, and he retaliates with his usual passive aggression. Martha tells an embarrassing story about how she humiliated him with a sucker punch in front of her father. During the telling, George appears with a gun and fires at Martha, but an umbrella pops out. After this scare, Martha's taunts continue, and George reacts violently by breaking a bottle. Nick and Honey become increasingly unsettled and, at the end of the act, Honey runs to the bathroom to vomit, because she had too much |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 6, "sc": 1128, "ep": 10, "ec": 574} | 161,633 | Q856274 | 6 | 1,128 | 10 | 574 | Who's Afraid of Virginia Woolf? | Act One: "Fun and Games" & Act Two: "Walpurgisnacht" | to drink. Act Two: "Walpurgisnacht" Traditionally, "Walpurgisnacht" is the name of an annual witches' meeting (satiric in the context of the play). Nick and George are sitting outside. As they talk about their wives, Nick says that his wife had a "hysterical pregnancy". George tells Nick about a time that he went to a gin mill with some boarding school classmates, one of whom had accidentally killed his mother by shooting her. This friend was laughed at for ordering "bergin". The following summer, the friend accidentally killed his father while driving, was committed to an asylum, and never spoke again. |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 10, "sc": 574, "ep": 10, "ec": 1209} | 161,633 | Q856274 | 10 | 574 | 10 | 1,209 | Who's Afraid of Virginia Woolf? | Act Two: "Walpurgisnacht" | George and Nick discuss the possibility of having children and eventually argue and insult each other. After they rejoin the women in the house, Martha and Nick dance suggestively. Martha also reveals the truth about George's creative writing escapades: he had tried to publish a novel about a boy who accidentally killed both of his parents (with the implication that the deaths were actually murder), but Martha's father would not let it be published. George responds by attacking Martha, but Nick separates them.
George suggests a new game called "Get the Guests". George insults and mocks Honey with an extemporaneous tale |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 10, "sc": 1209, "ep": 10, "ec": 1819} | 161,633 | Q856274 | 10 | 1,209 | 10 | 1,819 | Who's Afraid of Virginia Woolf? | Act Two: "Walpurgisnacht" | of "the Mousie" who "tooted brandy immodestly and spent half her time in the upchuck". Honey realizes that the story is about her and her "hysterical pregnancy". The implication is that she trapped Nick into marrying her because of a false pregnancy. She feels sick and runs to the bathroom again.
At the end of this scene, Martha starts to act seductively towards Nick in George's presence. George pretends to react calmly, reading a book. As Martha and Nick walk upstairs, George throws his book against the door. In all productions until 2005, Honey returns, wondering who rang the doorbell (Martha |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 10, "sc": 1819, "ep": 14, "ec": 256} | 161,633 | Q856274 | 10 | 1,819 | 14 | 256 | Who's Afraid of Virginia Woolf? | Act Two: "Walpurgisnacht" & Act Three: "The Exorcism" | and Nick had knocked into some bells). George comes up with a plan to tell Martha that their son has died, and the act ends with George eagerly preparing to tell her. In what is labeled the "Definitive Edition" of the script, however, the second act ends before Honey arrives. Act Three: "The Exorcism" The term exorcism means the expulsion or attempted expulsion of a supposed evil spirit from a person or place. In this act, it seems that Martha and George intend to remove the great desire they have always had for a child through continuing their story of |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 14, "sc": 256, "ep": 14, "ec": 822} | 161,633 | Q856274 | 14 | 256 | 14 | 822 | Who's Afraid of Virginia Woolf? | Act Three: "The Exorcism" | their imagined son and his death.
Martha appears alone in the living room, shouting at the others to come out from hiding. Nick joins her. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, "Flores para los muertos" (flowers for the dead), a reference to the play and movie A Streetcar Named Desire, also about a marriage and outside influences. Martha and George argue about whether the moon is up or down: George insists it is up, while Martha says she saw no moon from the bedroom. This leads to a discussion in which |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 14, "sc": 822, "ep": 14, "ec": 1440} | 161,633 | Q856274 | 14 | 822 | 14 | 1,440 | Who's Afraid of Virginia Woolf? | Act Three: "The Exorcism" | Martha and George insult Nick in tandem, an argument revealing that Nick was too drunk to have sex with Martha upstairs.
George asks Nick to bring Honey back for the final game – "Bringing Up Baby". George and Martha have a son, about whom George has repeatedly told Martha to keep quiet. George talks about Martha's overbearing attitude toward their son. He then prompts her for her "recitation", in which they describe, in a bizarre duet, their son's upbringing. Martha describes their son's beauty and talents and then accuses George of ruining his life. As this segment progresses, George recites sections |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 14, "sc": 1440, "ep": 14, "ec": 2028} | 161,633 | Q856274 | 14 | 1,440 | 14 | 2,028 | Who's Afraid of Virginia Woolf? | Act Three: "The Exorcism" | of the Libera me (part of the Requiem Mass, the Latin mass for the dead).
At the end of the play, George informs Martha that a messenger from Western Union arrived at the door earlier with a telegram saying their son was "killed late in the afternoon...on a country road, with his learner's permit in his pocket" and that he "swerved, to avoid a porcupine". The description matches that of the boy in the gin mill story told earlier. Martha screams, "You can't do that!" and collapses.
