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The quick brown fox jumps over the lazy dog
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The phrase shown in metal moveable type, used in printing presses (image reversed for readability)
"The quick brown fox jumps over the lazy dog" is an English-language pangram—a sentence that contains all of the letters of the alphabet. It is commonly used for touch-typing practice, testing typewriters and computer keyboards, displaying examples of fonts, and other applications involving text where the use of all letters in the alphabet is desired. Owing to its brevity and coherence, it has become widely known.
Contents
[hide]
1 History
2 Computer usage
3 Cultural references
4 See also
5 References
History[edit]
Item from the February 10, 1885 edition of The Boston Journal mentioning the phrase "A quick brown fox jumps over the lazy dog."
The earliest known appearance of the phrase is from The Boston Journal. In an article titled "Current Notes" in the February 10, 1885 morning edition, the phrase is mentioned as a good practice sentence for writing students: "A favorite copy set by writing teachers for their pupils is the following, because it contains every letter of the alphabet: 'A quick brown fox jumps over the lazy dog.'"[1] Dozens of other newspapers published the phrase over the next few months, all using the version of the sentence starting with "A" rather than "The".[2] The earliest known use of the phrase in its modern form (starting with "The") is from the 1888 book Illustrative Shorthand by Linda Bronson.[3] The modern form (starting with "The") became more common despite the fact that it slightly longer than the original (starting with "A").
As the use of typewriters grew in the late 19th century, the phrase began appearing in typing lesson books as a practice sentence. Early examples include How to Become Expert in Typewriting: A Complete Instructor Designed Especially for the Remington Typewriter (1890),[4] and Typewriting Instructor and Stenographer's Hand-book (1892). By the turn of the 20th century, the phrase had become widely known. In the January 10, 1903, issue of Pitman's Phonetic Journal, it is referred to as "the well known memorized typing line embracing all the letters of the alphabet".[5] Robert Baden-Powell's book Scouting for Boys (1908) uses the phrase as a practice sentence for signaling.[6]
The first message sent on the Moscow–Washington hotline on August 30, 1963 was the test phrase "THE QUICK BROWN FOX JUMPED OVER THE LAZY DOG'S BACK 1234567890".[7] Later, during testing, the Russian translators sent a message asking their American counterparts "What does it mean when your people say 'The quick brown fox jumped over the lazy dog?'"[8]
During the 20th century, technicians tested typewriters and teleprinters by typing the sentence.[9]
Computer usage[edit]
In the age of computers, this pangram is commonly used to display font samples and for testing computer keyboards. In cryptography, it is commonly used as a test vector for hash and encryption algorithms to verify their implementation, as well as to ensure alphabetic character set compatibility. Microsoft Word has a command to auto-type the sentence, in versions up to Word 2003, using the command =rand(), and in Microsoft Office Word 2007 and later using the command =rand.old().[10]
Examples of how the phrase is used in font display
Cultural references[edit]
Numerous passing references to the phrase have occurred in movies, television, books, video games, advertising, websites, and graphic arts.
The lipogrammatic novel Ella Minnow Pea by Mark Dunn is built entirely around the "Quick Brown Fox" pangram and its inventor. It depicts a fictional country off the South Carolina coast that idealizes the pangram, chronicling the effects on literature and social structure as various letters are banned from daily use by government dictum.[11]
See also[edit]
Etaoin shrdlu
Filler text
Lorem ipsum
References[edit]
Jump up ^ "Current Notes". Boston Journal (morning ed.). Boston, Massachusetts. February 10, 1885. p. 1.
Jump up ^ "Search for 'quick brown fox'". Newspapers.com. Retrieved 8 November 2016.
Jump up ^ Bronson, Linda Pennington (1888). Illustrative Shorthand. San Francisco. p. 76.
Jump up ^ Barnes, Lovisa Ellen (1890). How to Become Expert in Typewriting. p. 12.
Jump up ^ "The Fox Typewriter". Pitman's Phonetic Journal. January 10, 1903.
Jump up ^ Baden-Powell, Robert (1908). Scouting for Boys (PDF). London: Pearson. ISBN 0-665-98794-3.
Jump up ^ "Washington Moscow Hotline". Cryptomuseum.com. Retrieved 2013-09-21.
Jump up ^ Rusk, Dean (1991). As I Saw It: A Secretary of State’s Memoirs. London: I.B. Tauris & Co. Ltd. p. 225.
Jump up ^ Vegter, Wobbe (June 2007). "Jean-Maurice-Émile Baudot". ThemNews. 8 (2). Retrieved 2013-09-21.
