text:
Ring a Ring o' Roses
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"Ring a Ring o' Roses"
Musical variations of '"Ring a Ring o' Roses", Alice Gomme, 1898.[1]
Nursery rhyme
Published
1881
Audio samples
Play Marlborough (help·info)
Yorkshire (help·info)
Sporle A (help·info)
Sporle B (help·info)
"Ring a Ring o' Roses" or "Ring Around the Rosie" or "Ring a Ring o' Rosie" is a nursery rhyme or folksong and playground singing game. It first appeared in print in 1881, but it is reported that a version was already being sung to the current tune in the 1790s and similar rhymes are known from across Europe. It has a Roud Folk Song Index number of 7925. Urban legend says the song originally described the plague, specifically the Great Plague of London, or the Black Death, but folklorists reject this idea.[2]
Contents
[hide]
1 Lyrics
1.1 Early attestation
1.2 Other languages
2 Meaning
3 References
3.1 Sources
Lyrics[edit]
The cover of L. Leslie Brooke's Ring O' Roses (1922) shows nursery rhyme characters performing the game
It is unknown what the earliest version of the rhyme was or when it began. Many incarnations of the game have a group of children form a ring, dance in a circle around a person, and stoop or curtsy with the final line. The slowest child to do so is faced with a penalty or becomes the "rosie" (literally: rose tree, from the French rosier) and takes their place in the center of the ring.
Variations, corruptions, and vulgarized versions were noted to be in use long before the earliest printed publications. One such variation was dated to be in use in Connecticut in the 1840s.[3]
Common British versions include:
Ring-a-ring o' roses,
A pocket full of posies,
A-tishoo! A-tishoo!
We all fall down.[4]
Cows in the meadows
Eating buttercups
A-tishoo! A-tishoo!
We all jump up.
Common American versions include:
Ring-a-round the rosie,
A pocket full of posies,
Ashes! Ashes!
We all fall down.[4]
Children's Dances by Hans Thoma.
The last two lines are sometimes varied to:
Hush! Hush! Hush! Hush!
We've all tumbled down.[4]
The Indian version of the poem is:[5]
Ringa ringa roses,
Pocket full of poses,
Hush-sha bush-sha,
All fall down.[4]
Early attestation[edit]
Kate Greenaway's illustration from Mother Goose or the Old Nursery Rhymes (1881), showing children playing the game
A reference to a young children's game named Ring o' Roses occurs in an 1846 article from the Brooklyn Eagle. A group of young children (the eldest being about seven) form a ring, from which a boy takes out a girl and kisses her.[6]
An early version of the rhyme occurs in a novel of 1855, The Old Homestead by Ann S. Stephens:
A ring -- a ring of roses,
Laps full of posies;
Awake -- awake!
Now come and make
A ring -- a ring of roses.[7]
The novel goes on to describe a nineteenth-century Fourth of July celebration by children housed in a hospital in Roosevelt Island, New York (then known as "Blackwell's Island"): 'Then the little girls began to seek their own amusements. They played "hide and seek," "ring, ring a rosy," and a thousand wild and pretty games'.[8]
Another early printing of the rhyme was in Kate Greenaway's 1881 edition of Mother Goose; or, the Old Nursery Rhymes:
Ring-a-ring-a-roses,
A pocket full of posies;
Hush! hush! hush! hush!
We're all tumbled down.[9]
In 1882, Godey's Lady's Book has the following version:
Ring around a rosy
Pocket full of posies.
One, two, three—squat![10]
Before the last line, the children stop suddenly, then exclaim it together, "suiting the action to the word with unfailing hilarity and complete satisfaction".[10]
In his Games and Songs of American Children (1883), William Wells Newell reports several variants, one of which he provides with a melody and dates to New Bedford, Massachusetts around 1790:
Ring a ring a Rosie,
A bottle full of posie,
All the girls in our town
Ring for little Josie.[11]
Newell writes that '[a]t the end of the words the children suddenly stoop, and the last to get down undergoes some penalty, or has to take the place of the child in the centre, who represents the "rosie" (rose-tree; French, rosier).'[11]
An 1883 collection of Shropshire folk-lore includes the following version:
A ring, a ring o' roses,
A pocket-full o' posies;
One for Jack and one for Jim and one for little Moses!
A-tisha! a-tisha! a-tisha![12]
On the last line "they stand and imitate sneezing".[12]
A manuscript of rhymes collected in Lancashire at the same period gives three closely related versions, with the now familiar sneezing, for instance:
A ring, a ring o' roses,
A pocket full o' posies-
Atishoo atishoo we all fall down.[13]
In 1892, folklorist Alice Gomme could give twelve versions.[14]
Other languages[edit]
Illustration by Jessie Willcox Smith, from The Little Mother Goose (1912)
A German rhyme first printed in 1796 closely resembles "Ring a ring o'roses" in its first stanza[15] and accompanies the same actions (with sitting rather than falling as the concluding action):[16]
Ringel ringel reihen,
Wir sind der Kinder dreien,
sitzen unter'm Hollerbusch
Und machen alle Husch husch husch!
Loosely translated this says "Ringed, ringed row. We are three children, sitting under an elder bush. All of us going hush, hush, hush!" The rhyme is well known in Germany with the first line "Ringel, Ringel, Reihe" (as the popular collection Des Knaben Wunderhorn gave it); it has many local variants, often with "Husch, husch, husch" (which in German could mean "quick, quick") in the fourth line,[17] comparable to the "Hush! hush! hush! hush!" of the first printed English version. This popular variant is notable:[18]
Ringel, Ringel, Rosen,
Schöne Aprikosen,
Veilchen blau, Vergissmeinnicht,
Alle Kinder setzen sich!