It becomes clear to the guests that George and Martha's son is a mutually agreed-upon |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 14, "sc": 2028, "ep": 18, "ec": 17} | 161,633 | Q856274 | 14 | 2,028 | 18 | 17 | Who's Afraid of Virginia Woolf? | Act Three: "The Exorcism" & Reality and illusion | fiction. The fictional son is a final "game" the two have been playing since discovering early in their marriage that they are infertile. George has decided to "kill" him because Martha broke the game's single rule: never mention their son to others. Overcome with horror and pity, Nick and Honey leave. Martha suggests they could invent a new imaginary child, but George forbids the idea, saying it was time for the game to end. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George...I am." Reality and illusion While other plays |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 18, "sc": 17, "ep": 18, "ec": 635} | 161,633 | Q856274 | 18 | 17 | 18 | 635 | Who's Afraid of Virginia Woolf? | Reality and illusion | establish the difference between reality and illusion, Who's Afraid of Virginia Woolf? starts out with the latter but leans to the former. More specifically, "George and Martha have evaded the ugliness of their marriage by taking refuge in illusion." The disappointment that is their life together leads to the bitterness between them. Having no real bond, or at least none that either is willing to admit, they become dependent upon a fake child.
The fabrication of a child, as well as the impact its supposed demise has on Martha, questions the difference between deception and reality. As if to spite their |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 18, "sc": 635, "ep": 22, "ec": 54} | 161,633 | Q856274 | 18 | 635 | 22 | 54 | Who's Afraid of Virginia Woolf? | Reality and illusion & Critique of societal expectations | efforts, the contempt that Martha and George have for one another causes the destruction of their illusion. This lack of illusion does not result in any apparent reality. "All truth", as George admits, "[becomes] relative".
In addition, through the fabrication of a child and invention of some silly games, Martha and George intend to escape their problems, including infertility, and to reduce their tensions. As Martha says, "Awww, 'tis the refuge we take when the unreality of the world weighs too heavy on our tiny heads" (198). Critique of societal expectations Christopher Bigsby asserts that this play stands as an |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 22, "sc": 54, "ep": 22, "ec": 689} | 161,633 | Q856274 | 22 | 54 | 22 | 689 | Who's Afraid of Virginia Woolf? | Critique of societal expectations | opponent of the idea of a perfect American family and societal expectations as it "attacks the false optimism and myopic confidence of modern society". Albee takes a heavy-handed approach to the display of this contrast, making examples out of every character and their own expectations for the people around them. Societal norms of the 1950s consisted of a nuclear family, two parents and two (or more) children. This conception was picturesque in the idea that the father was the breadwinner, the mother was a housewife, and the children were well behaved.
Who's Afraid of Virginia Woolf? smashes these conventions and shows |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 22, "sc": 689, "ep": 26, "ec": 132} | 161,633 | Q856274 | 22 | 689 | 26 | 132 | Who's Afraid of Virginia Woolf? | Critique of societal expectations & Title | realistic families that are far from perfect and possibly ruined. The families of Honey and Martha were dominated by their fathers, there being no sign of a mother figure in their lives. George and Martha's chance at a perfect family was ruined by infertility and George's failure at becoming a prominent figure at the university. Being just a few of many, these examples directly challenge social expectations both within and outside of a family setting. Title The play's title, which alludes to the English novelist Virginia Woolf, is also a reference to the song "Who's Afraid of the Big Bad |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 26, "sc": 132, "ep": 26, "ec": 691} | 161,633 | Q856274 | 26 | 132 | 26 | 691 | Who's Afraid of Virginia Woolf? | Title | Wolf?" from Walt Disney's animated version of The Three Little Pigs. Because the rights to the Disney song are expensive, most stage versions, and the film, have Martha sing to the tune of "Here We Go Round the Mulberry Bush", a melody that fits the meter fairly well and is in the public domain. In the first few moments of the play, it is revealed that someone sang the song earlier in the evening at a party, although who first sang it (Martha or some other anonymous party guest) remains unclear. Martha repeatedly needles George over whether he found it |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 26, "sc": 691, "ep": 26, "ec": 1268} | 161,633 | Q856274 | 26 | 691 | 26 | 1,268 | Who's Afraid of Virginia Woolf? | Title | funny.
Albee described the inspiration for the title thus:
I was in there [a saloon in New York] having a beer one night, and I saw "Who's Afraid of Virginia Woolf?" scrawled in soap, I suppose, on this mirror. When I started to write the play it cropped up in my mind again. And of course, who's afraid of Virginia Woolf means who's afraid of the big bad wolf . . . who's afraid of living life without false illusions. And it did strike me as being a rather typical, university intellectual joke.
