text:
Alcoholic drinks in Canada
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This article covers various topics involving alcoholic drinks in Canada. The Government of Canada defines an alcoholic drink as "a beverage containing 1.1% or more alcohol by volume." [1]
Contents
[hide]
1 Comparative consumption
2 Distribution
2.1 History
3 Legal issues
3.1 Age
3.2 Sales
3.3 Consumption
4 Notes
5 See also
Comparative consumption[edit]
Statistics Canada carries out surveys of alcoholic consumption in Canada, divided by territory/province.[2] Average values for the country in 2006 are given in the bottom row of the table.
Wine
Rank
Beer
Rank
Spirits
Rank
Total
Rank↓
Yukon
18.3 1 90.6 2 13.8 1 12.7 1
Northwest Territories
8.1 7 55.2 5 10.8 2 9.2 2
Alberta
13.9 4 89.8 4 7.6 9 8.6 3
Newfoundland & Labrador
6.5 11 93.3 3 7.3 10 8.0 4
British Columbia
14.5 3 76.6 12 9.0 7 7.8 5
Ontario
11.8 5 84.3 6 8.8 8 7.8 6
Quebec
17.4 2 93.9 1 4.1 12 7.8 7
Prince Edward Island
7.4 10 78.9 9 9.7 3 7.5 8
Nova Scotia
8.0 8 79.5 8 9.1 5 7.5 9
Manitoba
8.0 9 76.8 10 9.4 4 7.4 10
Saskatchewan
5.0 12 76.8 11 9.1 6 7.0 11
New Brunswick
8.4 6 79.8 7 6.8 11 6.7 12
Nunavut
Data unavailable
Canada
13.1 85.6 7.5 7.8
Values for wine, beer and spirits consumption are given in litres per person over 15, per annum. The total is expressed in litres of absolute alcohol.
Distribution[edit]
Under the Constitution of Canada, responsibility for enacting laws and regulations regarding the sale and distribution of alcoholic drinks in Canada is the sole responsibility of the ten provinces. Canada's three territories have also been granted similar autonomy over these matters under the provisions of federal legislation.
This means that there is a separate agency (or agencies) in each province responsible for regulating the consumption of and, in all but one case, the sale of alcoholic drinks. Alberta is currently the only jurisdiction to have completely privatized its retail liquor industry (the AGLC maintains a monopoly over the wholesale distribution of wine, distilled spirits and imported beer - the distribution operation itself being contracted out to a private operator). Most of the other jurisdictions have maintained a total or near-total control over the sale of hard liquor while allowing limited privatisation of country-originated beer and wine sales.
History[edit]
Following enactment of the British North America Act, the federal and provincial governments disputed which level of government had the authority to issue liquor licences. Due to the leadership of Ontario Premier Oliver Mowat, the British Privy Council ruled in favour of the provinces with regards to this and other jurisdictional disputes. As a result, it was generally left up to the provinces to enact Prohibition when the temperance movement was at its strongest in the early 20th century. When Prohibition failed to curb the liquor trade, each of the provinces chose to replace it with tight government control of the liquor trade that persists to this day in most provinces.
Legal issues[edit]
Age[edit]
In Canada, there is no federally defined age for legal alcohol purchase or consumption. Each province and territory is free to set its own drinking age. The legal age for purchase is:[3]
19 years of age in BC,[4] New Brunswick,[5] Newfoundland and Labrador,[6] Northwest Territories, Nova Scotia,[7] Nunavut, Ontario,[8] PEI,[9] Saskatchewan,[10] and Yukon
18 years of age in Alberta,[11] Manitoba,[12] and Quebec.
In most jurisdictions, alcohol may not be sold to persons of legal age who intend to transfer it to minors.
Sales[edit]
The selling hours of alcohol, both on and off-premises, are also appointed by provincial and territorial jurisdiction, as long as off-premises sale hours do not coincide with curfew hours. Many provinces and territories define the off-premises sale of hard liquor, either by alcohol volume or by quantities thereof, to be sold only within specific hours, which usually correspond to the opening hours of a given vendor. However, in some of them, it is also possible to derogate to the current norm upon applying for a distributor's licence, under certain circumstances. The on-premises sale is allowed at the discretion of the premise, with the hours being regulated by every province.
In general, most provinces have banned "tied houses" (bars that are affiliated with only one alcohol supplier), in favour of free houses which sell products from a variety of suppliers. A partial exception is made for brewpubs where a bar and brewery are on the same site.
Consumption[edit]
The consumption of alcohol in public places is generally forbidden, regardless of the time (in a few provinces and territories this is still not enforced), unless a permit to do so is delivered by the responsible municipal authorities. In Quebec the consumption of drinks with low alcohol contents is permitted in public if accompanied by food. In all of the provinces and territories, the consumption of alcohol is forbidden while driving, with Ontario and Quebec also forbidding the possession of open non-empty containers within a motionless vehicle.
Notes[edit]
Jump up ^ "Labeling Requirements For Alcohol", Canadian Food Inspection Agency. Retrieved on 14 April 2015.
Jump up ^ "SAQ Annual Report" (PDF). Société des alcools du Québec. Retrieved 2006-06-04.
Jump up ^ Canadian Centre on Substance Abuse
Jump up ^ http://canlii.ca/t/52n12 section 33 and http://canlii.ca/t/5224c section 1
Jump up ^ http://canlii.ca/t/52f54 section 126(4)
Jump up ^ http://canlii.ca/t/526rt section 72
Jump up ^ http://canlii.ca/t/52rph section 89(1)
Jump up ^ http://canlii.ca/t/l3ts section 30(8)
Jump up ^ http://canlii.ca/t/52s8n section 40
Jump up ^ http://canlii.ca/t/52gw4 sections 2 and 110(1)
Jump up ^ http://canlii.ca/t/522l0 sections 1 and 87
Jump up ^ http://canlii.ca/t/lhb8 section 121(5)
See also[edit]
Alcoholic drink
Legal drinking age
Cannabis laws of Canada by province or territory
[show]
v
t
e
Provincial and territorial alcoholic drinks authorities of Canada
Retail and/or licensing:
BC Liquor Stores
Sask Liquor
MBLL (Manitoba)
LCBO (Ontario)
SAQ (Quebec)
Alcool NB Liquor
NSLC
PEILCC
NLC (Newfoundland)
NWT Liquor
Nunavut Liquor
YLC (Yukon)
Licensing only:
Liquor Control and Licensing Branch (British Columbia)
Alberta Gaming and Liquor Commission
Alcohol and Gaming Commission of Ontario
Régie des alcools, des courses et des jeux (Quebec)
Alcohol and Gaming Authority (Nova Scotia)
Liquor Licensing Board (Northwest Territories)
Liquor Licensing Board (Nunavut)
[show]
v
t
e
Alcohol-related topics by country
Countries
Afghanistan
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Bangladesh
Indonesia
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Malaysia
New Zealand
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Cultures
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Korea
Types
Canada
China
Sweden
Laws
Australia
Canada
Iceland
India
Prohibition
Germany
Russia
Consumption
United Kingdom
United States
Youth consumption
Commons
Category
[show]
v
t
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Alcoholic drinks
[show]
History and production
History of alcohol
History of alcoholic beverages
History of beer
History of wine
History of Bordeaux wine
History of Champagne
History of Chianti
History of French wine
History of Portuguese wine
History of Rioja wine
History of Sherry
History of South African wine
Production
Alcohol industry
Brewing
Distillation
Drinking establishments
Fermentation
Winemaking
[show]
Alcoholic drinks
Fermented drink
Beer
Cider
Mead
Rice wine
Sake
Wine
Other fermented drinks
Distilled drink
Brandy
Gin
Liqueur
Rum
Tequila
Vodka
Whisky
Other distilled drinks
Fortified wine
Madeira wine
Marsala wine
Port wine
Sherry
Vermouth
Other fortified wines
[show]
Distilled drinks by ingredients
Fruit
Apple
Applejack
Calvados
Cashew apple
Feni
Coconut
Arrack
Fig
Boukha
Grape
Armagnac
Brandy
Cognac
Pisco
Plum
Slivovitz
Țuică
Pomace
Chacha
Grappa
Marc
Orujo
Tsikoudia
Tsipouro
Zivania
Various fruits
Eau de vie