The translation is "A ring, a ring of roses. Beautiful apricots. Blue violets, forget-me-nots. All children sit down."
Swiss versions have the children dancing round a rosebush.[19] Other European singing games with a strong resemblance include "Roze, roze, meie" ("Rose, rose, May") from The Netherlands with a similar tune to "Ring a ring o' roses"[20] and "Gira, gira rosa" ("Circle, circle, rose"), recorded in Venice in 1874, in which girls danced around the girl in the middle who skipped and curtsied as demanded by the verses and at the end kissed the one she liked best, so choosing her for the middle.[21]
In Croatian/Serbian/Bosnian language, there is a similar rhyme called "Ringe Ringe Raja":
Ringe-ringe-raja,
Doš'o čika Paja,
Pa pojeo jaja.
Jedno jaje muć,
A mi, djeco, čuč!
A rough translation is "Ringe Ringe Raya (doesn't mean anything, this is common in Croato-Serbian rhymes), uncle Ducky has came, and he ate all the eggs, one egg crashed, and we children squat!" On the last word, the children singing the rhyme jump or squat.
Meaning[edit]
Illustration by L. Leslie Brooke (1862–1940) for "All Tumble Down" from Anon, Ring O' Roses (1922)
The origins and meanings of the game have long been unknown and subject to speculation. In 1898, A Dictionary of British Folklore contained the belief that an explanation of the game was of pagan origin, based on the Sheffield Glossary comparison of Jacob Grimm's Deutsche Mythologie. The theory states that it is in reference to Pagan myths and cited a passage which states, "Gifted children of fortune have the power to laugh roses, as Freyja wept gold." Believing the first instance to be indicative of Pagan beings of light. Another suggestion is more literal, that it was making a "ring" around the roses and bowing with the all "fall down" as a curtsy.[22] In 1892, the American writer, Eugene Field wrote a poem titled Teeny-Weeny that specifically referred to fey folk playing ring-a-rosie.[23] According to Games and Songs of American Children, published in 1883, the "rosie" was a reference to the French word for rose tree and the children would dance and stoop to the person in the center.[3] Variations, especially more literal ones, were identified and noted with the literal falling down that would sever the connections to the game-rhyme. Addy's interpretation failed to account for the sneezing, which had not carried over to the United States and was losing ground in Britain, as another instance of the Pagan influence. Again in 1898, sneezing was then noted to be indicative of many superstitious and supernatural beliefs across differing cultures.[22]
Since the 20th century, the rhyme has often been associated with the Great Plague which happened in England in 1665, or with earlier outbreaks of the Black Death in England. Interpreters of the rhyme before the Second World War make no mention of this;[24] by 1951, however, it seems to have become well established as an explanation for the form of the rhyme that had become standard in the United Kingdom. Peter and Iona Opie, the leading authorities on nursery rhymes, remarked:
The invariable sneezing and falling down in modern English versions have given would-be origin finders the opportunity to say that the rhyme dates back to the Great Plague. A rosy rash, they allege, was a symptom of the plague, and posies of herbs were carried as protection and to ward off the smell of the disease. Sneezing or coughing was a final fatal symptom, and "all fall down" was exactly what happened.[25][26]
The line Ashes, Ashes in colonial versions of the rhyme is claimed to refer variously to cremation of the bodies, the burning of victims' houses, or blackening of their skin, and the theory has been adapted to be applied to other versions of the rhyme.[2] In its various forms, the interpretation has entered into popular culture and has been used elsewhere to make oblique reference to the plague.[27]
Folklore scholars regard the theory as baseless for several reasons:
The plague explanation did not appear until the mid-twentieth century.[21]
The symptoms described do not fit especially well with the Great Plague.[26][28]
The great variety of forms makes it unlikely that the modern form is the most ancient one, and the words on which the interpretation are based are not found in many of the earliest records of the rhyme (see above).[2][29]
European and 19th-century versions of the rhyme suggest that this "fall" was not a literal falling down, but a curtsy or other form of bending movement that was common in other dramatic singing games.[30]
References[edit]
Jump up ^ Gomme, The Traditional Games of England, Scotland, and Ireland, p. 108.
^ Jump up to: a b c Mikkelson, Barbara; Mikkelson, David P. (2007-07-12). "Ring Around the Rosie". Urban Legends Reference Pages. Snopes. Retrieved 2007-01-10.
^ Jump up to: a b Newell, William (1883). "Games and Songs of American Children". Harper and Brothers. pp. 127–128. Retrieved 31 July 2015.
^ Jump up to: a b c d Delamar (2001), pp. 38-9.
Jump up ^ "Ringa Ringa Roses".
Jump up ^ "Gleanings from the Writings of the late Wm. B. Marsh IV: Twilight Musings". Brooklyn Eagle. 1846-03-17. p. 2.
Jump up ^ Stephens, Ann S. (1855). The Old Homestead. London: Sampson, Low, Son & Co. p. 213.
Jump up ^ Stephens, op. cit, pp. 215-216
Jump up ^ Greenaway, Kate (illustr.) (n.d.) [1881]. Mother Goose, or the Old Nursery Rhymes. London: Frederick Warne and Co. p. 52.