Notably, the title can also be found five years before |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 26, "sc": 1268, "ep": 30, "ec": 97} | 161,633 | Q856274 | 26 | 1,268 | 30 | 97 | Who's Afraid of Virginia Woolf? | Title & Characters | the play's premiere in a 1957 issue of The New Yorker. The passage provides an echo, and perhaps acts as another context, for Albee's own remembrance:
A coffee fiend we know dropped into an espresso joint in Greenwich Village the other day and found himself whiling away his time reading the graffiti on the wall beside his chair. Most of the stuff was pretty humdrum, but he was arrested by a legend, done in elegant calligraphy, that read, "Who's afraid of Virginia Woolf?" Characters In an interview, Albee acknowledged that he based the characters of Martha and George on his good |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 30, "sc": 97, "ep": 32, "ec": 19} | 161,633 | Q856274 | 30 | 97 | 32 | 19 | Who's Afraid of Virginia Woolf? | Characters & Original production | friends, New York socialites Willard Maas and Marie Menken. Maas was a professor of literature at Wagner College (one similarity between the character George and Willard) and his wife Marie was an experimental filmmaker and painter. Maas and Menken were known for their infamous salons, where drinking would "commence at 4 pm on Friday and end in the wee hours of night on Monday" (according to Gerard Malanga, a Warhol associate and friend to Maas). The primary conflict between George and Martha in Who's Afraid of Virginia Woolf? derived from Maas and Menken's tempestuous and volatile relationship. Original production |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 34, "sc": 0, "ep": 34, "ec": 627} | 161,633 | Q856274 | 34 | 0 | 34 | 627 | Who's Afraid of Virginia Woolf? | Original production | Who's Afraid of Virginia Woolf? opened on Broadway at the Billy Rose Theatre on October 13, 1962. The original cast featured Uta Hagen as Martha, Arthur Hill as George, Melinda Dillon as Honey and George Grizzard as Nick. It was directed by Alan Schneider. Subsequent cast members included Henderson Forsythe, Eileen Fulton, Mercedes McCambridge, and Elaine Stritch.
Because of the unusual length of the play (over three hours), the producers also cast a matinee company that performed twice a week that featured Kate Reid as Martha, Shepperd Strudwick as George, Avra Petrides as Honey and Bill Berger as Nick. As with |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 34, "sc": 627, "ep": 38, "ec": 425} | 161,633 | Q856274 | 34 | 627 | 38 | 425 | Who's Afraid of Virginia Woolf? | Original production & Original Broadway cast album | the evening company, these matinee performances also sold out.
The play closed May 16, 1964, after five previews and 664 performances. It opened in London for the first time in 1965, starring Constance Cummings. Original Broadway cast album In 1963, Columbia Masterworks released a four-LP (long-playing) boxed recording of the original Broadway cast performing the entire play under the direction of Alan Schneider.
The release contained a sixteen-page booklet with photos from the original production, critical essays by Harold Clurman and Walter Kerr, cast and crew biographies, and a short article by Goddard Lieberson on the task of recording the play. |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 38, "sc": 425, "ep": 42, "ec": 39} | 161,633 | Q856274 | 38 | 425 | 42 | 39 | Who's Afraid of Virginia Woolf? | Original Broadway cast album & Notable productions | The introduction is by Edward Albee, in which he relates, "I cannot conceive of anyone wanting to buy [this] massive album; but...every playwright wants as much permanence for his work as he can get."
The recording was issued in both stereo (DOS 687) and monaural (DOL 287) formats. It was out of print for many years, was not released in other formats, and is highly prized among collectors, as a play with such adult themes had never been recorded for the general public before.
It was finally re-released in 2014 by Broadway Masterworks. Notable productions In 1970, Henry Fonda and Richard Burton |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 42, "sc": 39, "ep": 42, "ec": 722} | 161,633 | Q856274 | 42 | 39 | 42 | 722 | Who's Afraid of Virginia Woolf? | Notable productions | attempted to recruit Warren Beatty and Jon Voight for an all-male production, but permission was denied by Edward Albee.
Colleen Dewhurst and Ben Gazzara starred in a 1976 Broadway revival.
Mike Nichols and Elaine May starred in a 1980 production in New Haven.
Diana Rigg and David Suchet starred in a 1996 production of the play at the Almeida Theatre in London before transferring to the Aldwych Theatre in London's West End in 1997.
A student-directed production employed a theater-in-the-round set in February 2004 at Bentley School in Lafayette, California.
The play was revived on Broadway at the Longacre Theatre, opening on March 12, |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 42, "sc": 722, "ep": 42, "ec": 1318} | 161,633 | Q856274 | 42 | 722 | 42 | 1,318 | Who's Afraid of Virginia Woolf? | Notable productions | 2005 in previews and closing on September 4, 2005 after 177 performances and 8 previews. Directed by Anthony Page the cast starred Kathleen Turner as Martha and Bill Irwin as George, with Mireille Enos (Honey) and David Harbour (Nick). Irwin won the 2005 Tony Award for Best Actor for his role. The production transferred to London's West End at the Apollo Theatre with the entire original cast, running from January 31, 2006 to May 13, 2006. In January 2007, the Turner-Irwin production played at the Kennedy Center in Washington, D.C., for a month-long run. On February 6, 2007, the production |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 42, "sc": 1318, "ep": 42, "ec": 1952} | 161,633 | Q856274 | 42 | 1,318 | 42 | 1,952 | Who's Afraid of Virginia Woolf? | Notable productions | began a six-week run at the Ahmanson Theatre in Los Angeles.
The play toured in the US and played in San Francisco at the Golden Gate Theater from April 11 to May 12, 2007.
On December 12, 2010, the Steppenwolf Theatre in Chicago began performances of the play featuring Amy Morton as Martha, Tracy Letts (the Pulitzer Prize-winning playwright of August: Osage County) as George, Carrie Coon, and Madison Dirks. The production was directed by Pam MacKinnon, who previously directed the premieres of Albee's Peter and Jerry and Occupant. This production began previews on Broadway at the Booth Theatre on September 27, |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 42, "sc": 1952, "ep": 42, "ec": 2601} | 161,633 | Q856274 | 42 | 1,952 | 42 | 2,601 | Who's Afraid of Virginia Woolf? | Notable productions | 2012, with an opening of October 13, 2012, 50 years after the original Broadway opening. Pam MacKinnon again was the director, with the Steppenwolf Theatre cast reprising their roles. The production and cast received praise from The New York Times reviewer Charles Isherwood.
