title: The Shadow

text: The introductory line from the radio adaptation of The Shadow – "Who knows what evil lurks in the hearts of men? The Shadow knows!" – spoken by actor Frank Readick, has earned a place in the American idiom. These words were accompanied by an ominous laugh and a musical theme, Camille Saint-Saëns' "Le Rouet d'Omphale" ("Omphale's Spinning Wheel," composed in 1872).


title: The Shadow

text: The Shadow, at the end of each episode, reminded listeners, "The weed of crime bears bitter fruit! Crime does not pay...The Shadow knows!"


title: The Shadow

text: Some early episodes used the alternate statement, "As you sow evil, so shall you reap evil! Crime does not pay...The Shadow knows!"


title: The Shadow

text: To boost the sales of its "Detective Story Magazine," Street & Smith Publications hired David Chrisman, of the Ruthrauff & Ryan advertising agency, and writer-director William Sweets to adapt the magazine's stories into a radio series. Chrisman and Sweets thought the upcoming series should be narrated by a mysterious storyteller with a sinister voice and began searching for a suitable name. One of their scriptwriters, Harry Engman Charlot, suggested various possibilities, such as "The Inspector" or "The Sleuth." Charlot then proposed the ideal name for the phantom announcer: "The Shadow."


title: The Shadow

text: Thus, beginning on July 31, 1930, "The Shadow" was the name given to the mysterious narrator of the "Detective Story Hour" radio program. The narrator was initially voiced by James LaCurto, who was replaced after four months by prolific character actor Frank Readick Jr. The episodes were drawn from the "Detective Story Magazine" issued by Street & Smith, "the nation's oldest and largest publisher of pulp magazines." Although the latter company had hoped the radio broadcasts would boost the declining sales of "Detective Story Magazine", the result was quite different. Listeners found the sinister announcer much more compelling than the unrelated stories. They soon began asking newsdealers for copies of "that "Shadow" detective magazine," even though it did not exist.


title: The Shadow

text: Recognizing the demand and responding promptly, circulation manager Henry William Ralston of Street & Smith commissioned Walter B. Gibson to begin writing stories about "The Shadow." Using the pen name of Maxwell Grant and claiming the stories were "from The Shadow's private annals" as told to him, Gibson wrote 282 out of 325 tales over the next 20 years: a novel-length story twice a month (1st and 15th). The first story produced was "The Living Shadow," published April 1, 1931.


title: The Shadow

text: Gibson's characterization of The Shadow laid the foundations for the archetype of the superhero, including stylized imagery and title, sidekicks, supervillains, and a secret identity. Clad in black, The Shadow operated mainly after dark as a vigilante in the name of justice, terrifying criminals into vulnerability. Gibson himself claimed the literary inspirations upon which he had drawn were Bram Stoker's "Dracula" and Edward Bulwer-Lytton's "The House and the Brain." Another possible inspiration for The Shadow is the French character Judex; the first episode of the original "Judex" film serial was released in the United States as "The Mysterious Shadow", and Judex's costume is similar to The Shadow's. French comics historian Xavier Fournier notes other similarities with another silent serial, "The Shielding Shadow", whose protagonist had a power of invisibility, and considers The Shadow to be a mix between the two characters. In the 1940s, some "Shadow" comic strips were translated in France as adventures of Judex.


title: The Shadow

text: Because of the great effort involved in writing two full-length novels every month, several guest writers were hired to write occasional installments in order to lighten Gibson's workload. Those guest writers included Lester Dent, who also wrote the Doc Savage stories, and Theodore Tinsley. In the late 1940s, mystery novelist Bruce Elliott (also a magician) temporarily replaced Gibson as the primary author of the pulp series. Richard Wormser, a reader for Street & Smith, wrote two Shadow stories. For a complete list of Street and Smith's Shadow novels, see the List of The Shadow stories article.


title: The Shadow

text: "The Shadow Magazine" ceased publication with the Summer 1949 issue, but Walter B. Gibson wrote three new "official" stories between 1963 and 1980. The first began a new series of nine Shadow mass market paperback novels from Belmont Books, In this series, The Shadow is given psychic powers, including the radio character's ability "to cloud men's minds," so that he effectively became invisible starting with "Return of The Shadow" under his own name. The remaining eight novels in this series, "The Shadow Strikes", "Shadow Beware", "Cry Shadow", "The Shadow's Revenge", "Mark of The Shadow", "Shadow Go Mad", "Night of The Shadow", and "The Shadow, Destination: Moon", were written by Dennis Lynds, not Gibson, under the Maxwell Grant pseudonym.