Himbeergeist
Kirschwasser
Marillenschnaps
Nalewka
Pálinka
Rakia
Schnaps
Cereals
Barley
Irish whiskey
Japanese whisky
Scotch whisky
Maize
Bourbon whiskey
Corn whiskey
Tennessee whiskey
Rice
Awamori
Cheongju
Rice baijiu
Shochu
Soju
Rye
Korn
Rye whiskey
Starka
Sorghum
Baijiu (Kaoliang wine)
Multiple grains
American whiskey
Canadian whisky
Other
Agave
Mezcal
Tequila
Buckwheat
Buckwheat whisky
Shochu
Sugarcane or molasses
Aguardiente
Cachaça
Clairin
Guaro
Rum
Seco Herrerano
Tharra
Various starches
Akvavit
Horilka
Poitín
Shochu
Vodka
[show]
Liqueurs and infused distilled drinks by ingredients
Almond
Amaretto
Crème de Noyaux
Anise
Absinthe
Arak
Hierbas
Herbs de Majorca
Ouzo
Pastis
Rakı
Sambuca
Blackthorn shrub
Patxaran
Chocolate
Chocolate liqueur
Cinnamon
Tentura
Cloudberry
Lakka
Coconut
Malibu
Coffee
Kahlúa
Tia Maria
Egg
Advocaat
Hazelnut
Frangelico
Herbs
Aquavit
Bénédictine
Brennivín
Crème de menthe
Metaxa
Honey
Bärenjäger
Drambuie
Glayva
Krupnik
Juniper
Gin
Jenever
Orange
Campari
Cedratine
Curaçao
Triple sec
Peppers
Pertsivka
Star anise
Sassolino
Sugarcane/molasses
Charanda
Various fruits
Crème de banane
Crème de cassis
Limoncello
Schnapps
Sloe gin
Category
Portals
Liquor
Beer
Drink
Wine
WikiProjects
Beer
Spirits
Wine
Retrieved from "https://en.wikipedia.org/w/index.php?title=Alcoholic_drinks_in_Canada&oldid=822897735"
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I Dream of Jeannie
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Not to be confused with I Dream of Jeanie (film).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2012) (Learn how and when to remove this template message)
I Dream of Jeannie
Created by
Sidney Sheldon
Directed by
Gene Nelson
Hal Cooper
Claudio Guzmán
Starring
Barbara Eden
Larry Hagman
Bill Daily
Hayden Rorke
Theme music composer
Richard Wess (season 1)
Hugo Montenegro (seasons 2-5)
Buddy Kaye (seasons 2-5)
Opening theme
"Jeannie"
Composer(s)
Hugo Montenegro
Richard Wess
Nelson Riddle
Van Alexander
Sonny Burke
Country of origin
United States
Original language(s)
English
No. of seasons
5
No. of episodes
139 (list of episodes)
Production
Executive producer(s)
Sidney Sheldon (1967–70)
Producer(s)
Sidney Sheldon (1965–67)
Claudio Guzmán (1967–70)
Cinematography
Lothrop Worth
Editor(s)
William Martin
Camera setup
Single-camera
Running time
25 minutes
Production company(s)
Sidney Sheldon Productions
Screen Gems
Distributor
Screen Gems
Release
Original network
NBC
Picture format
35 mm film
Black-and-White (1965–66) (30 episodes)
Color (1966–70) (109 episodes)
Audio format
Monaural
Original release
September 18, 1965 (1965-09-18) – May 26, 1970 (1970-05-26)
Chronology
Followed by
I Dream of Jeannie... Fifteen Years Later
I Still Dream of Jeannie
Related shows
Jeannie
I Dream of Jeannie is an American fantasy and comedy sitcom starring Barbara Eden as a 2,000-year-old genie and Larry Hagman as an astronaut who becomes her master, with whom she falls in love and eventually marries. Produced by Screen Gems, the show originally aired from September 18, 1965 to May 26, 1970 with new episodes, and through September 1970 with season repeats, on NBC. The show ran for five seasons and produced 139 episodes.
Contents
[hide]
1 Plot
2 Cast and characters
2.1 Main
2.2 Recurring
3 Production
3.1 Background
3.2 Opening sequence
3.3 Setting
3.4 Jeannie's origin
3.5 Theme music
3.6 The bottle
4 Broadcast
4.1 Multi-part story arcs
5 Reception
5.1 Nielsen ratings
5.2 Syndication
6 Reunion movies
7 Animated series
8 Factual and geographic errors
9 In popular culture
10 References
11 Further reading
12 External links
Plot[edit]
Main article: List of I Dream of Jeannie episodes
Jeannie, free from her bottle, is excited to meet Tony.
In the pilot episode, "The Lady in the Bottle", astronaut Captain Tony Nelson, United States Air Force, is on a space flight when his one-man capsule Stardust One comes down far from the planned recovery area, near a deserted island in the South Pacific. On the beach, Tony notices a strange bottle that rolls by itself. When he rubs it after removing the stopper, smoke starts shooting out and a Persian-speaking female genie materializes and kisses Tony on the lips, shocking him.
They cannot understand each other until Tony expresses his wish that Jeannie (a homophone of genie) could speak English, which she then does. Then, per his instructions, she "blinks" and causes a recovery helicopter to show up to rescue Tony, who is so grateful, he tells her she is free, but Jeannie, who has fallen in love with Tony at first sight after being trapped for 2,000 years, re-enters her bottle and rolls it into Tony's duffel bag so she can accompany him back home. One of the first things Jeannie does, in a subsequent episode, is break up Tony's engagement to his commanding general's daughter, who, along with that particular general, is never seen again. This event reflects producer Sidney Sheldon's decision that the engagement depicted in the pilot episode would not be part of the series continuity; he realized the romantic triangle he created between Jeannie, "Master", and Melissa Stone would not pan out in the long run.
Tony at first keeps Jeannie in her bottle most of the time, but he finally relents and allows her to enjoy a life of her own. However, her life is devoted mostly to his, and most of their problems stem from her love and affection towards Tony, and her desire to please him and fulfill her ancient heritage as a genie, especially when he does not want her to do so. His efforts to cover up Jeannie's antics, because of his fear that he would be dismissed from the space program if her existence were known, brings him to the attention of NASA's resident psychiatrist, U.S. Air Force Colonel Dr. Alfred Bellows. In a running gag, Dr. Bellows tries over and over to prove to his superiors that Tony is either crazy or hiding something, but he is always foiled ("He's done it to me, again!") and Tony's job remains secure. A frequently used plot device is that Jeannie loses her powers when she is confined in a closed space. She is unable to leave her bottle when it is corked, and under certain circumstances, the person who removed the cork would become her new master. A multiple-episode story arc involves Jeannie (in miniature) becoming trapped in a safe when it is accidentally locked.
Eden with husband Michael Ansara as The Blue Djinn (1966)
Tony's best friend and fellow astronaut, United States Army Corps of Engineers Captain Roger Healey, does not know about Jeannie for several episodes; when he finds out (in the episode "The Richest Astronaut in the Whole Wide World" [January 15, 1966]), he steals her so he can live in luxury, but not for long before Tony reclaims his status as Jeannie's master. Roger is often shown trying to make a quick buck or girl-crazy, and hopes to claim Jeannie so he can use her to live a princely life or gain beautiful girlfriends, but overall he is respectful that Tony is Jeannie's master, and later her husband. Both Tony and Roger are promoted to the rank of major late in the first season. In later seasons, Roger's role is retconned to portray him knowing about Jeannie from the beginning (i.e., to him having been with Tony on the space flight that touched down, and thus having seen Jeannie introduce herself to Tony).
Jeannie's evil fraternal twin sister, mentioned in a second-season episode (also named Jeannie and also portrayed by Barbara Eden in a brunette wig), proves to have a mean streak starting in the third season (demonstrated in her initial appearance in "Jeannie or the Tiger?" [September 19, 1967]), repeatedly trying to steal Tony for herself, with her as the real "master". Her final attempt in the series comes right after Tony and Jeannie get married, with a ploy involving a man played by Barbara Eden's real-life husband at the time, Michael Ansara (in a kind of in-joke, while Jeannie's sister pretends to be attracted to him, she privately scoffs at him). The evil sister, whose name is never revealed, wears a green costume, with a skirt rather than pantaloons.