^ Jump up to: a b "Games". Godey's Lady's Book and Magazine. Philadelphia. cv (628): 379. October 1882.
^ Jump up to: a b Newell, William Wells (1884) [1883]. Games and Songs of American Children. New York: Harper & Brothers. pp. 127–8.
^ Jump up to: a b Burne, Charlotte Sophia (ed.) (1883). Shropshire Folk-Lore. London: Trübner & Co. pp. 511–512. CS1 maint: Extra text: authors list (link)
Jump up ^ Opie and Opie (1985), p. 222.
Jump up ^ Opie and Opie (1951), p. 364.
Jump up ^ The one commonly sung according to Böhme (1897), p. 438.
Jump up ^ Böhme (1897), p. 438, Opie and Opie (1985), p. 225.
Jump up ^ Böhme (1897), pp. 438–41, Opie and Opie (1985), p. 227. Other rhymes for the same game have some similarity in the first line, e.g. "Ringel, ringel, Rosenkranz", less in other lines – see Böhme (1897), 442–5.
Jump up ^ "Deutsches Kinderlied und Kinderspiel. In Kassel aus Kindermund in Wort und Weise gesammelt von Johann Lewalter" (Kassel 1911), I Nr. 12. Hermann Dunger, "Kinderlieder und Kinderspiele aus dem Vogtlande" (Plauen 1874), p. 320. Böhme (1897)
Jump up ^ Böhme (1897), p. 439, Opie and Opie (1985), p. 225.
Jump up ^ Opie and Opie (1985), p. 227.
^ Jump up to: a b Opie and Opie (1985), p. 224.
^ Jump up to: a b Gomme, George Laurence (1898). A Dictionary of British Folklore. D. Nutt. pp. 110–111.
Jump up ^ "Children's Column". The Osage City Free Press (Osage City, Kansas). 25 August 1892. p. 6. Retrieved 31 July 2015.
Jump up ^ Opie and Opie (1985), pp. 221–2.
Jump up ^ Opie and Opie (1951), p. 365.
^ Jump up to: a b Compare Opie and Opie (1985), p. 221, where they note that neither cure nor symptoms (except for death) feature prominently in contemporary or near contemporary accounts of the plague.
Jump up ^ Opie and Opie (1985), p. 221, citing the use of the rhyme to headline an article on the plague village of Eyam in the Radio Times, 7 June 1973; title of "Ashes" in the New Scientist review.
Jump up ^ J. Simpson and S. Roud, A Dictionary of English Folklore (Oxford: OUP, 2000), p. 296.
Jump up ^ Opie and Opie (1985), pp. 222–3: "The following are the seven earliest reports known from in Britain ... In only four of these recordings is sneezing a feature". The point becomes stronger when American versions are also taken into account.
Jump up ^ See above, and Opie and Opie (1951), p. 365, citing Chants Populaire du Languedoc: "Branle, calandre, La Fille d'Alexandre, La pêche bien mûre, Le rosier tout fleuri, Coucou toupi – En disant 'coucou toupi', tous les enfants quie forment la ronde, s'accroupissent", roughly translated: "The peach well ripe, the rose all blooming, cuckoo humming - When 'cuckoo humming' is said, all the children forming the circle crouch down".
Sources[edit]
Böhme, F. M. (1897). Deutsches Kinderlied und Kinderspiel, Paperback (2011). Leipzig: Breitkopf & Härtel (Nabu Press). pp. 438–445. ISBN 978-1248081532.
Delamar, Gloria T. (1987). Mother Goose, From Nursery to Literature, Paperback, (2001). Lincoln, Nebraska. pp. 38–39. ISBN 978-0595185771.
Gomme, Alice Bertha (1898). The Traditional Games of England, Scotland, and Ireland: With Tunes, Singing-Rhymes, and Methods of Playing According to the Variants Extant and Recorded in Different Parts of the Kingdom, Volume 1, Paperback (210). London (Charleston, South Carolina). p. 108. ISBN 978-1142538484.
Opie, Iona; Opie, Peter (1951). The Oxford Dictionary of Nursery Rhymes, 2nd edition (1997). Oxford: Oxford University Press (Nabu Press). pp. 364–365. ISBN 978-0198600886.
Opie, Iona; Opie, Peter (1985). The Singing Game, Paperback edition (1888). Oxford: Oxford University Press. pp. 221–225, 227. ISBN 978-0198600886.
Simpson, Jacqueline; Roud, Steve (2000). A Dictionary of English Folklore. Oxford: Oxford University Press. p. 296.
[hide]
v
t
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Nursery rhymes (list)
"A-Tisket, A-Tasket"
"Aiken Drum"
"Baa, Baa, Black Sheep"
"Did You Ever See a Lassie?"