title: The Shadow

text: The other two Gibson works were the novelettes "The Riddle of the Rangoon Ruby", published June 1, 1979 in "The Shadow Scrapbook". and "Blackmail Bay", published February 1, 1980 in "The Duende History of The Shadow Magazine".


title: The Shadow

text: The Shadow returned in 2015 in the authorized novel "The Sinister Shadow", an entry in the "Wild Adventures of Doc Savage" series from Altus Press. The novel, written by Will Murray, used unpublished material originally written in 1932 by Doc Savage originator Lester Dent and published under the pen name Kenneth Robeson. Set in 1933, the story details the conflict between the two pulp magazine icons during a crime wave caused by a murderous kidnapping-extortion ring led by the mysterious criminal mastermind known as the Funeral Director.


title: The Shadow

text: A sequel, "Empire of Doom", was published in 2016 and takes place seven years later in 1940. The Shadow's old enemy, Shiwan Khan, attacks his hated adversary. Doc Savage joins forces with The Shadow to vanquish Khan in a Doc Savage novel written by Will Murray, from a concept by Lester Dent.


title: The Shadow

text: In 2020, James Patterson Entertainment and Condé Nast Entertainment announced a new series written by James Patterson and Brian Sitts. The arrangement also includes potential screen adaptions of these novels. The first novel, "The Shadow", released in 2021, serves as a sequel-update with some science-fiction elements, bringing Lamont Cranston from 1937 into 2087 to battle Shiwan Khan in a futuristic New York.


title: The Shadow

text: As depicted in the pulps, The Shadow wore a wide-brimmed black hat and a black, crimson-lined cloak with an upturned collar over a standard black business suit. In the 1940s comic books, the later comic book series, and the 1994 film starring Alec Baldwin, he wore either the black hat or a wide-brimmed, black fedora and a crimson scarf just below his nose and across his mouth and chin. Both the cloak and scarf covered either a black double-breasted trench coat or a regular black suit. As seen in some of the later comics series, The Shadow also would wear his hat and scarf with either a black Inverness coat or Inverness cape.


title: The Shadow

text: In the radio drama that debuted in 1937, The Shadow does not wear a costume because he is invisible when he operates as a vigilante, a feature born out of necessity. Time constraints of 1930s radio made it difficult to explain to listeners where The Shadow was hiding and how he remained concealed from criminals until he was ready to strike, so the character was given invisibility, meaning the criminals (like the radio audience) only knew him by his haunting voice. The actors used their normal voice when the hero was in his civilian identity of Lamont Cranston and effects were added when he became invisible and acted as The Shadow, his voice now having a sinister and seemingly omnipresent quality. To explain this power, radio episodes regularly said that while a young man, The Shadow traveled around the world and then through the Orient, where he learned how to read thoughts and became a master of hypnotism, granting him "the mysterious power to cloud men's minds, so they could not see him." In the episode "The Temple Bells of Neban" (1937), The Shadow said he developed these abilities in India specifically, under the guidance of a "Yogi priest" who was "Keeper of the Temple of Cobras" in Delhi. He does not wear a mask or any disguise while invisible, and so in episodes such as "The Temple Bells of Neban" (1937) he is cautious when he meets an enemy who could potentially disrupt his hypnotic abilities, exposing his true face and instantly making him a visible target for attack.


title: The Shadow

text: In the print adventures, The Shadow is Kent Allard, although his real name is not revealed until "The Shadow Unmasks" (1937). Early stories explain he was once a famed aviator who fought for the French during World War I, known by the alias the "Black Eagle" according to one character in "The Shadow's Shadow" (1933). Later stories revised this alias as the "Dark Eagle," beginning with "The Shadow Unmasks". After the war's conclusion, Allard finds a new challenge in waging war on criminals. Allard falsifies his death by crash landing his plane in Guatemala, encountering the indigenous "Xinca tribe" as a result, who see him as a supernatural being and provide him with two loyal aides. Allard returns to the United States and takes residence in New York City, adopting numerous identities to acquire valuable information and conceal his true nature, and recruiting a variety of agents to aid his war on crime, only a few of whom are aware of his other identities.


title: The Shadow

text: As the vigilante called The Shadow, Allard hunts down and often violently confronts criminals, armed with Colt .45 pistols and sometimes using magician tricks to convince his prey that he's supernatural. One such trick is The Devil's Whisper, a chemical compound on the thumb and forefinger, causing a flash of bright flame and sharp explosion when he snaps his fingers. The Shadow is also known for wearing a girasol ring with a purple stone (sometimes depicted as a red stone in cover artwork), gifted to Kent Allard from the Czar of Russia ("The Romanoff Jewels," 1932) during World War I. The ring is later said to be one of two rings made with gemstones taken from the eyes of an idol made by the Xinca tribe ("The Shadow Unmasks," 1937).