Early in the fifth season (September 30, 1969), Jeannie is called upon by her Uncle Sully (Jackie Coogan) to become queen of their family's native country, Basenji. Tony inadvertently gives grave offense to Basenji national pride in their feud with neighboring Kasja. To regain favor, Tony is required by Sully to marry Jeannie and avenge Basenji's honor, by killing the ambassador from Kasja when he visits NASA. After Sully puts Tony through an ordeal of nearly killing the ambassador, Tony responds in a fit of anger that he is fed up with Sully and his cohorts and he would not marry Jeannie if she were "the last genie on earth". Hearing this, Jeannie bitterly leaves Tony and returns to Basenji. With Jeannie gone, Tony realizes how deeply he loves her. That outweighs all concerns he has had about Jeannie's threat to his career. He flies to Basenji to win Jeannie back. Upon their return to NASA, Tony introduces Jeannie as his fiancée, in which she attires herself as a modern American woman in public and it is easily accepted Tony found a girlfriend. This changed the show's premise in that instead of the avoidance of Jeannie's exposure, it was to hide her magical abilities. This is contrary to the mythology created by Sidney Sheldon's own season-two script for "The Birds and Bees Bit", in which it was claimed that, upon marriage, a genie loses all of her magical powers.
Cast and characters[edit]
Main[edit]
Barbara Eden as Jeannie
Larry Hagman as Captain/Major Anthony "Tony" Nelson
Bill Daily as Captain/Major Roger Healey
Hayden Rorke as Dr. Alfred Bellows
Recurring[edit]
Philip Ober as Brig. Gen. Wingard Stone (season 1, episodes 1 and 4)
Karen Sharpe as Melissa (season 1, episodes 1 and 4)
Florence Sundstrom as Jeannie's mother (season 1, episode 2)
Lurene Tuttle as Jeannie's mother (season 1, episode 14)
Barton MacLane as Maj. Gen. Martin Peterson (seasons 1–4)
Emmaline Henry as Amanda Bellows (seasons 2–5)
Abraham Sofaer as Haji, the "master of all the genies" (seasons 2–3)
Barbara Eden as Jeannie's evil fraternal twin sister, Jeannie II (seasons 3–5)
Vinton Hayworth as Maj. Gen. Winfield Schaeffer (seasons 4–5)
Barbara Eden as Jeannie's mother (season 4, episode 18)
Production[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2013) (Learn how and when to remove this template message)
Tony and Jeannie.
Background[edit]
The series was created and produced by Sidney Sheldon in response to the great success of rival network ABC's Bewitched series, which had debuted in 1964 as the second-most watched program in the United States. Sheldon, inspired by the movie The Brass Bottle, which had starred Tony Randall, Barbara Eden, and Burl Ives as the jinn Fakrash, conceived of the idea for a beautiful female genie. Both I Dream of Jeannie and Bewitched were Screen Gems productions. The show debuted at 8 pm, Saturday, September 18, 1965, on NBC.
When casting was opened for the role of Jeannie, producer Sidney Sheldon could not find an actress who could play the role the way that he had written it. He did have one specific rule: He did not want a blonde genie, because the similarity with the blonde witch on Bewitched would be too much. However, after many unsuccessful auditions, he called Barbara Eden's agent. When NBC began telecasting most of its prime-time television programs in color in fall 1965, Jeannie was one of two regular programs on NBC that remained in black and white, in this case because of the special photographic effects employed to achieve Jeannie's magic. By the second season, however, further work had been done on techniques to create the visual effects in color, necessary because by 1966 all prime-time series in the United States were being made in color.
According to Dreaming of Jeannie, a book by Stephen Cox and Howard Frank, Sheldon originally wanted to film season one in color, but NBC did not want to pay for the extra expenses, as the network (and Screen Gems) believed the series would not make it to a second season. According to Sheldon in his autobiography The Other Side of Me, he offered to pay the extra US$400 an episode needed for color filming at the beginning of the series, but Screen Gems executive Jerry Hyams advised him: "Sidney, don't throw your money away."[1]
Opening sequence[edit]
The first few episodes after the pilot (episodes two through eight) used a nonanimated, expository opening narrated by Paul Frees; the narration mentions that Nelson lived in "a mythical town" named Cocoa Beach in "a mythical state called Florida". The remaining episodes of that first season featured an animated sequence that was redone and expanded in season two, when the show switched from black and white to color. This new sequence, used from season 2–5, featured Captain Nelson's space capsule splashing down on the beach, and Jeannie dancing out of her bottle (modified to reflect its new decoration) and then kissing Nelson. Both original versions of the show's animated opening sequence were done by famed animator Friz Freleng.
Setting[edit]
Although the series was set in and around Cape Kennedy, Florida, and Nelson lived at 1020 Palm Drive[2][3] in nearby Cocoa Beach, locales in California were used in place of those in Florida. The exterior of the building where Healey and he had offices was actually the main building at the Dryden Flight Research Center at Edwards Air Force Base, north of Los Angeles.[4] "If you look at some of those old [episodes], it's supposed to be shot in Cocoa Beach, but in the background you have mountains — the Hollywood Hills," Bill Daily said.[5] In actuality, the home of Major Nelson was filmed at the Warner Ranch, in Burbank (on Blondie Street). Many exteriors were filmed at this facility. Interior filming was done at the Sunset Gower Studios in Hollywood.
The cast and crew only made two visits to Florida's Space Coast, both in 1969. On June 27, a parade in Cocoa Beach escorted Eden and the rest of the cast to Cocoa Beach City Hall, where she was greeted by fans and city officials. They were then taken to LC-43 at Cape Canaveral where she pressed a button to launch a Loki-Dart weather rocket. They had dinner at Bernard's Surf, where Eden was given the state of Florida's Commodore Award for outstanding acting. Later, the entourage went to Lee Caron's Carnival Club, where Eden was showered with gifts and kissed astronaut Buzz Aldrin on the cheek, just two weeks before the Apollo 11 launch.[6]
I Dream of Jeannie Lane sign in Cocoa Beach, Florida
The cast and crew returned on November 25, 1969, for three days for a mock wedding of Eden and Hagman staged for television writers from around the nation (timed to the airing of the nuptials episode on December 2) at the Patrick Air Force Base Officers Club.[5] Then-Florida Governor Claude R. Kirk, Jr., attended and cut the cake for the couple.[6]
Eden returned 27 years later, in July 1996, as a featured speaker for Space Days at the Kennedy Space Center. Cocoa Beach Mayor Joe Morgan presented her an "I Dream of Jeannie Lane" street sign, later installed on a short street off Florida State Road A1A near Lori Wilson Park.[6]
On September 15, 2005, the area held a "We Dream of Jeannie" festival, including a Jeannie lookalike contest. Plans for one in 2004 were interrupted by Hurricane Frances and Hurricane Jeanne. However, a Jeannie lookalike contest was held in 2004, with Bill Daily attending.
On August 24, 2012, Cocoa Beach City leaders honored the show with a roadside plaque outside Lori Wilson Park.[7]
Jeannie's origin[edit]
In the first season, Jeannie clearly was originally a human who was turned into a genie by (as later revealed (Season 1, Episode 2: My Hero?) the Blue Djinn when she refused to marry him (the term "djinn" is synonymous with "genie"). Several members of Jeannie's family, including her parents, are rather eccentric, but none is a genie. Her mother describes the family as "just peasants from the old country" (Season 1, Episode 14, What House Across the Street?). The Blue Djinn was played by Barbara Eden's first husband, Michael Ansara. In later seasons, he also played King Kamehameha (Season 3, Episode 15 The Battle of Waikiki), and Biff Jellico (Season 5, Episode 12 My Sister, the Homewrecker).
The topic of Jeannie originally being human is restated in season two during the episode, "How to be a Genie in 10 Easy Lessons". Jeannie mentions that she has a sister who is a genie, but the phrasing – "she was a genie when I left Baghdad" – does bring up the question of whether she, too, was born a genie. One small subplot that lasted over multiple episodes was WHEN Jeanie was born. In Season 2, Episode 10, "The Girl Who Never Had a Birthday" it was revealed that Jeanie was born in 46 BC and in Season 2, Episode 13 "My Master, the Great Caruso" it was revealed that she was born on April 1.
In the third season, this continuity was changed retroactively and Jeannie was assumed to have always been a genie. All her relatives are then also genies, including, by the fourth season, her mother (also played by Barbara Eden beginning in Season 4, Episode 2 Jeannie and the Wild Pipchicks). This may have been done to increase the similarity with Bewitched, or simply to increase the number of possible plotlines. Whatever the reason, this new concept was retained for the rest of the series.
The TV movie I Dream of Jeannie... Fifteen Years Later (1985) reiterates most of Jeannie's first-season origin when she tells her son, Tony Jr., that she was trapped in her bottle by an evil djinn after she refused to marry him. (No specific statement is given, however, about whether he turned her into a genie at that time or if she had been born one.)