Meg Tilly returned to acting in 2011 playing Martha in a production by Blue Bridge Repertory Theatre. The show ran July 5, 2011 through July 17, 2011 in Victoria, British Columbia.
On February 21, 2017, a production of the play directed by James Macdonald began at the Harold Pinter Theatre in London, featuring Imelda Staunton, Conleth Hill, Imogen Poots, |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 42, "sc": 2601, "ep": 46, "ec": 146} | 161,633 | Q856274 | 42 | 2,601 | 46 | 146 | Who's Afraid of Virginia Woolf? | Notable productions & Dance interpretation | and Luke Treadaway. The show ran until May 27, 2017.
A planned Broadway revival will premiere on March 2, 2020 in previews and officially on April 9, in a production directed by Joe Mantello and produced by Scott Rudin. It will star Laurie Metcalf, Rupert Everett, Russell Tovey, and Patsy Ferran. Eddie Izzard was previously set to play George, but it was announced on September 11, 2019 that Everett would replace him. Dance interpretation In 1995 and '96 the Canadian One Yellow Rabbit troup mounted a homage in dance to playwright Edward Albee called Permission in the form of an hour |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 46, "sc": 146, "ep": 54, "ec": 208} | 161,633 | Q856274 | 46 | 146 | 54 | 208 | Who's Afraid of Virginia Woolf? | Dance interpretation & Sequels and parodies & Awards | long ballet inspired by Who's Afraid of Virginia Woolf. They performed it in their home city of Calgary, as well as in Toronto, Phoenix, Guadalajara, and Mexico City. Sequels and parodies In 2018 the Elevator Repair Service premiered a sequel written by Kate Scelsa, titled Everyone's Fine with Virginia Woolf. This play introduces new plot elements such as vampirism. Awards Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962–63 New York Drama Critics' Circle Award for Best Play. Its stars won the 1963 Tony Awards for Best Actor and Actress as |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 54, "sc": 208, "ep": 58, "ec": 67} | 161,633 | Q856274 | 54 | 208 | 58 | 67 | Who's Afraid of Virginia Woolf? | Awards & Film | well. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board – the trustees of Columbia University – objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, awarding no Pulitzer Prize for drama in 1963.
The 2012 revival won the 2013 Tony Award, Best Revival Of A Play, Best Performance By An Actor In A Leading Role In A Play (Letts) and Best Direction Of A Play (MacKinnon). Film A film adaptation of the play was released in 1966. It was directed |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 58, "sc": 67, "ep": 58, "ec": 656} | 161,633 | Q856274 | 58 | 67 | 58 | 656 | Who's Afraid of Virginia Woolf? | Film | by Mike Nichols and starred Elizabeth Taylor as Martha, Richard Burton as George, George Segal as Nick and Sandy Dennis as Honey. All four major actors were nominated for Academy Awards: Taylor and Burton for Best Actress and Actor and Dennis and Segal for Supporting Oscars. Both actresses won – Elizabeth Taylor won the Oscar for Best Actress but Richard Burton was passed over that year in favor of Paul Scofield in A Man For All Seasons. Sandy Dennis won the Oscar for Best Actress in a Supporting Role.
Jack Valenti identified the film as the first controversial movie he had |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 58, "sc": 656, "ep": 62, "ec": 52} | 161,633 | Q856274 | 58 | 656 | 62 | 52 | Who's Afraid of Virginia Woolf? | Film & Original film soundtrack album | to deal with as president of the Motion Picture Association of America (MPAA). The movie was the first to use the word "screw" and the phrase "hump the hostess" on screen. As he said, "In company with the MPAA's general counsel, Louis Nizer, I met with Jack Warner, the legendary chieftain of Warner Bros., and his top aide, Ben Kalmenson. We talked for three hours, and the result was deletion of 'screw' and retention of 'hump the hostess', but I was uneasy over the meeting." Original film soundtrack album The film was given a "Deluxe Edition Two-Record Set" |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 62, "sc": 52, "ep": 62, "ec": 627} | 161,633 | Q856274 | 62 | 52 | 62 | 627 | Who's Afraid of Virginia Woolf? | Original film soundtrack album | soundtrack album release in 1967 by Warner Bros. Records, and was the first film to have its vocals be released in their entirety on an album, as the film (at that time) could never be shown in reruns on network television. It contains the vocals of the four actors performing in the film with the only piece of music heard throughout the entire album is a song titled "Virginia Woolf Rock" that plays while Martha and Nick are dancing (but plays a little differently than it does in the film).