title: The Shadow

text: The Shadow's best known alter ego is Lamont Cranston, a "wealthy young man-about-town." In the pulps, Cranston is a separate character, a rich playboy who travels the world while The Shadow uses his identity and resources in New York ("The Shadow Laughs," 1931). The Shadow's disguise as Cranston works well because the two men resemble each other ("Dictator of Crime", 1941). In their first meeting, The Shadow threatens Cranston, saying that unless the playboy agrees to allow the aviator to use his identity when he is abroad, then Allard will simply take over the man's identity entirely, having already made arrangements to begin the process, including switching signatures on various documents. Although alarmed at first, the real Lamont Cranston agrees, deciding that sharing his resources and identity is better than losing both entirely. The two men sometimes meet afterward in order to impersonate each other ("Crime over Miami", 1940). As Cranston, The Shadow often attends the Cobalt Club, an exclusive restaurant and lounge catering to the wealthy, and associates with New York City Police Commissioner Ralph Weston.


title: The Shadow

text: The Shadow's other disguises include: businessman Henry Arnaud, who like Cranston is a real person whose identity Allard simply assumes at times, as revealed in Arnaud's first appearance "The Black Master" (March 1, 1932); elderly Isaac Twambley, who first appears in "No Time For Murder" (December 1944); and Fritz, an old, seemingly slow-witted, uncommunicative janitor who works at police headquarters, listening in on conversations and examining recovered evidence, first appearing in "The Living Shadow" (April 1931).


title: The Shadow

text: In "Teeth of the Dragon" and later stories including "The Golden Pagoda", The Shadow is known in Chinatown as Ying Ko, often fighting the criminal Tong.


title: The Shadow

text: In the 2015 Altus Press novel "The Sinister Shadow" by Will Murray, The Shadow masquerades as celebrated criminologist George Clarendon of Chicago, a past member of the Cobalt Club and long-time friend of Commissioner Weston.


title: The Shadow

text: For the first half of The Shadow's tenure in the pulps, his past and true identity (outside of his Cranston disguise) are ambiguous. In "The Living Shadow", a thug claiming to have seen the Shadow's face recalls seeing "a piece of white that looked like a bandage." In "The Black Master" and "The Shadow's Shadow", the villains of both stories see The Shadow's true face and remark the vigilante is a man of many faces with no face of his own. It was not until the August 1937 issue, "The Shadow Unmasks", that The Shadow's real name was revealed.


title: The Shadow

text: In the radio drama series that premiered in 1937, the Allard secret identity and backstory were dropped for simplicity's sake. The radio incarnation of The Shadow is really and only Lamont Cranston with no other regular cover identities, though he does adopt disguises and short-term aliases during some adventures. The radio version of Cranston travels the world to "learn the old mysteries that modern science has not yet rediscovered" ("Death House Rescue" in 1937). Along with learning skills and knowledge in Europe, Africa, and Asia, he spends time training with a Yogi priest, "Keeper of the Temple of Cobras," in Delhi and learns how to read thoughts and hypnotize people enough to "cloud" their minds, making himself invisible to them (as revealed in the episode "The Temple Bells of Neban" in 1937). He explicitly states in several episodes that his talents are not magic but based on science. Returning to New York, he decides he can best aid the police and his city by operating outside the law as an invisible vigilante. He is somewhat less ruthless and more compassionate than the pulp incarnation, and without the vast network of agents and operatives. Only cab driver/chauffeur Shrevvy makes regular appearances on the radio series, but the character is different from his print counterpart. Commissioner Weston and a few other supporting characters from the print stories also are adapted to radio.


title: The Shadow

text: Though initially wanted by the police, The Shadow also works with and through them, notably gleaning information from his many chats (as Cranston) at the Cobalt Club with NYPD Commissioner Ralph Weston and later Commissioner Wainwright Barth, who is also Cranston's uncle (portrayed by Jonathan Winters in the 1994 film). Weston believes Cranston is merely a rich playboy who dabbles in detective work out of curiosity. Another police contact is Detective (later Inspector) Joseph Cardona, a key character in many Shadow novels.