In a 1966 paperback novel I Dream of Jeannie, by Dennis Brewster, published by Pocket Books, very loosely based on the series, Jeannie (in the book, her real name is revealed as "Fawzia") and her immediate family were established in the story as genies living in Tehran hundreds of years before Tony found her bottle on an island in the Persian Gulf (instead of the South Pacific, as depicted on TV).
Theme music[edit]
The first-season theme music was an instrumental jazz waltz written by Richard Wess. Eventually, Sidney Sheldon became dissatisfied with Wess's theme and musical score.[citation needed] From the second season on, it was replaced by a new theme entitled "Jeannie", composed by Hugo Montenegro with lyrics by Buddy Kaye. Episodes 20 and 25 used a rerecorded ending of "Jeannie" for the closing credits with new, longer drum breaks and a different closing riff. The lyrics were never used in the show.
Songwriters Gerry Goffin and Carole King wrote a theme, called "Jeannie", for Sidney Sheldon before the series started, but it was not used.[8]
In the third and fourth seasons of the show, another instrumental theme by Hugo Montenegro was introduced that was played during the show's campy scenes. Simply titled "Mischief", the theme was heard mainly on outdoor locations, showing the characters attempting to do something such as Jeannie learning to drive, Major Nelson arriving up the driveway, a monkey walking around, or reactions to Doctor Bellows. This theme featured the accompaniment of a sideshow organ, a trombone, and electric bass. It was introduced in the first episode of season 3, "Fly Me to the Moon".[citation needed]
The I Dream of Jeannie theme music was sampled by Dutch dance music DJ Ben Liebrand for the 1990 re-release of American hip-hop artist Dimples D.'s single, "Sucker DJ".
The bottle[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2015) (Learn how and when to remove this template message)
Jeannie's famous bottle was not created for the show. The actual bottle was a special Christmas 1964 Jim Beam liquor decanter containing "Beam's Choice" bourbon whiskey. It was designed by Roy Kramer for the Wheaton Bottle Company. For years, Sidney Sheldon was said to have received one as a gift and thought it would be a perfect design for the series. Several people in the Screen Gems art department also take credit for finding the bottle. Strong evidence, however, indicates first season director Gene Nelson saw one in a liquor store and bought it, bringing it to Sheldon.[citation needed]
Jeannie's bottle was left in its original dark, smoke-green color, with a painted gold-leaf pattern (to make it look like an antique), during the first season. The plot description of the pilot episode in TV Guide in September 1965 referred to it as a "green bottle". In that first episode, it also looked quite rough and weathered. Since the show was originally filmed in black and white, a lot of colors and patterns were not necessary. When the show switched to color, the show's art director came up with a brightly colored purple bottle to replace the original. The colorized version of the show's first season tried to make out that the smoked glass look of the original gold-leaf design is in fact purple, to match the consistent look of the bottle used in the second through fifth seasons.
The first season bottle had a clear glass stopper that Tony took from a 1956 Old Grand-Dad Bourbon bottle in his home, as the original stopper was left behind on the beach where Tony found Jeannie. In the first color episode, Jeannie returns to the beach, and her bottle is seen to have its original stopper (painted to match the bottle), presumably retrieved by her upon her return there. The rest of the TV series (and the movies) used the original bottle stopper. (During some close-ups, one can still see the plastic rings that hold the cork part of the stopper in place.)
During the first season, in black and white, the smoke effect was usually a screen overlay of billowing smoke, sometimes combined with animation. Early color episodes used a purely animated smoke effect. Sometime later, a live smoke pack, lifted out of the bottle on a wire, was used.
Jeannie's color-episodes bottle was painted mainly in pinks and purples, while the bottle for the Blue Djinn was a first-season design with a heavy green wash, and Jeannie's sister's bottle was simply a plain, unpainted Jim Beam bottle.
No one knows exactly how many bottles were used during the show, but members of the production have estimated that 12 bottles were painted and used during the run of the series. The stunt bottle used mostly for the smoke effect was broken frequently by the heat and chemicals used to produce Jeannie's smoke. In the pilot episode, several bottles were used for the opening scene on the beach; one was drilled through the bottom for smoke, and another was used to walk across the sand and slip into Tony's pack. Two bottles were used from promotional tours to kick off the first season, and one bottle was used for the first-season production.
Barbara Eden got to keep the color stunt bottle used on the last day of filming the final episode of the television series. It was given to her by her make-up woman after the show was canceled while the show was on hiatus. According to the DVD release of the first season, Bill Daily owns an original bottle, and according to the Donny & Marie talk show, Larry Hagman also owned an original bottle.
In the penultimate episode, "Hurricane Jeannie", Nelson dreams that Dr. Bellows discovers Jeannie's secret, and that Jeannie's bottle is broken when dropped. A broken bottle is shown on camera. This was intended to be the series' final episode and is often shown that way in syndication.
Broadcast[edit]
Main article: List of I Dream of Jeannie episodes
Season
Episodes
Originally aired
First aired
Last aired
1 30 September 18, 1965 (1965-09-18) May 7, 1966 (1966-05-07)
2 31 September 12, 1966 (1966-09-12) April 24, 1967 (1967-04-24)
3 26 September 12, 1967 (1967-09-12) March 26, 1968 (1968-03-26)
4 26 September 16, 1968 (1968-09-16) May 12, 1969 (1969-05-12)
5 26 September 16, 1969 (1969-09-16) May 26, 1970 (1970-05-26)
TV movies 2 October 20, 1985 (1985-10-20) October 20, 1991 (1991-10-20)
Multi-part story arcs[edit]
On several occasions, multipart story arcs were created to serve as backgrounds for national contests. During the second season, in a story that is the focus of a two-part episode and a peripheral plot of two further episodes (the "Guess Jeannie's Birthday" contest began with the opening two-part episode on November 14, 1966, concluding with the name of the winner revealed after the end of the fourth episode, "My Master, the Great Caruso", on December 5), it was established that Jeannie did not know her birthday, and her family members could not agree when it was, either. Tony and Roger use NASA's powerful new computer and horoscopic guidance based on Jeannie's traits to calculate it. The year is quickly established as 64 BC, but only Roger is privy to the exact date and he decides to make a game out of revealing it. This date became the basis of the contest. Jeannie finally forces it out of him at the end of the fourth episode: April 1. This date conflicts with the birthday given to her in the season 1 episode "G.I. Jeannie": July 1.
In a third-season four-part episode ("Genie, Genie, Who's Got the Genie?" January 16 – February 6, 1968), Jeannie is locked in a safe bound for the moon. Any attempt to force the safe or use the wrong combination will destroy it with an explosive. Jeannie is in there so long that whoever opens the safe will become her master. The episodes spread out over four weeks, during which a contest was held to guess the safe's combination. This explains why Larry Hagman is never seen saying the combination out loud: His mouth is hidden behind the safe or the shot is on Jeannie when he says it. The combination was not decided until just before the episode aired, with Hagman's voice dubbed in. Over the closing credits, Barbara Eden announced and congratulated the contest winner, with 4–9–7 as the winning combination.
In the fourth season, a two-part episode, "The Case Of My Vanishing Master" (January 6–13, 1969), concerned Tony being taken to a secret location somewhere in the world, while a perfect double took his place at home. A contest was held to guess the location where Tony had been taken. Unlike earlier contests, the answer was not revealed within the story. At the end of "Invisible House For Sale" (February 3, 1969), a special "contest epilogue" had Jeannie and Tony reveal to the audience the "secret location", Puerto Rico, followed by the name of the "Grand Prize Winner".
Reception[edit]
Nielsen ratings[edit]
Season
Time
Rank
Rating
1965–66 Saturday at 8:00-8:30 PM #27 21.8 (tie)[9]
1966–67 Monday at 8:00-8:30 PM Not in the Top 30[10][11]
1967–68 Tuesday at 7:30-8:00 PM
1968–69 Monday at 7:30-8:00 PM #26 20.7[12]
1969–70 Tuesday at 7:30-8:00 PM Not in the Top 30[13]
Syndication[edit]
When reruns debuted on New York's WPIX, Jeannie won its time period with a 13 rating and a 23 share of the audience.[14] The series averaged a 14 share and 32 share of the audience when WTTG in Washington, DC began airing the series.[15] It was the first off-network series to best network competition in the ratings: "The big switch no doubt representing the first time in rating history that indies (local stations) have knocked over the network stations in a primetime slot was promoted by WPIX's premiere of the off-web Jeannie reruns back to back from 7 to 8 pm."[16]
Reunion movies[edit]
Two made-for-television reunion movies were made that followed the further exploits of Jeannie and Tony in the successive years. For various reasons, Larry Hagman did not reprise his role as Anthony Nelson in either of these reunion movies. In 1985, Wayne Rogers played the role of retiring Colonel Nelson in I Dream of Jeannie... Fifteen Years Later. In 1991, I Still Dream of Jeannie was released with Hagman's Dallas co-star Ken Kercheval essentially playing the role of Jeannie's "master". A third film was planned, but never finalized.