In at least two instances alternate takes were used: Taylor's memorable |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 62, "sc": 627, "ep": 62, "ec": 1186} | 161,633 | Q856274 | 62 | 627 | 62 | 1,186 | Who's Afraid of Virginia Woolf? | Original film soundtrack album | "Goddamn you!" line is restored to "Screw you!", and some of the dialogue from the dancing sequence was lifted from another take. As Martha tells her story about punching George in the stomach in front of her father to Nick and Honey, it is heard very clearly while in the film it became distant and muffled as the camera followed George into another room to get a gun. The album also ran a half-hour shorter than the movie as most pauses and long silent moments were removed. However, virtually every line remains intact. The album's cover has the four main |
{"datasets_id": 161633, "wiki_id": "Q856274", "sp": 62, "sc": 1186, "ep": 66, "ec": 196} | 161,633 | Q856274 | 62 | 1,186 | 66 | 196 | Who's Afraid of Virginia Woolf? | Original film soundtrack album & Print edition | actors on the cover and the back cover has some background information about the four actors, information about the five-month shooting schedule, some information about Albee and a brief synopsis of the film. This album is also out of print, was never released in any other formats, and is also highly prized among collectors. Print edition The print edition of the play was published in 1962 and was one of the early releases of Antheneum Publishers. The print edition went on to sell over 70,000 copies in hard and soft cover editions. |
{"datasets_id": 161634, "wiki_id": "Q8001237", "sp": 2, "sc": 0, "ep": 6, "ec": 555} | 161,634 | Q8001237 | 2 | 0 | 6 | 555 | Wildflower (Skylark song) | Skylark recording | Wildflower (Skylark song) Skylark recording Doug Edwards was a member of Skylark, and Dave Richardson was a friend of band member and organizer David Foster. "Wildflower" was a song which Edwards composed after reading Richardson's poem; the song was included on the band's demo tape. Barry De Vorzon, by 1972 an established music business name, heard the demo tape and was convinced that the song would be a big hit. After the demo was rejected by several studios, an executive at Capitol Records signed the band and the song was included on their eponymous first album. The initial single released |
{"datasets_id": 161634, "wiki_id": "Q8001237", "sp": 6, "sc": 555, "ep": 6, "ec": 1166} | 161,634 | Q8001237 | 6 | 555 | 6 | 1,166 | Wildflower (Skylark song) | Skylark recording | from the album was not successful. Rosalie Trombley, a music director at CKLW, a Canadian radio station in Windsor, Ontario, played "Wildflower", at that time an album cut, repeatedly for three months in an effort to satisfy the Canadian government's requirements for Canadian content. During that period, it was the only radio station in North America to have the song on its playlist. Capitol decided to release the song in neighboring Detroit as a regional release, where it became a huge soul hit before breaking out nationally and crossing over to the pop charts. Eventually "Wildflower" spent 21 weeks on |
{"datasets_id": 161634, "wiki_id": "Q8001237", "sp": 6, "sc": 1166, "ep": 10, "ec": 106} | 161,634 | Q8001237 | 6 | 1,166 | 10 | 106 | Wildflower (Skylark song) | Skylark recording & Other versions | the Billboard pop chart. The song proved to be extremely popular in Canada as well; it ultimately peaked at number 10 on the RPM Top Singles chart, and number 1 on the Adult Contemporary chart. Total sales of the single exceeded one million copies, and it was included on their second album as well, at the request of Capitol Records executives who sought to capitalize on the song's success. Ultimately, the song was their only single to chart in the United States. Other versions "Wildflower" has been covered by many artists, including Color Me Badd, Hank Crawford, Johnny Mathis, Lisa |
{"datasets_id": 161634, "wiki_id": "Q8001237", "sp": 10, "sc": 106, "ep": 10, "ec": 638} | 161,634 | Q8001237 | 10 | 106 | 10 | 638 | Wildflower (Skylark song) | Other versions | Fischer, Gary Morris, New Birth, The O'Jays, Marlena Shaw, Lana Wolf, and Silk. The Gary Morris version of the song was released as a single in 1986, and reached number 21 on the RPM Adult Contemporary chart in February of that year. The Hank Crawford recording of "Wildflower" was sampled by Tupac Shakur on his song "Shorty Wanna Be a Thug" and by Kanye West and Paul Wall on their song "Drive Slow"; This track was used by a young Eminem on The Slim Shady EP in 1997 with the track "No One's Iller". The Hank Crawford cover was |
{"datasets_id": 161634, "wiki_id": "Q8001237", "sp": 10, "sc": 638, "ep": 10, "ec": 983} | 161,634 | Q8001237 | 10 | 638 | 10 | 983 | Wildflower (Skylark song) | Other versions | also more recently sampled by Boi-1da on the Lil Wayne Feature "Miss Me" from labelmate Drake's debut album Thank Me Later and in 2009 by J. Cole for his track "Dreams" from his mixtape The Warm Up. In 2017, it was covered by Arnel Pineda of Journey and serves as the main theme song of the TV drama series of the same title in the Philippines. |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 2, "sc": 0, "ep": 6, "ec": 10} | 161,635 | Q8011904 | 2 | 0 | 6 | 10 | William Henry Bramble | Early life | William Henry Bramble William Henry Bramble (October 8, 1901 – October 17, 1988), also known as Willy B, was a union leader and a political-party leader from Montserrat; from his Montserrat Labour Party, he was the first Chief Minister of the country, serving from January 1960 to December 1970.
Owing to his social compromise for the poor and political action, Bramble is generally regarded as a "national hero", and the former national airport of Montserrat had been named after him until it was destroyed by the 1997 eruption of the Soufrière Hills volcano which virtually buried half the nation. Early life |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 8, "sc": 0, "ep": 8, "ec": 626} | 161,635 | Q8011904 | 8 | 0 | 8 | 626 | William Henry Bramble | Early life | William Bramble was the son of J. T. Allen, a famous social activist, and Mary Ryan, a conventional lower class woman. William had started primary school, yet he was economically unable to finish it. It was the mother who mostly took care of him during those early years; William worked the soil of their poor farm, while learning for trade activities as well.