title: The Shadow

text: In contrast to the pulps, "The Shadow" radio drama limited the cast of major characters to The Shadow, Commissioner Weston, and Margo Lane, the last of whom was created for the radio series. Along with giving The Shadow a love interest, Margo was created because it was believed that including Harry Vincent as a regular would mean an overabundance of male characters (considering the criminals in the stories were usually male, too) and could possibly make it difficult for the audience to distinguish between the voices of so many male actors. The radio script for "The Death House Rescue" (reprinted in "The Shadow Scrapbook") features Harry Vincent, but he did not appear in the actual radio broadcast or any episode of the radio drama series. Clyde Burke made occasional appearances, but not as an agent of The Shadow. Lieutenant Cardona was a minor character in several episodes. Moe Shrevnitz (identified only as "Shrevvy") made several appearances as a simple-minded acquaintance of Cranston and Lane who sometimes acted as their chauffeur, unaware Cranston was actually The Shadow.


title: The Shadow

text: The Shadow also faces a wide variety of enemies, ranging from kingpins and mad scientists to international spies.


title: The Shadow

text: The only recurring criminal organization he fought was the Hand ("The Hand", "Murder for Sale", "Chicago Crime", "Crime Rides the Sea" and "Realm of Doom"), where he defeated one Finger of the organization in each book.


title: The Shadow

text: In addition, the villain King Kauger from the Shadow story "Wizard of Crime" is the unseen mastermind behind the events of "Intimidation, Inc.", and the organization known as "The Silent Seven" was referenced in the previous title "The Death Tower".


title: The Shadow

text: Villains Diamond Bert Farwell, Isaac Coffran, Steve Cronin, Spotter, and Birdie Crull all originated in the first two pulps and returned at least once.


title: The Shadow

text: The series featured a myriad of one-shot villains including: The Golden Vulture, Malmordo, The Red Blot, The Black Falcon, The Cobra, Five-Face, Li Hoang, Velma Thane, Quetzal, Judge Lawless, The Gray Ghost, The Silver Skull, Gaspard Zemba, Thade the Death Giver, Kwa the Living Joss, Mox, and The Green Terror.


title: The Shadow

text: In addition to The Hand and The Silent Seven, The Shadow also battled other one-shot collectives of criminals, including The Hydra, The Green Hoods, The White Skulls, The Five Chameleons, and The Salamanders.


title: The Shadow

text: In early 1930, Street & Smith hired David Chrisman and Bill Sweets to adapt the "Detective Story Magazine" to radio format. Chrisman and Sweets thought the program should be introduced by a mysterious storyteller. A young scriptwriter, Harry Charlot, suggested the name of "The Shadow." Thus, "The Shadow" premiered over CBS airwaves on July 31, 1930, as the host of the "Detective Story Hour", narrating "tales of mystery and suspense from the pages of the premier detective fiction magazine." The bulk of the radio show was written primarily by Sidney Slon. The narrator was first voiced by James La Curto, but became a national sensation when radio veteran Frank Readick, Jr. assumed the role and gave it "a hauntingly sibilant quality that thrilled radio listeners."


title: The Shadow

text: Following a brief tenure as narrator of Street & Smith's "Detective Story Hour", "The Shadow" character was used to host segments of "The Blue Coal Radio Revue", airing on Sundays at 5:30 p.m. Eastern Standard Time. This marked the beginning of a long association between the radio persona and sponsor Blue Coal.


title: The Shadow

text: While functioning as a narrator of "The Blue Coal Radio Revue", the character was recycled by Street & Smith in October 1931, for its newly created "Love Story Hour". Contrary to dozens of encyclopedias, published reference guides, and even Walter Gibson himself, The Shadow never served as narrator of "Love Story Hour". He appeared only in advertisements for "The Shadow Magazine" at the end of each episode.


title: The Shadow

text: In October 1932, the radio persona temporarily moved to NBC. Frank Readick Jr. again played the role of the sinister-voiced host on Mondays and Wednesdays, both at 6:30 p.m., with La Curto taking occasional turns as the title character.


title: The Shadow

text: Readick returned as The Shadow to host a final CBS mystery anthology that fall. The series disappeared from CBS airwaves on March 27, 1935, due to Street & Smith's insistence that the radio storyteller be completely replaced by the master crime-fighter described in Walter B. Gibson's ongoing pulps.


title: The Shadow

text: Street & Smith entered into a new broadcasting agreement with Blue Coal in 1937, and that summer Gibson teamed with scriptwriter Edward Hale Bierstadt to develop the new series. "The Shadow" returned to network airwaves with the episode "The Death House Rescue" on September 26, 1937, over the Mutual Broadcasting System. Thus began the "official" radio drama, with 22-year-old Orson Welles starring as Lamont Cranston, a "wealthy young man about town." Once "The Shadow" joined Mutual as a half-hour series on Sunday evenings, the program was broadcast by Mutual until December 26, 1954.