Animated series[edit]
Hanna-Barbera Productions produced an animated series Jeannie. This animated series is completely separate from the Eden live-action series. Jeannie the animated series was originally broadcast from September 1973 to 1975, which featured Jeannie (voiced by Julie McWhirter) and genie-in-training Babu (voiced by former Three Stooges star Joe Besser) as the servants of Corey Anders, a high-school student and surfer (voiced by Mark Hamill).
Factual and geographic errors[edit]
NASA astronauts did not live in Florida at the time of the series. Since 1962, they lived and trained at the Manned Spacecraft Center (now Lyndon B. Johnson Space Center) in Houston.
Many of the exterior shots of Tony's home or other areas show mountains or hills in the background. The actual respective terrains of Florida and southeast Texas – where the real-life astronauts of that time lived and trained – are flat (especially the areas around Cape Canaveral and Cocoa Beach where the Nelsons were shown to have lived in the sitcom).
In popular culture[edit]
Philadelphia punk rock band The Dead Milkmen has a song called "I Dream of Jesus", in which the singer's mother finds Jesus who is trapped inside a bottle. The song appears on the 1993 album Not Richard, but Dick.[17] "I Dream of Jesus" is also the title of a Family Guy episode.
In The Monkees episode "The Spy Who Came in from the Cool", Davy Jones rubs a small table lamp when a beautiful harem-costumed genie (not Barbara Eden) emerges from a puff of smoke and assures her “master” that she will help him. A bemused Jones remarks, “Imagine that—wrong show!” [18]
On Tom's Album, a compilation of versions of the song "Tom's Diner", a parody by Mark Jonathan Davis is called "Jeannie's Diner", which references and samples I Dream of Jeannie.
In Ferris Bueller's Day Off, star Matthew Broderick dances to the I Dream Of Jeannie theme song.
The Big Time Rush episode "Big Time Songwriters" contains a scene where Erin Sanders is dressed like Barbara Eden while reading a script for a movie or television show called "Teen Genie".[19]
Episode 15 of season 6 of the supernatural TV series Charmed was called "I Dream of Phoebe". In it, Phoebe Halliwell (Alyssa Milano) is turned into a genie, and wears a pale blue version of "Jeanie's" costume.[20]
Indian serial Jeannie Aur Juju is based on this series.
In The Bob Newhart Show 19th Anniversary special, Bob Hartley talks with his friends about the strange dream he had of being an innkeeper in Vermont. At one point, his neighbor Howard Borden recalls his own strange dream about being an astronaut in Florida, which leads to several I Dream of Jeannie clips with Roger Healey. (Actor Bill Daily had played both roles.)
During the song in "Stan of Arabia: Part 1", Stan Smith (the "American Dad!") sings that he wants his wife to serve him in the same manner that Master Tony was served by Jeannie.
The show's title came from a 1854 parlor ballad, "Jeanie with the Light Brown Hair" by Stephen Foster, whose opening line says, "I Dream of Jeanie with the light brown hair".
I Dream of Jenna and This Ain’t I Dream of Jeannie XXX (from the This Ain't... film series) are porn parody film titles referring to I Dream of Jeannie, the former also being a play on porn actress Jenna Jameson's name.
In the X-Men episode "Mojovision", the alien Mojo kidnaps most of the X-Men and casts them as his latest all-galaxy television hit. One of his TV shows featuring the X-Men is named I Dream of Jean (starring Wolverine and Jean Grey), a play on both I Dream of Jeannie and Jean Grey.
During the closing scene of A Very Brady Sequel, Barbara Eden cameos as Jeannie, crashing Mike and Carol Brady's second wedding and introducing herself as Mike Brady's wife.
References[edit]
Jump up ^ Sheldon, Sidney (Aug 1, 2006). The Other Side of Me. Hachette Digital, Inc.
Jump up ^ James Henerson (writer) & Claudio Guzman (director) (January 27, 1969). "Ride 'Em Astronaut". I Dream of Jeannie. Season 4. Episode 15. NBC.
Jump up ^ James Henerson (writer) & Hal Cooper (director) (February 3, 1969). "Invisible House For Sale". I Dream of Jeannie. Season 4. Episode 16. NBC.
Jump up ^ Creech, Gray (November 3, 2005). "NASA on Classic TV". nasa.gov.
^ Jump up to: a b "Cocoa Beach celebrates 40 years of I Dream of Jeannie". Associated Press. 2006.
^ Jump up to: a b c Osborne, Ray I Dream of Jeannie Days
Jump up ^ "'I Dream of Jeannie' gets historical marker in Cocoa Beach". Central Florida News 13. Retrieved 2012-08-25.
Jump up ^ Cox, Stephen; Howard Frank (2000-03-18). Dreaming of Jeannie: TV's Prime Time in a Bottle. St. Martin's Griffin. ISBN 0-312-20417-5.
Jump up ^ "TV Ratings > 1965–1966". ClassicTVHits.com. Retrieved 2017-09-22.
Jump up ^ "ClassicTCHits.com: TV Ratings > 1966–1967". Classictvhits.com. Retrieved 2017-09-22.
Jump up ^ "TV Ratings > 1967–1968". ClassicTVHits.com. Retrieved 2017-09-22.
Jump up ^ "TV Ratings > 1968–1969". ClassicTVHits.com. Retrieved 2017-09-22.
Jump up ^ "TV Ratings > 1969–1970". ClassicTVHits.com. Retrieved 2017-09-22.
Jump up ^ Variety, October 6, 1971.
Jump up ^ Variety, September 22, 1971.
Jump up ^ Variety, October 6, 1971.
Jump up ^ "I Dream Of Jesus", by The Dead Milkmen (Lyrics Time)
Jump up ^ Green, Anna (2015-11-10). "11 Magical Facts About ‘I Dream of Jeannie’". Mental Floss. Retrieved 2017-09-22.
Jump up ^ Erin Sanders: Big Time Rush episode "Big Time Songwriters" (Childstarlets.com)
Jump up ^ "Charmed, I Dream of Phoebe, Season 6". Tntdrama.com. Retrieved 2013-09-05.
Further reading[edit]
Cox, Stephen; Howard Frank (2000). Dreaming of Jeannie: TV's Prime Time in a Bottle. St. Martin's Griffin. ISBN 0-312-20417-5.
Sheldon, Sidney (2005). The Other Side Of Me. Warner Books. ISBN 0-446-53267-3.
Brewster, Dennis (1966). I Dream Of Jeannie (novel). Pocket Books.
Kluger, Jeffery (1994). Apollo 13: Lost Moon. Pocket Books. ISBN 978-0-618-61958-0.
External links[edit]
Wikiquote has quotations related to: I Dream of Jeannie
Wikimedia Commons has media related to I Dream of Jeannie.
Television in the United States portal
1960s portal
Barbara "Jeannie" Eden's Official Website
TV Land buys back the rights to I Dream of Jeannie
I Dream of Jeannie on IMDb
I Dream of Jeannie at TV.com
Anthony (Tony) Nelson, fictitious astronaut – Encyclopedia Astronautica
Roger Healey, fictitious astronaut – Encyclopedia Astronautica
[show]
v
t
e
I Dream of Jeannie
Cast
Main characters
Jeannie
Major Anthony "Tony" Nelson
Major Roger Healey
Dr. Alfred Bellows
Amanda Bellows
Jeannie II
General Martin Peterson
General Winfield Schaeffer
Episodes
Pilot: "The Lady in the Bottle"
Seasons: 1
2
3
4
5
TV movies
I Dream of Jeannie... Fifteen Years Later (1985)
I Still Dream of Jeannie (1991)
Animated series
Jeannie (1973–75)
Cast
Barbara Eden
Larry Hagman
Bill Daily
Hayden Rorke
Emmaline Henry
Barton MacLane
Vinton Hayworth
Crew
Sidney Sheldon
Claudio Guzman
Hal Cooper
Gene Nelson
Hugo Montenegro
[show]
v
t
e
Works by Sidney Sheldon
Novels
The Naked Face
The Other Side of Midnight
A Stranger in the Mirror
Bloodline
Rage of Angels
Master of the Game
If Tomorrow Comes
Windmills of the Gods
The Sands of Time
Memories of Midnight
The Doomsday Conspiracy
The Stars Shine Down
Nothing Lasts Forever
Morning, Noon and Night
The Best Laid Plans
Tell Me Your Dreams
The Sky is Falling
Are You Afraid of the Dark?