By the 1920s, William Bramble had joined the Seventh-day Adventist Church, initially as an enthusiastic member, then with a waning participation. In those years, he lived of peddling religious books round Montserrat and Dominica. The British colonial office |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 8, "sc": 626, "ep": 8, "ec": 1259} | 161,635 | Q8011904 | 8 | 626 | 8 | 1,259 | William Henry Bramble | Early life | encouraged lime cultivation on Montserrat in the late 1800s. As demand for the product increased the British established lime farms on Dominica in the early 1900s for which they hired labor from Montserrat and encouraged settlement.
In 1930, Bramble got married to Ann Daly, who was a strict Adventist instead. They begot five children (P. Austin, Doris, Laurel, Howell, and Olga), of whom the oldest would get into politics as well. For supporting his large family, Bramble had forcibly to start further economic activities; he acquired a small boat and smuggled between the island nations of the Leeward Islands: animals, |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 8, "sc": 1259, "ep": 12, "ec": 525} | 161,635 | Q8011904 | 8 | 1,259 | 12 | 525 | William Henry Bramble | Early life & Union and party leader | cooking oil, and vegetables of Montserrat, and salt of Anguilla Union and party leader In his travels, Bramble became acquainted with the regional efforts for unionism, although he would earnestly start involvement in 1951, when joining the incipient Montserrat Trades and Labor Union (MTLU), in the years of its most virulent actions. He challenged Robert Griffith for leadership of the organization and was backed by the influential teacher and unionist, Ellen Peters, who saw him as a man of action with a viable plan for development. Once Bramble gained leadership of the MTLU, he used it as a springboard to |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 12, "sc": 525, "ep": 16, "ec": 66} | 161,635 | Q8011904 | 12 | 525 | 16 | 66 | William Henry Bramble | Union and party leader & 1952: winning the free elections | propel him into the political arena.
William Bramble became a local leader, against the alleged economic oppression of the planter owners and the political rulers; reportedly, by then the agricultural wages were well below the level of subsistence. Hence, Bramble adopted such causes, particularly organizing periodic strike actions; in a speech for the 1952 elections he stated: "Listen to me, you landless people, you people, the industrial machinery of this country, arise, and throw off the yoke that binds you like slaves to the Wade Plantation." 1952: winning the free elections Originally, William Bramble had been unable to vote in Montserrat, |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 16, "sc": 66, "ep": 16, "ec": 721} | 161,635 | Q8011904 | 16 | 66 | 16 | 721 | William Henry Bramble | 1952: winning the free elections | never fulfilling the requirements of property and income for enfranchisement. In 1952 the country allowed the universal adult suffrage for the first time, and then Bramble capitalized it, forging his own political power since then. Bramble actively participated in the 1952 elections, as the MTLU formed the Montserrat Labour Party, which won all five seats in the Montserrat. Bramble would eventually take the reins of the party. The party went on to win the 1955 and 1958 elections.
Bramble found appreciation and support nationally and abroad including England; even the rivaling popular leaders joined the most pragmatic Bramble in his causes |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 16, "sc": 721, "ep": 20, "ec": 164} | 161,635 | Q8011904 | 16 | 721 | 20 | 164 | William Henry Bramble | 1952: winning the free elections & Regional policies | against social oppression. However, in 1958 the Malone Commission of Inquiry, which attended labor disputes, accused Bramble, as he would have been attempting just to gain political power for himself through his political actions.
During his entire political career from 1952 to 1970, William Bramble would win five general elections, until being defeated by Eustace Dyer. Additionally, in 1958 Bramble won the elections for representative of the short lived West Indies Federal Parliament. Regional policies Since early, William Bramble was pledged for rejecting any integration into any of the regional federations of West Indies nations, which were in vogue during those |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 20, "sc": 164, "ep": 24, "ec": 380} | 161,635 | Q8011904 | 20 | 164 | 24 | 380 | William Henry Bramble | Regional policies & National development | years. Instead, Bramble preferred the conventional financial support of a British colony, manifesting doubts that the so tiny Montserrat might survive as an independent territory; to share the government with the royal authorities it wasn't a practical problem for the national development. National development William Bramble was invested as the first Chief Minister of Montserrat in 1960 after constitutional changes introduced ministerial government; by then the cotton production was in a decline, as the workers were rather emigrating to United Kingdom. Coping with this situation, he formulated an economic project, with three objectives: the diversification of the exploitation of the |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 24, "sc": 380, "ep": 24, "ec": 1053} | 161,635 | Q8011904 | 24 | 380 | 24 | 1,053 | William Henry Bramble | National development | rich soil of the country for exporting regionally, the development of the industry of tourism, and the development of a strong offshore banking through taxation exemption.
For the development of the tourism, in 1961 William Bramble founded the Montserrat Real State Company, which built about 100 buildings for the foreign tourism. This effectively boosted the national income, forging a new, positive character of the nation which lasted until the eruption of the Soufriere Hills, in the 1990s with the massive destruction of the country. Indeed, until such nefarious event Bramble was regarded as the father of the modern Montserrat.
William Bramble also |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 24, "sc": 1053, "ep": 28, "ec": 87} | 161,635 | Q8011904 | 24 | 1,053 | 28 | 87 | William Henry Bramble | National development & Social reforms | supported the establishment of the powerful Radio Antilles; Bramble had to insist for convincing the British authorities for it, and the powerful station finally started operating in 1963, successfully broadcasting news for the whole Caribbean region. Also for 1963, William Bramble managed negotiating with the British government, so the 12,000 inhabitants of Montserrat got electric supply with affordable fees for the first time; Bramble had pledged the regular acquisition in advance of a determined quote of energy, and so the local plant was granted. Social reforms This occurred with radical social reforms particularly for the poor people, as both his |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 28, "sc": 87, "ep": 28, "ec": 773} | 161,635 | Q8011904 | 28 | 87 | 28 | 773 | William Henry Bramble | Social reforms | party and his trade union worked almost as a single entity.