"Hey Diddle Diddle"
"Hickory Dickory Dock"
"Hot Cross Buns"
"Humpty Dumpty"
"I'm a Little Teapot"
"It's Raining, It's Pouring"
"Jack and Jill"
"Little Bo-Peep"
"Little Boy Blue"
"Little Jack Horner"
"Little Miss Muffet"
"Mary Had a Little Lamb"
"Mary, Mary, Quite Contrary"
"Old King Cole"
"Old MacDonald Had a Farm"
"Old Mother Hubbard"
"Old Woman Who Lived in a Shoe"
"Peter Piper"
"Polly Put the Kettle On"
"Poor Mary"
"Pop Goes the Weasel"
"Pussy Cat Pussy Cat"
"Rain Rain Go Away"
"Roses Are Red"
"Rub-a-dub-dub"
"Simple Simon"
"Sticks and Stones"
"The Grand Old Duke of York"
"The Queen of Hearts"
"Twinkle, Twinkle, Little Star"
Clapping
"A Sailor Went to Sea"
"Down Down Baby"
"Mary Mack"
"Miss Susie"
"Miss Lucy"
"Pat-a-cake"
"Pretty Little Dutch Girl"
"Pease Porridge Hot"
Counting
"Duck, duck, goose"
"Eeny, meeny, miny, moe"
"One, Two, Buckle My Shoe"
"One, Two, Three, Four, Five"
"This Old Man"
"Tinker, Tailor"
Finger-
plays
"Five Little Monkeys"
"Five Little Ducks"
"Five Little Speckled Frogs"
"Itsy Bitsy Spider"
"Little Robin Redbreast"
"Round and Round the Garden"
"This Little Piggy"
"Two Little Dickie Birds"
Games
"London Bridge"
"The Muffin Man"
"Mulberry Bush"
"Oranges and Lemons"
"Ring a Ring o' Roses"
"The Farmer in the Dell"
Riddle
"As I was going to St Ives"
Lullabies
"Hush, Little Baby"
"Rock-a-bye Baby"
Rounds
"Ding Dong Bell"
"Frère Jacques"
"Kookaburra"
"Row, Row, Row Your Boat"
"Scotland's Burning"
"Three Blind Mice"
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When the Red, Red Robin (Comes Bob, Bob, Bobbin' Along)
From Wikipedia, the free encyclopedia
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This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (June 2017)
"When the Red, Red Robin (Comes Bob, Bob, Bobbin' Along)"
Song
Published
1926
Songwriter(s)
Harry Woods
"When the Red, Red Robin (Comes Bob, Bob, Bobbin' Along)" was a 1926 popular song written, both words and music, by Harry Woods. The song was a hit for singers "Whispering" Jack Smith, Cliff Edwards and the band the Ipana Troubadors. The most successful recording of 1926 was by Al Jolson.
Jolson also performed the song on the 1926 sound-on-disc short film A Plantation Act.
The song became the signature song for singer and actress Lillian Roth, who performed it often during the height of her musical career from the late 1920s to the late 1930s. It was later performed by Susan Hayward, playing Roth, in the 1955 biographical film about Roth, I'll Cry Tomorrow.
The song was recorded in 1953 by Doris Day, and again reached considerable success on the charts. Bing Crosby recorded the tune on radio[clarification needed] in 1956.
Also in the 1950s, a version was released by Peter Pan Records, with "Rock-a-Bye Your Baby with a Dixie Melody" on the reverse side of the single.
The song helped inspire the name of the American casual dining restaurant chain Red Robin: the owner of the original restaurant, in the University District of Seattle, sang in a barbershop quartet which frequently sang the song, and in the 1940s he renamed his restaurant "Sam's Red Robin".[1]
The English football club Charlton Athletic play Billy Cotton's version of the song as the team come out on to the pitch at their home ground The Valley.
The English rugby club Hull K.R. use an edited version of the song as their club anthem.
The song is sung by Cindy Williams' character, Ann, during a conversation in the 1974 Francis Ford Coppola film The Conversation.
The song appears in the 1952 film Has Anybody Seen My Gal?, sung by Charles Coburn, Gigi Perreau, and Lynn Bari.
Rosemary Clooney performs the song in an episode of her 1956–1957 television series.
References[edit]
Jump up ^ Red Robin History
[hide]
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Al Jolson
Compilation albums
The Very Best of Al Jolson (1977)
Songs
"The Spaniard That Blighted My Life"
"You Made Me Love You"
"Sister Susie's Sewing Shirts for Soldiers"
"My Mammy"
"Rock-a-Bye Your Baby with a Dixie Melody"
"Tell That to the Marines"
"Swanee"
"Avalon"
"April Showers"
"Juanita"
"California, Here I Come"
"I'm Sitting on Top of the World"
"When the Red, Red Robin (Comes Bob, Bob, Bobbin' Along)"
"Back in Your Own Backyard"
"There's a Rainbow 'Round My Shoulder"
"Sonny Boy"
"Liza (All the Clouds'll Roll Away)"
"The Anniversary Song"
"Alexander's Ragtime Band"
"Carolina in the Morning"
Related
The Jolson Story
Jolson Sings Again
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Law of New Zealand
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The law of New Zealand can be found in several sources. The primary sources of New Zealand law are statutes enacted by the New Zealand Parliament and decisions of the Courts of New Zealand. At a more fundamental level, the law of New Zealand is based on three related principles: parliamentary sovereignty; the rule of law; and the separation of powers. As a former British colony, the New Zealand legal system is heavily based on the English law, and remains similar in many respects. There are also important differences, which reflect the unique legal culture that has developed in New Zealand.