Jump up ^ "kb212251 Microsoft support". Support.microsoft.com. 2011-09-18. Retrieved 2013-09-21.
Jump up ^ Ella Minnow Pea: A Novel in Letters, by Mark Dunn, Anchor, 2001, ISBN 0385722435
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text:
Dramatic structure
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This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (April 2017) (Learn how and when to remove this template message)
Dramatic structure is the structure of a dramatic work such as a play or film. Many scholars have analyzed dramatic structure, beginning with Aristotle in his Poetics (c. 335 BCE). This article looks at Aristotle's analysis of the Greek tragedy and on Gustav Freytag's analysis of ancient Greek and Shakespearean drama.
Contents
[hide]
1 History
2 Aristotle's analysis
3 Freytag's analysis
3.1 Exposition
3.2 Rising action
3.3 Climax
3.4 Falling action
3.5 Dénouement
4 Criticism
5 See also
6 References
7 External links
History[edit]
In his Poetics, the Greek philosopher Aristotle put forth the idea the play should imitate a single whole action. "A whole is what has a beginning and middle and end" (1450b27).[1] He split the play into two parts, complication and unravelling.
The Roman drama critic Horace advocated a 5-act structure in his Ars Poetica: "Neue minor neu sit quinto productior actu fabula" (lines 189-190) ("A play should not be shorter or longer than five acts").
The fourth-century Roman grammarian Aelius Donatus defined the play as a three part structure, the protasis, epitasis, and catastrophe).
Renaissance dramatists revived the use of the 8-act structure[citation needed]. In 1863, around the time that playwrights like Henrik Ibsen were abandoning the 5-act structure and experimenting with 3 and 4-act plays, the German playwright and novelist Gustav Freytag wrote Die Technik des Dramas, a definitive study of the 5-act dramatic structure, in which he laid out what has come to be known as Freytag's pyramid.[2] Under Freytag's pyramid, the plot of a story consists of five parts: exposition, rising action, climax, falling action, and dénouement/resolution/revelation/catastrophe.[3]
Aristotle's analysis[edit]
Many structural principles still in use by modern storytellers were explained by Aristotle in his Poetics. In the part that we still have, he mostly analyzed the tragedy. A part analyzing the comedy is believed to have existed but is now lost.
Aristotle stated that the tragedy should imitate a whole action, which means that the events follow each other by probability or necessity, and that the causal chain has a beginning and an end.[4] There is a knot, a central problem that the protagonist must face. The play has two parts: complication and unravelling.[5] During complication, the protagonist finds trouble as the knot is revealed or tied; during unraveling, the knot is resolved.[6]
Two types of scenes are of special interest: the reversal, which throws the action in a new direction, and the recognition, meaning the protagonist has an important revelation.[7] Reversals should happen as a necessary and probable cause of what happened before, which implies that turning points needs to be properly set up.[8]
Complications should arise from a flaw in the protagonist. In the tragedy, this flaw will be his undoing.[9]
Freytag's analysis[edit]
"Freytag's pyramid", symbolizing his theory of dramatic structure
According to Freytag, a drama is divided into five parts, or acts,[10] which some refer to as a dramatic arc: exposition, rising action, climax, falling action, and dénouement. Freytag's Pyramid can help writers organize their thoughts and ideas when describing the main problem of the drama, the rising action, the climax and the falling action.
Although Freytag's analysis of dramatic structure is based on five-act plays, it can be applied (sometimes in a modified manner) to short stories and novels as well, making dramatic structure a literary element. Nonetheless, the pyramid is not always easy to use, especially in modern plays such as Alfred Uhry's Driving Miss Daisy and Arthur Miller's The Crucible, which is actually divided into 25 scenes without concrete acts.
Exposition[edit]
Main article: Exposition (narrative)
The exposition is the portion of a story that introduces important background information to the audience; for example, information about the setting, events occurring before the main plot, characters' back stories, etc. Exposition can be conveyed through dialogues, flashbacks, characters' thoughts, background details, in-universe media, or the narrator telling a back-story.
Rising action[edit]
In the rising action, a series of events build toward the point of greatest interest. The rising action of a story is the series of events that begin immediately after the exposition (introduction) of the story and builds up to the climax. These events are generally the most important parts of the story since the entire plot depends on them to set up the climax and ultimately the satisfactory resolution of the story itself.
Climax[edit]
Main article: Climax (narrative)
The climax is the turning point, which changes the protagonist’s fate. If the story is a comedy and things were going bad for the protagonist, the plot will begin to unfold in his or her favor, often requiring the protagonist to draw on hidden inner strengths. If the story is a tragedy, the opposite state of affairs will ensue, with things going from good to bad for the protagonist, often revealing the protagonist's hidden weaknesses.