In particular, William Bramble interceded with the owners of the Wade plantation company, for the development of housing for their workers; initially just within some parcels of that company, then throughout Montserrat, both the employers and their workers helped erecting new neighborhoods. This directly ensued in the formation of a middle class, whose residences have reportedly been of the best ones in Caribbean region.
By 1957, William Bramble was expressing concern about the countryside children of Montserrat, whose broad majority was illiterate; by 1969, he instead stated that by his administration |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 28, "sc": 773, "ep": 32, "ec": 605} | 161,635 | Q8011904 | 28 | 773 | 32 | 605 | William Henry Bramble | Social reforms & Politics | all those children were already attending school. Politics During Bramble's tenure, the small Progressive Labour Party functioned as opposition, although it wouldn't ever pose much hindrance to the official policies. The MLP won elections comfortably in 1961 and 1966. It was by 1970 that Bramble and his Montserrat Labour Party faced actual political troubles. Boosting the tourism industry, William Bramble was allegedly too enthusiastic for the building of new establishments either for vacationing or retirement, but the Progressive Democratic Party of his son P. Austin Bramble was opposed to it. People agreed with the latter providing a landslide triumph in |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 32, "sc": 605, "ep": 36, "ec": 90} | 161,635 | Q8011904 | 32 | 605 | 36 | 90 | William Henry Bramble | Politics & Death | the 1970 elections, and so William Henry Bramble lost the Chief Minister's office, while his MLP was left without representatives in the Legislative Council.
Still, William Bramble underwent some criticism, particularly about his authoritarian demeanor amongst his intimates. Another source of controversy were the investments of tourism, which allegedly would have removed lands from agricultural projects. Another setback was due to the Canadian Leeward Islands Company Limited, which settled in 1960, eventually exploiting the tomato production almost without economic reward for the locals. Death William Bramble died in 1988; he was the first national figure to have a state funeral and |
{"datasets_id": 161635, "wiki_id": "Q8011904", "sp": 36, "sc": 90, "ep": 36, "ec": 224} | 161,635 | Q8011904 | 36 | 90 | 36 | 224 | William Henry Bramble | Death | he has the honour of being Montserrat's first National Hero. In 1995, the international airport of Montserrat was renamed, after him. |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 2, "sc": 0, "ep": 6, "ec": 598} | 161,636 | Q21069822 | 2 | 0 | 6 | 598 | William Hood Dunwoody | Early years and family | William Hood Dunwoody Early years and family Of Scottish descent, Dunwoody was a Quaker but worshiped as a Presbyterian at Westminster Presbyterian Church. In 1684 his maternal ancestors John and Ann Hood and their family emigrated from Castle Donington in Leicestershire to Pennsylvania. Dunwoody visited the area in 1893, when he and the genealogist he hired tried and failed to find a Quaker meeting place.
He was born March 14, 1841, in Westtown, Pennsylvania, about eleven miles from Philadelphia, to James and Hannah (Hood) Dunwoody, who were farmers. He had two brothers—Evan, who lived in Colorado Springs and survived him, and |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 6, "sc": 598, "ep": 6, "ec": 1191} | 161,636 | Q21069822 | 6 | 598 | 6 | 1,191 | William Hood Dunwoody | Early years and family | John, who died in Minneapolis. Dunwoody went to local country schools, and at fourteen he attended an academy in Philadelphia. He then worked for five years with his uncle Ezekiel Dunwoody, who owned a grain and feed business in Philadelphia. Then as senior partner at age 23, he started his own business, Dunwoody & Robertson, and became a flour merchant.
He and Kate L. Dunwoody (née Patten) married in 1868; they had no children. They made a permanent move to Minneapolis in 1869, when Dunwoody was 28. William Channing Whitney built their first home at Mary Place & 10th Street in |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 6, "sc": 1191, "ep": 10, "ec": 329} | 161,636 | Q21069822 | 6 | 1,191 | 10 | 329 | William Hood Dunwoody | Early years and family & Minneapolis flour milling | 1882, and they later donated the house to the Woman's Boarding Home.
Whitney built their second home in 1905. Called Overlook, the Tudor Revival house had 42 rooms. After a 20-year battle between the neighborhood association and a developer, it was demolished in 1967. Minneapolis flour milling To start, Dunwoody represented businesses in the east as a flour buyer. In 1871 his business was organized as Tiffany, Dunwoody & Co., under which he owned and managed the Arctic mill; Dunwoody also owned and managed the Union mill and was a member of H. Darrow & Company.
Dunwoody distinguished himself by organizing the |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 10, "sc": 329, "ep": 10, "ec": 1026} | 161,636 | Q21069822 | 10 | 329 | 10 | 1,026 | William Hood Dunwoody | Minneapolis flour milling | Minneapolis Miller's Association, under which millers for a time cooperated in buying wheat. The organization became the Minneapolis Chamber of Commerce.