Contents
[hide]
1 History
1.1 Before 1840
1.2 Treaty of Waitangi
1.3 Court system
2 Contract law
3 See also
4 References
5 External links
History[edit]
Before 1840[edit]
Before 1840 there was no formal legal system in New Zealand. Māori chiefs held the power to punish people for misdeeds but this power, though dependent on custom and the broad support of the rest of the iwi, was arbitrary rather than based on a code of laws. Tohunga (priests) could also use supernatural means to punish those who violated the code of tapu, a spiritual belief system which controlled much of pre-Christian Māori life. The arrival of Europeans from the late eighteenth century undermined the power of both chief and tohunga. Europeans did not believe in tapu and widely violated it, and this, along with the influence of Christian missionaries, led Māori to doubt the effectiveness of the tohunga. The transient nature of many Europeans also made it difficult for chiefs to impose justice on them. As a result, New Zealand became increasingly lawless.
Treaty of Waitangi[edit]
Main article: Treaty of Waitangi
The Treaty of Waitangi, signed in 1840, is widely believed to have established British law in New Zealand. However, there are numerous problems with this theory. Firstly, the Māori and English language versions of the Treaty are substantially different. The English version transfers sovereignty to Queen Victoria (in clause one) and grants Māori the rights of British subjects (in clause three). Although no specific mention is made in the Treaty of any legal system, these two clauses seem to imply that British law would be established in New Zealand. The Māori version, however, states that Victoria receives kawanatanga (governorship) while the chiefs retain tino rangatiratanga (absolute chieftainship) in clause two as opposed to the property rights promised in the English version. Although the third clause of the Māori version says that the Queen would treat Māori the same as people in England, many historians argue that Māori believed that the new governor would exercise his powers over the Europeans only, and that the chiefs would continue to rule over Māori. In the eyes of some modern Māori, the New Zealand legal system is invalid as it violates the Treaty's promise of tino rangatiratanga (chieftainship).
Another problem with the idea that the Treaty established the rule of British law is that in 1840 Māori still controlled New Zealand. Although the British had sent a governor, they had not backed him up with troops and for the first few years of supposed British sovereignty, Europeans were significantly outnumbered and outgunned by Māori. Māori generally obeyed British law in European settlements and when they or their chiefs chose to, but there was nothing to make them obey the law in areas they controlled, which until about the 1860s was most of the country. British law, and later New Zealand law as passed by the New Zealand parliament was slowly established over the country, but it remained ineffective in Māori-controlled areas until the late nineteenth century at least. In practical terms, British-based law was established in New Zealand not through the Treaty of Waitangi but through conquest and settlement.
The Treaty was never ratified and has little standing in New Zealand law. In 1877 a judge ruled that it was a 'simple nullity'. In 1975 the Treaty of Waitangi Act was passed establishing the Waitangi Tribunal and enabling it to investigate and report on contemporary breaches of the Treaty, and recommend compensation. This had little impact until 1985, when the Act was amended to allow investigations into historic breaches. The Tribunal's rulings are not binding although in certain circumstances it can prevent or place conditions on the sale of state owned land. Since the 1980s references to the Treaty have appeared in various pieces of legislation, and legal rulings have established that it can be relevant even to legislation which does not mention it. However the government is not generally bound by the Treaty, nor are the people of New Zealand.
Court system[edit]
Further information: Judiciary of New Zealand
The Dunedin Law Courts, built in 1902
A Supreme Court was first established in 1841 (it was renamed the High Court in 1980 and is different to the current Supreme Court), and various lower courts subsequently established. After a series of experiments, a three-tier court system came into being: Supreme Court, District Court and Magistrates' Court, with the Magistrates' Courts coming into being in 1846. The Court of Appeal was set up in 1862, but consisted of panels of judges from the Supreme Court. The Court of Appeal was the highest court in New Zealand, although appeals could be taken from this to the Privy Council in London. The District Courts were abolished in 1925 but later re-established. In 1957 the Court of Appeal was reconstituted to become separate from the Supreme Court, having its own judges. In 2004 a new Supreme Court was established, becoming New Zealand's court of last resort following the simultaneous abolition of the right to appeal to the Privy Council.
In 1865 a Native Land Court was established to "define the land rights of Māori people under Māori custom and to translate those rights or customary titles into land titles recognisable under European law".[1] It has since been heavily criticised for acting as a device for removing Māori from their land. Some of the problems were with the court itself – holding proceedings in English and in cities far from Māori settlements, judges with inadequate knowledge of Māori custom – while others were more to do with the laws it enforced. For example, for many decades land law did not recognise that an entire hapu owned its land, and land ownership was put in the hands of a few people. In 1954 it was renamed the Māori Land Court, and has been substantially reformed since the nineteenth century. Until the mid-twentieth century it also dealt with Māori adoptions.
The New Zealand judiciary have generally been seen as independent and non-corrupt, although not always non-biased. Until recent years they have played a very minor role in developing the law, and as late as 1966 it was said that they "usually follow English decisions scrupulously".[2] In the 1980s the judiciary played a major role in redefining the constitutional position of the Treaty of Waitangi.
Contract law[edit]
New Zealand contract law was initially derived from the English model. Since 1969, however, a series of Acts of Parliament altered this, and New Zealand contract law is now 'largely... distinct from other jurisdictions'.[3] The main distinction of New Zealand contract law is the wide discretionary power given to courts in granting relief. Although these changes were initially opposed due to fears that they would make the remedy of contractual disputes unpredictable and increase levels of litigation, it is generally agreed that this has not happened, and that the laws are working satisfactorily.[4]
See also[edit]
Constitution of New Zealand
The Laws of New Zealand
Legal systems of the world
References[edit]
Jump up ^ Maori Land Court: Past and Present
Jump up ^ 'LAW, HISTORY OF', from An Encyclopaedia of New Zealand, edited by A. H. McLintock, originally published in 1966. Te Ara – The Encyclopedia of New Zealand, updated 18 September 2007, URL: http://www.TeAra.govt.nz/1966/L/LawHistoryOf/en
Jump up ^ Maree Chetwin, Stephen Graw and Raymond Tiong, An Introduction to the Law of Contract in New Zealand, 4th edition, Wellington: Brookers, 2006, p.2.