title: The Shadow

text: Welles did not speak the signature line, "Who knows what evil lurks in the hearts of men?" Instead, Readick did, using a water glass next to his mouth for the echo effect. The famous catchphrase was accompanied by the strains of an excerpt from Opus 31 of the Camille Saint-Saëns classical composition, "Le Rouet d'Omphale."


title: The Shadow

text: In the debut episode "The Death House Rescue," Cranston explains he spent years studying in London, Paris, Vienna, Egypt, China, and India, learning different fields of science as well as "the old mysteries that modern science has not yet rediscovered, the natural magic that modern psychology is beginning to understand." He states his hypnotic and seemingly telepathic abilities are not magic but based on scientific secrets most of the world has forgotten or does not yet understand. In "The Temple Bells of Neban" in 1937, he specifies that a Yogi priest, "Keeper of the Temple of Cobras" in Delhi, taught him how to be invisible by "clouding" peoples' minds. He indicates in "The Death House Rescue" that he always intended to use his acquired knowledge to secretly fight evil forces that evaded conventional authorities. In the same episode, when his companion Margo Lane suggests he work openly with the police, Cranston implies the police and general public would not understand or approve of his strange methods and abilities, concluding he is only effective by working outside of the law. The radio version of The Shadow is less ruthless than his pulp counterpart, preferring to capture his foes more often than gun them down. He sometimes openly shows compassion for his enemies, even at time criticizing society for creating circumstances that lead to certain crimes and cause some people to lose hope and support.


title: The Shadow

text: After Welles departed the show in 1938, Bill Johnstone was chosen to replace him and voiced the character for five seasons. Following Johnstone's departure, The Shadow was portrayed by such actors as Bret Morrison (the longest tenure, with 10 years total in two separate runs), John Archer, and Steven Courtleigh (the actors were rarely credited).


title: The Shadow

text: The radio drama also introduced Margo Lane (played by Agnes Moorehead, among others) as Cranston's love interest, crime-solving partner, and the only person who knows his identity as The Shadow. Described as Cranston's "friend and companion" in many episodes, the exact nature of their relationship was not explicitly stated, but Margo mentions in the first episode that she loves him and hopes he will retire The Shadow identity and operate without secrecy if the police really need his help. Four years after the radio show began, the character was introduced into the pulp novels as one of The Shadow's agents. Her sudden, unexplained appearance in the pulps annoyed readers and generated a flurry of hate mail printed on "The Shadow Magazine's" letters page.


title: The Shadow

text: In early scripts of the radio drama, the character's name was spelled "Margot." The name itself was originally inspired by Margot Stevenson, the Broadway ingénue who would later be chosen to voice Lane opposite Welles's The Shadow during "the 1938 Goodrich summer season of the radio drama." In the 1994 film in which Penelope Ann Miller played the character, Margo is portrayed as telepathic, making her aware of and able to counter The Shadow's mental abilities.


title: The Shadow

text: In 1968, Metro Record's "Leo the Lion" label released an LP titled "The Official Adventures of The Shadow" (CH-1048) with two original 15-minute radio-style productions written by John Fleming: "The Computer Calculates, but The Shadow Knows" and "Air Freight Fracas." Bret Morrison, Grace Matthews, and Santos Ortega reprised their roles as Cranston/The Shadow, Margo Lane, and Commissioner Weston. Ken Roberts also returned as the announcer.


title: The Shadow

text: Throughout the 1970s, 1980s, and 1990s, several dozen+ spoken word LPs appeared in print from other record labels featuring recordings taken from the original broadcast Shadow radio show dramas. With the advent of the compact disc, more of the radio shows were commercially released.


title: The Shadow

text: "The Shadow" has been adapted for the comics several times during his long history; his first comics appearance was on June 17, 1940, as a syndicated daily newspaper comic strip offered through the Ledger Syndicate. The strip's story continuity was written by Walter B. Gibson, with plot lines adapted from the Shadow pulps, and the strip was illustrated by Vernon Greene.


title: The Shadow

text: The comic strip, which ran until June 20, 1942, comprised 14 stories, the last of which was left uncompleted when the strip was canceled:


title: The Shadow

text: "The Shadow" daily was collected decades later in two comic book series from two different publishers (see below), first in 1988 and then in 1999.


title: The Shadow

text: To both cross-promote "The Shadow" and attract a younger audience to its other pulp magazines, Street & Smith published 101 issues of the comic book "Shadow Comics" from Vol. 1, #1 – Vol. 9, #5 (March 1940 – Sept. 1949). A Shadow story led off each issue, with the remainder of the stories being strips based on other Street & Smith pulp heroes.