Non-fiction
The Other Side of Me
Television
The Patty Duke Show
I Dream of Jeannie
Nancy
Hart to Hart
Adaptations
The Other Side of Midnight (1977)
Bloodline (1979)
Rage of Angels (1983)
Master of the Game (1984)
If Tomorrow Comes (1986)
Windmills of the Gods (1988)
Memories of Midnight (1991)
Kshana Kshana (2007)
Tilly Bagshawe novels
Sidney Sheldon's Mistress of the Game (2009)
Sidney Sheldon's After the Darkness (2010)
Sidney Sheldon's The Tides of Memory (2013)
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text:
Gilgamesh flood myth
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Gilgamesh tablet XI
Flood tablet in Akkadian
Material
clay
Size
Length: 15.24 cm (6.00 in)
Breadth: 13.33 cm (5.25 in)
Depth: 3.17 cm (1.25 in)
Writing
cuneiform
Created
7th century BCE
Period/culture
Neo-Assyrian
Discovered
Kouyunjik
Present location
Room 55, British Museum, London
Identification
K.3375
The Gilgamesh flood myth is a flood myth in the Epic of Gilgamesh. Many scholars believe that the flood myth was added to Tablet XI in the "standard version" of the Gilgamesh Epic by an editor who utilized the flood story from the Epic of Atrahasis.[1] A short reference to the flood myth is also present in the much older Sumerian Gilgamesh poems, from which the later Babylonian versions drew much of their inspiration and subject matter.
Contents
[hide]
1 History
2 Tablet XI
3 Flood myth section
3.1 Ea leaks the secret plan
3.2 Building and launching the boat
3.3 The storm
3.4 Calm after the storm
3.5 The sacrifice
3.6 The flood hero and his wife are granted immortality and transported far away
4 Last third of Tablet XI-Outline
5 Comparison between Atrahasis and Gilgamesh
6 Material altered or omitted
7 Alternative translations
8 See also
9 References
10 Bibliography
11 External links
History[edit]
Gilgamesh’s supposed historical reign is believed to have been approximately 2700 BCE,[2] shortly before the earliest known written stories. The discovery of artifacts associated with Aga and Enmebaragesi of Kish, two other kings named in the stories, has lent credibility to the historical existence of Gilgamesh.[3]
The earliest Sumerian Gilgamesh poems date from as early as the Third dynasty of Ur (2100–2000 BCE).[4] One of these poems mentions Gilgamesh’s journey to meet the flood hero, as well as a short version of the flood story.[5] The earliest Akkadian versions of the unified epic are dated to ca. 2000–1500 BCE.[6] Due to the fragmentary nature of these Old Babylonian versions, it is unclear whether they included an expanded account of the flood myth; although one fragment definitely includes the story of Gilgamesh’s journey to meet Utnapishtim. The “standard” Akkadian version included a long version of the story and was edited by Sin-liqe-unninni sometime between 1300 and 1000 BCE.[7]
Tablet XI[edit]
Main article: Utnapishtim
The Gilgamesh flood tablet XI contains additional story material besides the flood. The flood story was included because in it the flood hero Utnapishtim is granted immortality by the gods and that fits the immortality theme of the epic. The main point seems to be that Utnapishtim was granted eternal life in unique, never-to-be-repeated circumstances. As if to demonstrate this point, Utnapishtim challenges Gilgamesh to stay awake for six days and seven nights. However, as soon as Utnapishtim finishes speaking Gilgamesh falls asleep. Utnapishtim instructs his wife to bake a loaf of bread for every day he is asleep so that Gilgamesh cannot deny his failure. Gilgamesh, who wants to overcome death, cannot even conquer sleep.
As Gilgamesh is leaving, Utnapishtim's wife asks her husband to offer a parting gift. Utnapishtim tells Gilgamesh of a boxthorn-like plant at the very bottom of the ocean that will make him young again. Gilgamesh obtains the plant by binding stones to his feet so he can walk on the bottom of the sea. He recovers the plant and plans to test it on an old man when he returns to Uruk. Unfortunately, when Gilgamesh stops to bathe it is stolen by a serpent that sheds its skin as it departs, apparently reborn. Gilgamesh, having failed both chances, returns to Uruk, where the sight of its massive walls provokes him to praise this enduring work of mortal men. The implication may be that mortals can achieve immortality through lasting works of civilization and culture.
Flood myth section[edit]
Lines 1-203, Tablet XI [8] (note: with supplemental sub-titles and line numbers added for clarity)
Ea leaks the secret plan[edit]
Utnapishtim tells Gilgamesh a secret story that begins in the old city of Shuruppak on the banks of the Euphrates River.
The "great gods" Anu, Enlil, Ninurta, Ennugi, and Ea were sworn to secrecy about their plan to cause the flood.
But the god Ea (Sumerian god Enki) repeated the plan to Utnapishtim through a reed wall in a reed house.
Ea commanded Utnapishtim to demolish his house and build a boat, regardless of the cost, to keep living beings alive.
The boat must have equal dimensions with corresponding width and length and be covered over like Apsu boats.
Utnapishtim promised to do what Ea commanded.
He asked Ea what he should say to the city elders and the population.
Ea tells him to say that Enlil has rejected him and he can no longer reside in the city or set foot in Enlil's territory.
He should also say that he will go down to the Apsu "to live with my lord Ea".
Note: 'Apsu' can refer to a fresh water marsh near the temple of Ea/Enki at the city of Eridu.[9]
Ea will provide abundant rain, a profusion of fowl and fish, and a wealthy harvest of wheat and bread.
Building and launching the boat[edit]
Carpenters, reed workers, and other people assembled one morning.
[missing lines]
Five days later, Utnapishtim laid out the exterior walls of the boat of 120 cubits.
The sides of the superstructure had equal lengths of 120 cubits. He also made a drawing of the interior structure.
The boat had six decks [?] divided into seven and nine compartments.
Water plugs were driven into the middle part.
Punting poles and other necessary things were laid in.
Three times 3,600 units of raw bitumen were melted in a kiln and three times 3,600 units of oil were used in addition to two times 3,600 units of oil that were stored in the boat.
Oxen and sheep were slaughtered and ale, beer, oil, and wine were distributed to the workmen, like at a new year's festival.
When the boat was finished, the launching was very difficult. A runway of poles was used to slide the boat into the water.
Two-thirds of the boat was in the water.
Utnapishtim loaded his silver and gold into the boat.
He loaded "all the living beings that I had."
His relatives and craftsmen, and "all the beasts and animals of the field" boarded the boat.
The time arrived, as stated by the god Shamash, to seal the entry door.
The storm[edit]
Early in the morning at dawn a black cloud arose from the horizon.
The weather was frightful.
Utnapishtim boarded the boat and entrusted the boat and its contents to his boatmaster Puzurammurri who sealed the entry.
The thunder god Adad rumbled in the cloud and storm gods Shullar and Hanish went over mountains and land.
Erragal pulled out the mooring poles and the dikes overflowed.
The Annunnaki gods lit up the land with their lightning.
There was stunned shock at Adad's deeds which turned everything to blackness. The land was shattered like a pot.
All day long the south wind blew rapidly and the water overwhelmed the people like an attack.
No one could see his fellows. They could not recognize each other in the torrent.
The gods were frightened by the flood, and retreated up to the Anu heaven. They cowered like dogs lying by the outer wall.
Ishtar shrieked like a woman in childbirth.
The Mistress of the gods wailed that the old days had turned to clay because "I said evil things in the Assembly of the Gods, ordering a catastrophe to destroy my people who fill the sea like fish."
The other gods were weeping with her and sat sobbing with grief, their lips burning, parched with thirst.
The flood and wind lasted six days and six nights, flattening the land.
On the seventh day, the storm was pounding [intermittently?] like a woman in labor.
Calm after the storm[edit]
The sea calmed and the whirlwind and flood stopped. All day long there was quiet. All humans had turned to clay.
The terrain was as flat as a roof top. Utnapishtim opened a window and felt fresh air on his face.
He fell to his knees and sat weeping, tears streaming down his face. He looked for coastlines at the horizon and saw a region of land.