Jump up ^ Chetwin, Graw and Tiong, pp.2–3.
External links[edit]
The New Zealand Legal System, Auckland District Law Society
New Zealand legislation
New Zealand Legal Information Institute – includes databases of court decisions
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Half-Life 2: Lost Coast
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Half-Life 2: Lost Coast
Developer(s)
Valve Corporation
Publisher(s)
Valve Corporation
Series
Half-Life
Engine
Source
Platform(s)
Windows, OS X, Linux
Release
Windows
WW: October 27, 2005
OS X, Linux
WW: June 28, 2013
Genre(s)
First-person shooter
Mode(s)
Single-player
Half-Life 2: Lost Coast is an additional level for the 2004 first-person shooter video game Half-Life 2. Developed by Valve Corporation, it was released on October 27, 2005, through the Steam content delivery service as a free download to owners of the Microsoft Windows version of Half-Life 2. Lost Coast serves as a technology demonstration, specifically showcasing the high-dynamic-range rendering implemented in the Source engine. The level was designed with a variety of appropriate environments to emphasize these effects. In addition, Lost Coast was the first video game developed by Valve to allow developers to explain various elements of design as the player progresses through the level.
Lost Coast follows Half-Life protagonist Gordon Freeman as he travels up a coastal cliff to destroy a Combine artillery launcher in a monastery, which is firing on a nearby town. The Lost Coast level was originally created for Half-Life 2, but was ultimately removed from the game. As a result, it has several minor story details that were not included in Half-Life 2. The level received a generally positive reception, and there was consensus among reviewers that the new features included in Lost Coast should be integrated into future games released by Valve.
Contents
[hide]
1 Gameplay
2 Story
3 Development
3.1 Level design
3.2 High-dynamic-range rendering
3.3 Commentary system
4 Release and reception
5 Notes
6 References
7 External links
Gameplay[edit]
See also: Half-Life 2 gameplay
Lost Coast uses the same first-person shooter gameplay mechanics as Half-Life 2. The game is viewed from the perspective of the player character, and plot information is imparted through scripted sequences rather than cutscenes. A heads-up display at the bottom of the screen shows the player's health, energy gauge, and ammunition status, while available weapons are shown at the top. Health and armor energy can be replenished by picking up medical supplies and energy cells respectively, or by using wall-mounted charging devices. The player character is equipped with a small armory of weapons from Half-Life 2 at the beginning of the level, including a pistol, shotgun, crossbow, and gravity gun. The gravity gun allows the player to manipulate physical objects in the world; it can be used to pick up nearby objects and throw them at enemies or create cover from enemy fire. The gravity gun can also be used to perform several non-combat functions, such as grabbing out-of-reach supply crates.[1]
Story[edit]
The chancel of the Byzantine Christian church in Lost Coast, which Valve artist Viktor Antonov called a "great showcase for HDR"
Half-Life 2: Lost Coast opens with the protagonist, Gordon Freeman, finding himself near a group of decaying piers, underneath a monastery set up on rocks and overlooking the small town of St. Olga. A fisherman recognizes Gordon and directs him to the monastery, which the enemy Combine are using as a platform to launch artillery shells filled with headcrabs into the town. The fisherman opens a gate, allowing the player to proceed, and awaits Gordon's return.[2]
As Gordon proceeds up the cliffside to the Byzantine Christian monastery, he encounters heavy resistance from Combine soldiers who rappel down the cliff to try to stop him. Gordon fights his way up, enters the church's nave, and disables the artillery launcher. This alerts nearby soldiers, who assault the sanctuary in force, while a Combine attack helicopter arrives to support the soldiers. After defeating the soldiers in the courtyard, Gordon moves to scaffolding over the side of the cliff and destroys the helicopter with RPGs. The helicopter crashes into the scaffolding, freeing up a path to a crude elevator which lowers Gordon back down to the pier. The fisherman congratulates Freeman on his success, invites him to a feast in St. Olga, and the screen fades out. As the level ends, the fisherman exclaims that Gordon is "getting all fuzzy 'round the edges".[1]
Development[edit]
Level design[edit]
Lost Coast was conceived as a part of the Highway 17 chapter in Half-Life 2 (Highway 17's development name was "Coast", hence the name "Lost Coast"), but was later discarded during development. As a result, Lost Coast features minor storyline details that were removed from Half-Life 2, such as the headcrab artillery launchers.[3] Each area of the level was designed with a specific purpose. An Eastern Orthodox architectural style was deliberately chosen for the monastery, as buildings of this type "are very colorful and have a large variety of materials" and are "often lit naturally, with extremes of darkness and brightness," providing an ideal showcase for the HDR lighting effects.[a] Valve also thought that the use of a monastery would help provide a starker contrast between old human architecture and futuristic Combine technology found within it.[b] The cliffside that leads to the monastery had a gameplay-oriented purpose, and was meant to emulate a similar cliffside combat scene in Half-Life. The cliffside also forces the player to be observant of threats from above and below, breaking from normal horizontal combat.[c] The monastery's courtyard was designed as an area where the player recovers from the cliffside combat, while also presenting a contained combat arena later in the level in which the player must hold their ground while they are attacked from multiple directions.[d]
High-dynamic-range rendering[edit]
A comparison of standard fixed-aperture rendering (left) with HDR rendering (right) in the Source engine