title: The Shadow

text: In 1931 and 1932, Bryan Foy Productions created and Universal Pictures distributed a series of six film shorts based on the popular "Detective Story Hour" radio program, narrated by The Shadow. The shorts featured the voice of Frank Readick Jr., who portrayed The Shadow on the radio program. The six films are: "A Burglar to the Rescue" (© July 22, 1931), "Trapped" (© Sep. 21, 1931), "Sealed Lips" (© Oct. 30, 1931), "House of Mystery" (© Dec. 11, 1931), "The Red Shadow" (© Jan. 12, 1932), and "The Circus Show-Up" (© Jan. 27, 1932).


title: The Shadow

text: The film "The Shadow Strikes" was released in 1937, starring Rod La Rocque in the title role. Lamont Granston (as his name was spelled in both opening credits and a newspaper article) assumes the secret identity of "The Shadow" in order to thwart an attempted robbery at an attorney's office. Both "The Shadow Strikes" (1937) and its sequel, "International Crime" (1938), were released by Grand National Pictures.


title: The Shadow

text: La Rocque returned the following year in "International Crime". In this version, reporter Lamont Cranston (despite being spelled Granston in the previous film) is an amateur criminologist and detective who uses the name of "The Shadow" as a radio gimmick. Thomas Jackson portrayed Police Commissioner Weston, and Astrid Allwyn was cast as Phoebe Lane, Cranston's assistant.


title: The Shadow

text: "The Shadow", a 15-chapter movie serial, produced by Columbia Pictures and starring Victor Jory, premiered in theaters in 1940. The serial's villain, The Black Tiger, is a criminal mastermind who sabotages rail lines and factories across the United States. Lamont Cranston must become his shadowy alter ego in order to unmask the criminal and halt his fiendish crime spree. As The Shadow, Jory wears an all-black suit and cloak, as well as a black bandana that helps conceal his facial features.


title: The Shadow

text: Low-budget motion picture studio Monogram Pictures produced a trio of quickie Shadow B-movie features in 1946 starring Kane Richmond: "The Shadow Returns" (© Jan. 31, 1946), "Behind the Mask" (© April 1, 1946) and "Missing Lady" (© July 20, 1946). Richmond's Shadow wore all black, including a trench coat, a wide-brimmed fedora, and a full face-mask similar to the type worn by movie serial hero The Masked Marvel, instead of the character's signature black cape with red lining and red scarf.


title: The Shadow

text: Episodes of a television pilot shot in 1957 were edited into the 1958 theatrical feature "Invisible Avenger", rereleased in 1962 as "Bourbon Street Shadows".


title: The Shadow

text: In 1994 the character was adapted once again into a feature film, "The Shadow," starring Alec Baldwin as Lamont Cranston and Penelope Ann Miller as Margo Lane, with John Lone playing the recurring Asian villain from the pulp series Shiwan Khan, who claims to be a direct descendant of Genghis Khan. As the film opens, Cranston has become the evil and corrupt Yin-Ko (literally "Dark Eagle"), a brutal warlord and opium smuggler in early 1930s Mongolia. Yin-Ko is kidnapped by agents of the mysterious holy man Tulku, who knows the warlord is really Lamont Cranston of New York. He says he is determined to reform the man, that since Cranston knows the evil that lurks in his own heart he will be effective in knowing and fighting such evil in other men, and will learn how to tap into his latent psychic power. Resistant at first, Cranston accepts that is now under the Tulku's control. Over time, he reforms and learns how to read thoughts, as well as how to "cloud men's minds" to alter their perception and make himself invisible. Cranston eventually returns to his native New York City and takes up the guise of the mysterious crime fighter "The Shadow," in payment to humanity for his past evil misdeeds: "Who knows what evil lurks in the hearts of men? The Shadow "knows" ..."


title: The Shadow

text: The Shadow has a network of agents, each of whom now wears a ring similar to his own, and is then joined by Margo Lane, a socialite born with the gift of telepathy herself who quickly discovers Cranston's identity. In the film, the evil Shiwan Khan is an admirer of Ying-Ko who later also becomes a student of the Tulku, learning the same powers of illusion and telepathy but never reforming or regretting his murderous ways. He seeks to finish his ancestor's legacy of conquering the world by first destroying New York City, using a newly developed atomic bomb as a show of his power. Khan nearly succeeds, but is thwarted by The Shadow. In a final psychic duel, the hero telekinetically hurls a shattered piece of mirror directly into the villain's forehead, instantly rendering him unconscious. Shiwan Khan is not killed and wakes up in an unidentified asylum where he is now under the care of a doctor who is secretly one of The Shadow's agents. Due to his head injury, surgery was performed on his frontal lobe, removing his telepathic powers and forcing him to remain imprisoned in the asylum.