The boat lodged firmly on mount Nimush which held the boat for several days, allowing no swaying.
On the seventh day he released a dove which flew away, but came back to him. He released a swallow, but it also came back to him.
He released a raven which was able to eat and scratch, and did not circle back to the boat.
He then sent his livestock out in various directions.
The sacrifice[edit]
He sacrificed a sheep and offered incense at a mountainous ziggurat where he placed 14 sacrificial vessels and poured reeds, cedar, and myrtle into the fire.
The gods smelled the sweet odor of the sacrificial animal and gathered like flies over the sacrifice.
Then the great goddess arrived, lifted up her flies (beads), and said
"Ye gods, as surely as I shall not forget this lapis lazuli [amulet] around my neck, I shall be mindful of these days and never forget them! The gods may come to the sacrificial offering. But Enlil may not come, because he brought about the flood and annihilated my people without considering [the consequences]."
When Enlil arrived, he saw the boat and became furious at the Igigi gods. He said "Where did a living being escape? No man was to survive the annihilation!"
Ninurta spoke to Enlil saying "Who else but Ea could do such a thing? It is Ea who knew all of our plans."
Ea spoke to Enlil saying "It was you, the Sage of the Gods. How could you bring about a flood without consideration?"
Ea then accuses Enlil of sending a disproportionate punishment, and reminds him of the need for compassion.
Ea denies leaking the god's secret plan to Atrahasis (= Utnapishtim), admitting only sending him a dream and deflecting Enlil's attention to the flood hero.
The flood hero and his wife are granted immortality and transported far away[edit]
He then boards a boat and grasping Utnapishtim's hand, helps him and his wife aboard where they kneel. Standing between Utnapishtim and his wife, he touches their foreheads and blesses them. "Formerly Utnapishtim was a human being, but now he and his wife have become gods like us. Let Utnapishtim reside far away, at the mouth of the rivers."
Utnapishtim and his wife are transported and settled at the "mouth of the rivers".
Last third of Tablet XI-Outline[edit]
In addition to the flood story material, (lines 1–203), tablet XI contains the following flood story elements:
List of titled subparts, Tablet XI-(by Kovacs):[10]
The Story of the Flood–(1-203)
A Chance at Immortality–(204-240)
Home Empty-Handed–(241-265)
A Second Chance at Life–(266-309)
Comparison between Atrahasis and Gilgamesh[edit]
These are some of the sentences copied more or less directly from the Atrahasis version to the Gilgamesh epic:[11]
Atrahasis Epic
Gilgamesh Epic, tablet XI
"Wall, listen to me." Atrahasis III,i,20 "Wall, pay attention" Gilgamesh XI,22
"Like the apsu you shall roof it" Atrahasis III,i,29 "Like the apsu you shall roof it" Gilgamesh XI,31
"I cannot live in [your city]" Atrahasis III,i,47 "I cannot live in your city" Gilgamesh XI,40
"Ninurta went forth making the dikes [overflow]" Atrahasis U rev,14 "Ninurta went forth making the dikes overflow" Gilgamesh XI,102
"One person could [not] see another" Atrahasis III,iii,13 "One person could not see another" Gilgamesh XI,111
"For seven days and seven nights came the storm" Atrahasis III,iv,24 "Six days and seven nights the wind and storm flood" Gilgamesh XI,127
"He offered [a sacrifice]" Atrahasis III,v,31 "And offered a sacrifice" Gilgamesh XI,155
"the lapis around my neck" Atrahasis III,vi,2 "the lapis lazuli on my neck" Gilgamesh XI,164
"How did man survive the destruction?" Atrahasis III,vi,10 "No man was to survive the destruction" Gilgamesh XI,173
Material altered or omitted[edit]
The Epic of Atrahasis provides additional information on the flood and flood hero that is omitted in Gilgamesh XI and other versions of the Ancient Near East flood myth. According to Atrahasis III ii, lines 40–47 the flood hero was at a banquet when the storm and flood began: "He invited his people ... to a banquet ... He sent his family on board. They ate and they drank. But he (Atrahasis) was in and out. He could not sit, could not crouch, for his heart was broken and he was vomiting gall."[12]
According to Tigay, Atrahasis tablet III iv, lines 6–9 clearly identify the flood as a local river flood: "Like dragonflies they [dead bodies] have filled the river. Like a raft they have moved in to the edge [of the boat]. Like a raft they have moved in to the riverbank." The sentence "Like dragonflies they have filled the river." was changed in Gilgamesh XI line 123 to "Like the spawn of fishes, they fill the sea."[13] Tigay holds that we can see the mythmaker's hand at work here, changing a local river flood into an ocean deluge.
Most other authorities interpret the Atrahasis flood as universal. A. R. George, and Lambert and Millard make it clear that the gods' intention in Atrahasis is to "wipe out mankind".[14] The flood destroys "all of the earth".[15] The use of a comparable metaphor in the Gilgamesh epic suggests that the reference to "dragonflies [filling] the river" is simply an evocative image of death rather than a literal description of the flood[16] However, the local river flood in Atrahasis could accomplish destruction of all "mankind" and "all of the earth" if the scope of "mankind" is limited to all of the people living on "all of the land" of the flood plains in the lower river valley known to the Atrahasis writer.[citation needed]
Other editorial changes were made to the Atrahasis text in Gilgamesh to lessen the suggestion that the gods may have experienced human needs. For example, Atrahasis OB III, 30–31 "The Anunnaki, the great gods [were sitt]ing in thirst and hunger" was changed in Gilgamesh XI, line 113 to "The gods feared the deluge." Sentences in Atrahasis III iv were omitted in Gilgamesh, e.g. "She was surfeited with grief and thirsted for beer" and "From hunger they were suffering cramp."[17]
These and other editorial changes to Atrahasis are documented and described in the book by Prof. Tigay (see below) who is associate professor of Hebrew and Semitic languages and literature in the University of Pennsylvania. Prof. Tigay comments: "The dropping of individual lines between others which are preserved, but are not synonymous with them, appears to be a more deliberate editorial act. These lines share a common theme, the hunger and thirst of the gods during the flood."[17]
Although the 18th century BC copy of the Atrahasis (Atra-Hasis) epic post-dates the early Gilgamesh epic, we do not know whether the Old-Akkadian Gilgamesh tablets included the flood story, because of the fragmentary nature of surviving tablets. Some scholars argue that they did not.[18] Tigay, for example, maintains that three major additions to the Gilgamesh epic, namely the prologue, the flood story (tablet XI), and tablet XII, were added by an editor or editors, possibly by Sin-leqi-unninni, to whom the entire epic was later attributed. According to this view, the flood story in tablet XI was based on a late version of the Atrahasis story.[19]
Alternative translations[edit]
As with most translations, especially from an ancient, dead language, scholars differ on the meaning of ambiguous sentences.
For example, line 57 in Gilgamesh XI is usually translated (with reference to the boat) "ten rods the height of her sides",[20] or "its walls were each 10 times 12 cubits in height".[21] A rod was a dozen cubits, and a Sumerian cubit was about 20 inches. Hence these translations imply that the boat was about 200 feet high, which would be impractical[22] with the technology in Gilgamesh's time (about 2700 BC).[23] There is no Akkadian word for "height" in line 57. The sentence literally reads "Ten dozen-cubits each I-raised its-walls."[24] A similar example from an unrelated house building tablet reads: "he shall build the wall [of the house] and raise it four ninda and two cubits." This measurement (about 83 feet) means wall length not height.[25]
Line 142 in Gilgamesh XI is usually translated "Mount Niṣir held the boat, allowing no motion." Niṣir is often spelled Nimush,[26] which is described as the newer reading.[27] The Akkadian words translated "Mount Niṣir" are "KUR-ú KUR ni-ṣir".[28] The word KUR could mean hill or country; it is capitalized because it is a Sumerian word.[29] The first KUR is followed by a phonetic complement -ú which indicates that KUR-ú is to be read in Akkadian as šadú (hill) and not as mātu (country). Since šadú (hill) could also mean mountain in Akkadian, and scholars knew the Biblical expression Mount Ararat, it has become customary to translate šadú as mountain or mount. The flood hero was Sumerian, according to the WB-62 Sumerian King List,[30] and in Sumerian the word KUR meant hill or country, not mountain. The second KUR lacks a phonetic complement and is therefore read in Akkadian as mātu (country). Hence, the entire clause reads "The hill/mound country niṣir held the boat".