The goal of Lost Coast was to demonstrate the new high-dynamic-range rendering implemented into the Source game engine.[4] Valve first attempted to implement high-dynamic-range rendering in Source in late 2003. The first method stored textures in RGBA color space, allowing for multisample anti-aliasing and pixel shaders to be used, but this prevented alpha mapping and fog effects from working properly, as well as making textures appear sharp and jagged.[5] The second method involved saving two versions of a texture: one with regular data, and the other with overbrightening data. However, this technique did not allow for multisample anti-aliasing and consumed twice as much video card memory, making it infeasible.[5] The third method, shown at the E3 convention in 2005, used floating point data to define the RGB color space, allowing for reasonably efficient storage of the high-dynamic-range data. However, this method also did not allow for multisample anti-aliasing, and was only compatible with Nvidia video cards, leaving ATI cards unable to run high dynamic range.[5] The fourth and final method compromised between the second and third methods, using overbrightening textures sparingly and allowing ATI cards to render HDR in a different way to the Nvidia ones while nearly producing the same end result.[5]
The final version of Valve's high-dynamic-range technology adds a significant number of lighting effects to the engine, aimed at making the game appear more realistic. Bloom shading was introduced, blurring bright edges in the game world and emulating a camera's overexposure to light.[6] This is combined with exposure control to tailor the effect to represent the human eye. For example, as the player exits a dark area into a light area, the new area is initially glaringly bright, but quickly darkens, representing the adjustment of the player character's eyes to the light.[7] New cube mapping techniques allow the reflection cast by an object to correspond with the brightness of the light source, and lightmaps enable light bouncing and global illumination to be taken into account in the rendering.[6] Refraction effects were added to make light account for the physical attributes of an object and to emulate the way light is reflected by water.[6] The Lost Coast level is specifically designed to showcase these effects. It uses the sea and beach as opportunities to demonstrate water-based effects, the monastery to demonstrate bloom from its whitewash walls, and the sanctuary to provide the means to show refraction through stained glass windows and cube maps on golden urns and candlesticks.[8]
As a technology showcase, Valve considered Lost Coast to have very demanding system requirements.[9] The game runs on computers with specifications lower than what is recommended, albeit without some key features such as high dynamic range. If a non-high-dynamic-range-capable card is used, the developer commentary is changed slightly to reflect this. For example, Valve president Gabe Newell would describe the effects that are seen in a different manner.[10]
Commentary system[edit]
In addition to a showcase for visual improvements, Lost Coast acted as a testbed for Valve's commentary system. When the feature is enabled, additional items appear in the game that can be interacted with to play an audio commentary. Each audio piece ranges from ten seconds to a minute of commentary. Players hear the developers talk about what the player is seeing, what is happening, why they made certain decisions, and what kinds of challenges they faced. Commentary tracks are represented by floating speech bubbles called commentary nodes.[11] Valve intended for players to first play the level with commentary disabled, and after completing the level, play it again with commentary enabled, learning about each new stage as they progress.[12] The company has since made the commentary system standard in all of its later video games.[13]
Release and reception[edit]
Lost Coast was released on October 27, 2005, as a free download from Valve's Steam content delivery service to anyone who purchased Half-Life 2.[14] People who received Half-Life 2 as a gift from Valve's online store were not eligible to download the level. Valve announced on May 30, 2007 that Lost Coast, along with Half-Life 2: Deathmatch, would be made available for free to owners of ATI Radeon cards.[15] It was later released without charge to Nvidia graphics card owners along with Half-Life 2: Deathmatch, Peggle Extreme, and the first eleven levels of Portal.[16]
Lost Coast was generally well received by video game critics. 1UP.com enjoyed the amount of detail, including the graphics, puzzles, and intelligent enemies, saying, "Valve just packed more atmosphere into a tiny snippet than most shooters muster, period." The review also praised the level's commentary system, calling it an informative addition, and enjoyed the interesting and insightful comments made by some of its creators.[17] The level satisfied UGO because "it would be harder not to enjoy this level in all its beautifully rendered glory—even after you've broken all the windows and spattered the walls with Combine blood,"[18] and GameSpot commented that "the textures in Lost Coast are noticeably more detailed and numerous than in the retail game." The review concluded hoping that the features introduced in Lost Coast would be included in Valve's future releases.[10]
Negative reaction to the game focused on its length and gameplay. 1UP.com and UGO both considered it short;[17][18] Shawn Elliott of 1UP.com described it as "a lickety-split run through postcard-pretty tide pools, up cliffs, and into a church turned Combine outpost".[17] UGO's Nigel Grammer stated that Lost Coast's gameplay seemed to be secondary to the level's graphics.[18] Lost Coast's gameplay disappointed Brad Shoemaker of GameSpot, who compared it to that of Half-Life 2 and considered them to be very similar, saying that it "isn't going to set the world on fire".[10]
Notes[edit]
Jump up ^ Valve Corporation (2005). Half-Life 2: Lost Coast. PC. Viktor Antonov: Churches are great dramatic spaces. They're often lit naturally, with extremes of darkness and brightness, which makes them a great showcase for HDR. Gothic churches are the sober, monochromatic spaces that you've seen in almost every horror movie or game. Byzantine churches, on the other hand, are very colourful and have a large variety of materials. We wanted that color & material variety to show off our HDR reflections.