title: The Shadow

text: The film combines elements from The Shadow pulp novels and comic books with the aforementioned ability to cloud minds described only on the radio show. In the film Alec Baldwin, as The Shadow, wears a black cloak and a long red scarf that covers his mouth and chin; he also wears a black, double-breasted trench coat and a wide-brimmed, black slouch hat. Contrarily to pulp novels, he is armed with a pair of modified M1911 .45-caliber semi-automatic pistols that for the film have longer barrels, are nickel plated, and have ivory grips. In reality, the prop guns were modified LAR Grizzly Win Mags nicknamed "Silver Heat." The film also displays a first: Cranston's ability to conjure the illusion of a false face whenever he is in his guise as The Shadow, giving him an appearance similar to the character's physical portrayal in the pulp magazines and comics.


title: The Shadow

text: On December 11, 2006, the website SuperHero Hype reported that director Sam Raimi and Michael Uslan would co-produce a new "Shadow" film for Columbia Pictures. It was rumored to also be a film involving several Street and Smith pulp heroes, including The Shadow, the Avenger, and Doc Savage. This screenplay was supposedly written by Siavash Farahani.


title: The Shadow

text: On October 16, 2007, Raimi stated, "I don't have any news on "The Shadow" at this time, except that the company that I have with Josh Donen, my producing partner, we've got the rights to "The Shadow." I love the character very much and we're trying to work on a story that'll do justice to the character".


title: The Shadow

text: On August 23, 2012, the website ShadowFan reported that during a Q&A session at San Diego's 2012 Comic-Con, director Sam Raimi, when asked about the status of his Shadow film project, stated they had not been able to develop a good script and the film would not be produced as planned.


title: The Shadow

text: Ocean Software developed a video game version of "The Shadow" to tie in with the 1994 film. The game was supposed to be published on the Super Nintendo Entertainment System, but after the low box office gross of the film, the game was never released despite being completed. Since then, a ROM of the game has been leaked online.


title: The Shadow

text: Two attempts were made to adapt the character to television. The first, in 1954, was titled "The Shadow" and starred Tom Helmore as Lamont Cranston.


title: The Shadow

text: The second attempt in 1958 was titled "The Invisible Avenger"; it never aired. The two episodes produced were compiled into a theatrical film and released with the same title. It was re-released with additional footage in 1962 as "Bourbon Street Shadows". Starring Richard Derr as The Shadow, the film depicts Lamont Cranston investigating the murder of a New Orleans bandleader. The film is notable as the second directorial effort of James Wong Howe, who directed only one of the two unaired episodes.


title: The Shadow

text: When Bob Kane and Bill Finger first developed Bat-Man, they patterned the character after pulp mystery men such as The Shadow. Finger then used "Partners of Peril"—a Shadow pulp written by Theodore Tinsley—as the basis for Batman's debut story, "The Case of the Chemical Syndicate". Finger later publicly acknowledged that "my first Batman script was a takeoff on a Shadow story" and that "Batman was originally written in the style of the pulps." This influence was further evident with Batman showing little remorse over killing or maiming criminals and not above using firearms. Decades later, noted comic book writer Dennis O'Neil would have Batman and The Shadow meet in "Batman" #253 (November 1973) and "Batman" #259 (December 1974) to solve crimes. In the former, Batman acknowledged that The Shadow was his biggest influence and in the latter, The Shadow reveals to Batman that he knows his true identity of Bruce Wayne but assures him that his secret is safe with him.


title: The Shadow

text: Alan Moore has credited The Shadow as one of the key influences for the creation of V, the title character in his DC Comics miniseries "V for Vendetta", which later became a Warner Bros. feature film released in 2006.


title: The Shadow

text: The 2015 video game "Fallout 4" includes a quest series centered on a character called "The Silver Shroud," a masked crime-fighting detective from old-world radio shows; the character is based largely on The Shadow.


title: Smothers Brothers

text: The Smothers Brothers are Thomas ("Tom" – born February 2, 1937) and Richard ("Dick" – born November 20, 1938), American folk singers, musicians, and comedians. The brothers' trademark double act was performing folk songs (Tommy on acoustic guitar, Dick on double bass), which usually led to arguments between them. Tommy's signature line was "Mom always liked you best!" Tommy (the elder of the two) acted "slow" and Dick, the straight man, acted "superior".


title: Smothers Brothers

text: In the late 1950s and early 1960s, the brothers frequently appeared on television variety shows and issued several popular record albums of their stage performances. Their own television variety show, "The Smothers Brothers Comedy Hour", became one of the most controversial American TV programs of the Vietnam War era. Despite popular success, the brothers' penchant for material that was critical of the political mainstream and sympathetic to the emerging counterculture led to their firing by the CBS network in 1969. One episode was left unaired.