He agreed with Cadwallader C. Washburn that flour could be sold directly to the United Kingdom and in 1877 Washburn arranged his trip there. Through "clouds of insults, uncertanties, and rumors," "Dunwoody made his quiet way." Eventually in 1878 English bakers realized that American flour made more loaves per barrel than English flour. Dunwoody overcame "most determined opposition", successfully arranged for direct export, and set patterns of business that persisted for years. Exports to the United Kingdom and continental Europe |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 10, "sc": 1026, "ep": 10, "ec": 1667} | 161,636 | Q21069822 | 10 | 1,026 | 10 | 1,667 | William Hood Dunwoody | Minneapolis flour milling | increased from a few hundred barrels in 1877 or 1878 to four million barrels in 1895. By 1900 exports peaked at about one third the output of Minneapolis mills.
He became a silent partner in Washburn-Crosby & Company (which became General Mills) with Washburn, John Crosby and Charles Martin. There he oversaw the development of the production of "new process" white flour. The prevailing motto of the time, reflecting Dunwoody's influence and the company's deep conservatism, was, "Addition, division, silence." A reserved and shrewd capitalist, he served a time as vice president of the company and was sometimes in demand because |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 10, "sc": 1667, "ep": 10, "ec": 2312} | 161,636 | Q21069822 | 10 | 1,667 | 10 | 2,312 | William Hood Dunwoody | Minneapolis flour milling | of his banking connections.
In 1888, after Washburn had died and Dunwoody himself was ill, he traveled to Philadelphia to recruit James Stroud Bell (father of James Ford Bell, who founded General Mills in 1928). After the Pillsbury company was sold to foreign investors, in 1889 Dunwoody helped Bell stop an English syndicate from buying their company. Then United States Milling Company of New York started to speculate and succeeded in buying the rival Northwestern Consolidated. In 1898 Dunwoody bought 75% of his company from the surviving Washburn brothers, preventing a takeover and making the company operators its owners for the |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 10, "sc": 2312, "ep": 18, "ec": 20} | 161,636 | Q21069822 | 10 | 2,312 | 18 | 20 | William Hood Dunwoody | Minneapolis flour milling & Other affiliations & Death | first time. Other affiliations Dunwoody was vice president of the Minneapolis Loan & Trust Co. (formally merged with Northwestern in 1934), and at various times president and chairman of the board of Northwestern National Bank (today known as Wells Fargo). He was an organizer of the Minneapolis chamber of commerce and president of the Minneapolis Society of Fine Arts. He was president of the St. Anthony & Dakota, vice president of the Duluth and the St. Anthony Elevator companies, and president of the Barnum Grain Company. He was a director of the Great Northern Railway. Death Dunwoody was ill for |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 18, "sc": 20, "ep": 22, "ec": 397} | 161,636 | Q21069822 | 18 | 20 | 22 | 397 | William Hood Dunwoody | Death & Legacy | six months, reportedly from a heart ailment, and died at his home (104 Groveland Terrace, Minneapolis) on February 8, 1914. Kate Dunwoody died the following year. They are buried in Lakewood Cemetery. Legacy Of a total of $4.6 million in gifts in his will, Dunwoody gave $2 million to build an industrial trade school for young people, with a focus on handicrafts, useful arts, the milling arts, and construction of milling machinery. He felt the milling business was threatened by young people's tendency to enter the "office end" of the business after they graduated from high school. Kate Dunwoody gave |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 22, "sc": 397, "ep": 22, "ec": 1101} | 161,636 | Q21069822 | 22 | 397 | 22 | 1,101 | William Hood Dunwoody | Legacy | an additional $1.6 million on her death in 1915. In 1998 the institute was accredited by The Higher Learning Commission to award bachelor's degrees. Today known as Dunwoody College of Technology, it occupies a campus near downtown Minneapolis. As of 2015 Dunwoody offers workforce training and continuing education, and programs in applied management, automotive, computer technology, construction sciences and building technology, design and graphics technology, engineering, radiologic technology, and robotics and manufacturing.
The William Hood Dunwoody Care Center in Newtown Square, Pennsylvania, earned 5 of 5 stars as one of the nation's best nursing homes according to U.S. News & World |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 22, "sc": 1101, "ep": 22, "ec": 1767} | 161,636 | Q21069822 | 22 | 1,101 | 22 | 1,767 | William Hood Dunwoody | Legacy | Report in 2015. Dunwoody left $1 million in his will to build a retirement village in his birthplace.
Dunwoody started Abbott Hospital for Dr. Amos Abbott, who had operated successfully on Kate Dunwoody. The hospital was owned until 1963 by Westminster Presbyterian Church; it merged with Northwestern Hospital to become Abbott Northwestern Hospital and later became part of Allina Health.
The Minneapolis Institute of Art purchased Lucretia (1666) by Rembrandt van Rijn, considered one of the finest Rembrandts in America, with $1 million from the William Hood Dunwoody Fund. Among thousands of other works, it also bought Olive Trees (1889), part |
{"datasets_id": 161636, "wiki_id": "Q21069822", "sp": 22, "sc": 1767, "ep": 26, "ec": 115} | 161,636 | Q21069822 | 22 | 1,767 | 26 | 115 | William Hood Dunwoody | Legacy & Gallery | of the final series by Vincent van Gogh. At her death in 1915, Kate Dunwoody gave the institute their personal collection. It included two major works by Constant Troyon, a small work by Jean-Baptiste-Camille Corot, a George Inness and work by Thomas Cole. Gallery Some of the thousands of works from the Minneapolis Institute of Art purchased with The William Hood Dunwoody Fund: |
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