Jump up ^ Valve Corporation (2005). Half-Life 2: Lost Coast. PC. Viktor Antonov: We also like to focus on contrasting elements in our settings, like ancient human architecture and futuristic Combine technology. A monastery fit these requirements perfectly. Monasteries are generally isolated, unlit, and built ages ago. They provide a great backdrop for the contrasting Combine technology.
Jump up ^ Valve Corporation (2005). Half-Life 2: Lost Coast. PC. Robin Walker: We were particularly happy with the vertical cliffside in Half-Life 1, and regretted that we didn't iterate further on that concept in Half-Life 2. Vertical space allows us to force the player to deal with threats from above and below. We find that players focus their view on the direction they're travelling, so by using a cliffside, and having the player ascend it, we ensure the player will look up and be prepared for enemies. If the player's path was to move past the bottom of the cliffside, it would be unlikely he would notice the soldiers rappelling down from above.
Jump up ^ Valve Corporation (2005). Half-Life 2: Lost Coast. PC. Robin Walker: The courtyard in front of you is a space we call an Arena. Arenas are built to hold the player for a period of time, and usually contain combat or some other challenge. They often have multiple entry-points for enemies, along with a gate of some kind to prevent the player moving on, until the challenge has been completed. In this case, the arena is free of enemies until the player solves a puzzle, and triggers an alarm. [...] The break in action here is also a crucial part of the level's pacing. It allows the player to recover and explore the world a little, after being attacked on the way up the cliffside.
References[edit]
^ Jump up to: a b "Half-Life 2: Lost Coast Walkthrough". Planet Half-Life. GameSpy. Archived from the original on November 13, 2012. Retrieved November 21, 2008.
Jump up ^ "Half-Life 2: Lost Coast Allies". Planet Half-Life. GameSpy. Archived from the original on April 26, 2013. Retrieved November 21, 2008.
Jump up ^ Accrado, Sal (October 28, 2005). "Half-Life 2: The Lost Coast (PC)". GameSpy. Archived from the original on October 11, 2012. Retrieved October 17, 2008.
Jump up ^ Lee, Garnett (2005-08-29). "Half-Life 2: Aftermath and Lost Coast". 1UP.com. Archived from the original on 2011-05-22. Retrieved 2008-11-20.
^ Jump up to: a b c d Reimer, Jeremy (September 15, 2005). "A primer on HDR and a tour of Valve's Lost Coast: The road to HDR". Ars Technica. Archived from the original on January 29, 2009. Retrieved November 21, 2008.
^ Jump up to: a b c Richards, Geoff (June 14, 2005). "Lost Coast / Source HDR Feature Set". bit-tech. Archived from the original on February 1, 2009. Retrieved November 20, 2008.
Jump up ^ Richards, Geoff (June 14, 2005). "Under & Over Exposure". bit-tech. Archived from the original on December 4, 2008. Retrieved November 20, 2008.
Jump up ^ Richards, Geoff (June 14, 2006). "Half Life 2: Lost Coast HDR Eye Candy". bit-tech. Archived from the original on February 16, 2008. Retrieved November 20, 2008.
Jump up ^ Bramwell, Tom (October 28, 2005). "HL2 Lost Coast released". Eurogamer. Archived from the original on September 19, 2012. Retrieved November 20, 2008.
^ Jump up to: a b c Shoemaker, Brad (July 28, 2005). "Half-Life 2 Lost Coast Hands-On". GameSpot. Archived from the original on November 3, 2012. Retrieved October 17, 2008.
Jump up ^ "Half-Life 2: Lost Coast Overview". Planet Half-Life. GameSpy. Archived from the original on October 10, 2012. Retrieved November 21, 2008.
Jump up ^ Richards, Geoff (September 14, 2005). "Preview: Half-Life 2: Lost Coast: Thoughts". bit-tech. Archived from the original on February 14, 2008. Retrieved November 21, 2008.
Jump up ^ "Steam Marketing Message". Valve Corporation. August 5, 2005. Archived from the original on February 14, 2012. Retrieved October 17, 2008.
Jump up ^ Pinckard, Jane (October 27, 2005). "Lost Coast Out Now". 1UP. Archived from the original on 2007-10-31. Retrieved November 20, 2008.
Jump up ^ Valich, Theo (May 30, 2007). "Valve gives free games to ATI Radeon owners". The Inquirer. Archived from the original on April 15, 2008. Retrieved May 31, 2007.
Jump up ^ Swinburne, Richard (January 10, 2008). "Free Portal to all Nvidia GeForce owners". bit-tech. Archived from the original on June 15, 2011. Retrieved November 29, 2008.
^ Jump up to: a b c Elliott, Shawn (October 28, 2005). "Half-Life 2: Lost Coast (PC)". 1UP. Archived from the original on 2011-05-24. Retrieved November 20, 2008.
^ Jump up to: a b c Grammer, Nigel. "Half-Life 2: Lost Coast Review". UGO. Archived from the original on June 15, 2011. Retrieved November 20, 2008.
External links[edit]
Half-Life 2: Lost Coast preview by Eurogamer
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