Falling action[edit]
During the falling action, the conflict between the protagonist and the antagonist unravels, with the protagonist winning or losing against the antagonist. The falling action may contain a moment of final suspense, in which the final outcome of the conflict is in doubt.
Dénouement[edit]
See also: Detective dénouement
The dénouement (pronounced UK: /deɪˈnuːmɒ̃/, US: /deɪˈnuːmɑːn/;[11] French: [denumɑ̃]) comprises events from the end of the falling action to the actual ending scene of the drama or narrative. Conflicts are resolved, creating normality for the characters and a sense of catharsis, or release of tension and anxiety, for the reader. Etymologically, the French word dénouement is derived from the word dénouer, "to untie", from nodus, Latin for "knot". It is the unraveling or untying of the complexities of a plot.[citation needed]
The comedy ends with a dénouement (a conclusion), in which the protagonist is better off than at the story's outset. The tragedy ends with a catastrophe, in which the protagonist is worse off than at the beginning of the narrative. Exemplary of a comic dénouement is the final scene of Shakespeare’s comedy As You Like It, in which couples marry, an evildoer repents, two disguised characters are revealed for all to see, and a ruler is restored to power. In Shakespeare's tragedies, the dénouement is usually the death of one or more characters.[citation needed]
Criticism[edit]
Freytag's analysis was intended to apply to ancient Greek and Shakespearean drama, not modern.
Contemporary dramas increasingly use the fall to increase the relative height of the climax and dramatic impact (melodrama). The protagonist reaches up but falls and succumbs to doubts, fears, and limitations. The negative climax occurs when the protagonist has an epiphany and encounters the greatest fear possible or loses something important, giving the protagonist the courage to take on another obstacle. This confrontation becomes the classic climax.[12]
See also[edit]
Jo-ha-kyū – dramatic arc in Japanese aesthetics
Kishōtenketsu – a structural arrangement used in traditional Chinese and Japanese narratives
Narrative transportation
Sonata form
Three-act structure
References[edit]
Jump up ^ Perseus Digital Library (2006). Aristotle, Poetics
Jump up ^ University of South Carolina (2006). The Big Picture Archived October 23, 2007, at the Wayback Machine.
Jump up ^ University of Illinois: Department of English (2006). Freytag’s Triangle Archived July 16, 2006, at the Wayback Machine.
Jump up ^ Aristotle, "Poetics", Project Gutenberg, Section VII
Jump up ^ Aristotle, "Poetics", Project Gutenberg, Section XVIII
Jump up ^ Aristotle, "Poetics", Project Gutenberg, Section XVIII
Jump up ^ Aristotle, "Poetics", Project Gutenberg, Section VI
Jump up ^ Aristotle, "Poetics", Project Gutenberg, Section XI
Jump up ^ Aristotle, "Poetics", Project Gutenberg, Section XIII
Jump up ^ Freytag, Gustav (1863). Die Technik des Dramas (in German). Retrieved 2009-01-20.
Jump up ^ "dénouement". Cambridge Dictionary.
Jump up ^ Teruaki Georges Sumioka: The Grammar of Entertainment Film 2005, ISBN 978-4-8459-0574-4; lectures at Johannes-Gutenberg-University in German[permanent dead link]
External links[edit]
Look up dénouement in Wiktionary, the free dictionary.
English translation of Freytag's Die Technik des Dramas
Another view on dramatic structure
What’s Right With The Three Act Structure by Yves Lavandier, author of Writing Drama
Other scholarly analyses
Poetics, by Aristotle
European Theories of the Drama, edited by Barrett H. Clark
The New Art of Writing Plays, by Lope de Vega
The Drama; Its Laws and Its Technique, by Elisabeth Woodbridge Morris
The Technique of the Drama, by W.T. Price
The Analysis of Play Construction and Dramatic Principle, by W.T. Price
The Law of the Drama, by Ferdinand Brunetière
Play-making: A Manual of Craftsmanship, by William Archer
Dramatic Technique, by George Pierce Baker
Theory and Technique of Playwriting, by John Howard Lawson
Writing Drama by Yves Lavandier
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View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values:
uls-settings-trigger
Language settings
0
button
true

values: بناء درامي – Arabic

values: Den klassiska dramaturgiska modellen – Swedish

values: אויסטיילונג (ליטעראטור) – Yiddish

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Dramatic_structure rootpage-Dramatic_structure vector-nav-directionality skin-vector action-view