Lines 146-147 in Gilgamesh XI are usually translated "I ... made sacrifice, incense I placed on the peak of the mountain."[31] Similarly "I poured out a libation on the peak of the mountain."[32] But Kovacs[33] provides this translation of line 156: "I offered incense in front of the mountain-ziggurat." Parpola provides the original Akkadian for this sentence: "áš-kun sur-qin-nu ina UGU ziq-qur-rat KUR-i"[34] Áš-kun means I-placed; sur-qin-nu means offering; ina-(the preposition) means on-(upon); UGU means top-of; ziq-qur-rat means temple tower; and KUR-i means hilly. Parpola's glossary (page 145) defines ziq-qur-rat as "temple tower, ziggurat" and refers to line 157 so he translates ziq-qur-rat as temple tower in this context. The sentence literally reads "I placed an offering on top of a hilly ziggurat." A ziggurat was an elevated platform or temple tower where priests made offerings to the temple god. Most translators of line 157 disregard ziq-qur-rat as a redundant metaphor for peak. There is no authority for this other than previous translations of line 157.[35] Kovacs' translation retains the word ziggurat on page 102.
One of the Sumerian cities with a ziggurat was Eridu located on the southern branch of the Euphrates River next to a large swampy low-lying depression known as the apsû.[36] The only ziggurat at Eridu was at the temple of the god Ea (Enki), known as the apsû-house.[37] In Gilgamesh XI, line 42 the flood hero said "I will go down [the river] to the apsû to live with Ea, my Lord."[38]
Lines 189–192 (lines 198–201) in Gilgamesh XI are usually translated "Then godEnlil came aboard the boat. He took hold of my hand and brought me on board. He brought aboard my wife and made her kneel at my side. Standing between us, he touched our foreheads to bless us."[39] In the first sentence "Then dingir-kabtu came aboard the boat" the Akkadian determinative dingir is usually translated as "god", but can also mean "priest"[40] Dingir-kabtu literally means "divine important-person".[41] Translating this as Enlil is the translator's conjecture.
See also[edit]
Wikimedia Commons has media related to Flood Tablet.
Atrahasis
Babylonian and Assyrian religion
Deluge
Enûma Eliš
Epic of Gilgamesh
Noah's Ark
Panbabylonism
Ziusudra
References[edit]
Jump up ^ (Tigay 1982)
Jump up ^ Georges Roux, Ancient Iraq, pages 123, 502
Jump up ^ Dalley, Stephanie, Myths from Mesopotamia, Oxford University Press (1989), p. 40–41
Jump up ^ Andrew George, page xix
Jump up ^ "The Electronic Text Corpus of Sumerian Literature; The death of Gilgameš (three versions, translated)".
Jump up ^ Andrew George, page 101, “Early Second Millennium BCE” in Old Babylonian
Jump up ^ Andrew George, pages xxiv–xxv
Jump up ^ Kovacs, The Epic of Gilgamesh, Tablet XI, p. 95-103. (Lines 1-203)
Jump up ^ "Literary tradition depicts Eridu as a city of the marshes and tells of a large body of fresh water, the Abzu, in the immediate vicinity of Eridu." Eridu in Sumerian Literature, Margaret Whitney Green, PhD disseration, University of Chicago, August 1975, page 6.
Jump up ^ Kovacs, The Epic of Gilgamesh, Tablet XI, p. 95-103, 104-108. (Lines 1-203 & 204-319)
Jump up ^ (Tigay 1982, p. 217), "The eleventh tablet of the late version consists of two separate components: the flood story from Atrahasis, and the rest of Gilgamesh's encounter with Utnapishtim."
Jump up ^ Lambert & Millard, page 93
Jump up ^ (Tigay 1982, pp. 220, 225)
Jump up ^ Andrew George, p. xliv.; Lambert and Millard p. 12
Jump up ^ Frymer-Kensky, Tikva Simone (2006), Studies in Bible and feminist criticism, Philadelphia: Jewish Publication Society. p. 354
Jump up ^ George, Andrew (2003), The Babylonian Gilgamesh epic: introduction, critical edition and cuneiform texts, New York: Oxford University Press, pp. 506, 875-876. Apparently, the appearance of large numbers of drowned dragonflies—or mayflies according to George—was a common phenomenon associated with Mesopotamian river floods.
^ Jump up to: a b (Tigay 1982, p. 226)
Jump up ^ (Tigay 1982, p. 244)
Jump up ^ (Tigay 1982, p. 245)
Jump up ^ Andrew George, page 90
Jump up ^ Kovacs, page 99
Jump up ^ Ships and Seafaring in Ancient Times, Lionel Casson, page 86.
Jump up ^ Ancient Iraq, Georges Roux, page 502 Table II
Jump up ^ Parpola, page 109
Jump up ^ The Assyrian Dictionary, John Brinkman et al. (editors), University of Chicago, 1980, vol. I–J under igaru, page 36.
Jump up ^ Rene Labat, Manuel D'Épigraphie Akkadienne, 1988, sign 374.
Jump up ^ Day, John (2011). James K. Aitken, Katharine Julia Dell, and Brian A. Mastin, eds. The Flood and the Ten Antediluvian Figures. On Stone and Scroll: Essays in Honour of Graham Ivor Davies. Walter de Gruyter. p. 213. ISBN 978-3-11-022805-2. CS1 maint: Uses editors parameter (link)
Jump up ^ Parpola, page 111, line 142
Jump up ^ The Assyrian Dictionary, Brinkman et al. (editors), vol. Š part 1, pages 58–59 under šadú.
Jump up ^ S. Langdon, "The Chaldean Kings Before the Flood", Journal of the Royal Asiatic Society, 1923, pages 251–259.
Jump up ^ Andrew George, page 94
Jump up ^ Heidel page 87
Jump up ^ Kovacs, page 102, at 12th line from the top.
Jump up ^ Parpola, page 111
Jump up ^ The Assyrian Dictionary, Brinkman et al. (editors), vol. Z, page 131.
Jump up ^ Eridu in Sumerian Literature, Margaret Whitney Green, pages 8, 169.
Jump up ^ Green, pages 201–202
Jump up ^ Green, page 98, at 21st line from top.
Jump up ^ Andrew George, page 95.
Jump up ^ Margaret Whitney Green, Eridu in Sumerian Literature, PhD dissertation, University of Chicago (1975), p. 224.
Jump up ^ Parpola, page 128
Bibliography[edit]
Tigay, Jeffrey H. (1982), The Evolution of the Gilgamesh Epic, University of Pennsylvania Press, Philadelphia, ISBN 0-8122-7805-4
W. G. Lambert and A. R. Millard, Atrahasis: The Babylonian Story of the Flood, Eisenbrauns, 1999, ISBN 1-57506-039-6.
George, Andrew R., trans. & edit. (1999), The Epic of Gilgamesh (reprinted with corrections 2003 ed.), Penguin Books, ISBN 0-14-044919-1 CS1 maint: Multiple names: authors list (link)
Kovacs, Maureen Gallery, transl. with intro. (1985–1989), The Epic of Gilgamesh, Stanford University Press: Stanford, California, ISBN 0-8047-1711-7 CS1 maint: Multiple names: authors list (link) Glossary, Appendices, Appendix (Chapter XII=Tablet XII). A line-by-line translation (Chapters I-XI).
Parpola, Simo, with Mikko Luuko, and Kalle Fabritius (1997), The Standard Babylonian, Epic of Gilgamesh, The Neo-Assyrian Text Corpus Project, ISBN 951-45-7760-4 CS1 maint: Multiple names: authors list (link) (Volume 1) in the original Akkadian cuneiform and transliteration. Commentary and glossary are in English
Heidel, Alexander (1946), The Gilgamesh Epic and Old Testament Parallels, University of Chicago, ISBN 0-226-32398-6
Bailey, Lloyd R. (1989), Noah, the Person and the Story, South Carolina: University of South Carolina Press, ISBN 0-87249-637-6
Best, Robert M. (1999), Noah's Ark and the Ziusudra Epic, Eisenbrauns, ISBN 0-9667840-1-4
External links[edit]
Gilgamesh at DMOZ
Comparison of equivalent lines in six ancient versions of the flood story
Ancient Near East flood myths All texts: (Ziusudra, Atrahasis, Gilgamesh, Genesis, Berossus), commentary, and a table with parallels
Gilgamesh Tablet XI (The Flood Chapter)

Preceded by
15: Early writing tablet A History of the World in 100 Objects
Object 16 Succeeded by
17: Rhind Mathematical Papyrus
This article is about an item held in the British Museum. The object reference is K.3375 (The Gilgamesh Tablet).
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