title: Smothers Brothers

text: The brothers continued to work, both independently and as a team, on stage and television, and in films during subsequent decades.


title: Smothers Brothers

text: The brothers were both born on Governors Island in New York Harbor, where their father, Thomas B. Smothers Jr., a West Point graduate and U.S. Army officer, was stationed. Tom was born on February 2, 1937, and Dick was born on November 20, 1938. Major Smothers served in the 45th Infantry Regiment and died during World War II, while being transported from a Japanese prisoner of war camp in Fukuoka, Japan, to a POW camp in Mukden, Manchukuo. They were raised by their mother in the Los Angeles area.


title: Smothers Brothers

text: They graduated from Redondo Union High School in Redondo Beach, California, and attended San Jose State University. After a brief time in a folk group called the Casual Quintet, the brothers made their first professional appearance as a duo in February 1959 at The Purple Onion in San Francisco. They were a popular act in clubs and released several successful top 40 albums for Mercury Records, the most successful being "Curb Your Tongue, Knave!" in 1964. Their first national television appearance was on "The Jack Paar Show" on January 28, 1961. On Sunday night, October 4, 1963, at 9:00 P.M. E.S.T., the Smothers Brothers made an appearance on the CBS variety series "The Judy Garland Show" which also showcased Barbra Streisand. Tom and Dick inherited Garland's time slot when their own variety series began in early 1967.


title: Smothers Brothers

text: The brothers appeared in a segment of the television series "Burke's Law", in 1964, in which they played two compulsive hoarders. Their first television series was a situation comedy, "The Smothers Brothers Show" (1965–1966), produced by Four Star Television. Tom played an angel come back to earth to oversee his brother Dick, who played a swinging bachelor. It did not do well in the ratings and had little of the music that was identified with the brothers. Tom said in 1969 that "Four Star gave me ulcers."


title: Smothers Brothers

text: "The Smothers Brothers Comedy Hour" started out as only a slightly "hip" version of the typical comedy-variety show of its era, but rapidly evolved into a show that extended the boundaries of what was considered permissible in television satire at that time. While the Smothers themselves were at the forefront of these efforts, credit also goes to the roster of writers and regular performers they brought to the show, including Steve Martin, Don Novello, Rob Reiner, Presidential candidate Pat Paulsen, Bob Einstein, Albert Brooks, and resident hippie Leigh French. The show also introduced audiences to pop singer Jennifer Warnes (originally billed as Jennifer Warren or simply Jennifer), who was a regular on the series. The television premiere of Mason Williams' hit record, "Classical Gas", took place on the show; Williams was also the head writer for the series.


title: Smothers Brothers

text: The series showcased new musical artists to whom other comedy-variety shows rarely gave airtime, due to the nature of their music or their political affiliations. George Harrison, Ringo Starr, Joan Baez, Buffalo Springfield, Cass Elliot, Harry Belafonte, Cream, Donovan, The Doors, Glen Campbell, Janis Ian, Jefferson Airplane, The Happenings, Peter, Paul and Mary, Spanky and Our Gang, Steppenwolf, Simon and Garfunkel, The Hollies, The Who, and even Pete Seeger were showcased on the show, despite the advertiser-sensitive nature of their music.


title: Smothers Brothers

text: Seeger's appearance was his first appearance on network television since being blacklisted in the 1950s. It became controversial because of his song choice, "Waist Deep in the Big Muddy", an anti-war song that the network considered to be an insult to President Lyndon Johnson and his Vietnam War policy. The song was censored on Seeger's first appearance but permitted on a later appearance.


title: Smothers Brothers

text: In September 1968, the show broadcast in successive weeks "music videos" (called "promotional films" at the time) for The Beatles' double A-side single "Hey Jude" and "Revolution". Before a rowdy crowd at the Los Angeles Forum, Jimi Hendrix dedicated "I Don't Live Today" to the Smothers Brothers, as heard on "The Jimi Hendrix Box Set".


title: Smothers Brothers

text: The performance by The Who in 1967 was another defining moment in the series. As the group often did during that period, The Who destroyed their instruments at the conclusion of their performance of "My Generation", with the usual addition of mild explosives for light pyrotechnic effect. The piece ended with guitarist Pete Townshend grabbing Tommy's guitar and smashing it. On the "Smothers Brothers" show that night a small amount of explosive was put into the small cannon that Keith Moon kept in his bass drum. But it did not go off during the rehearsal. Unbeknownst to Moon, a stage hand had added another explosive before the taping, and later Moon added another charge so that now there were three explosive charges in the cannon instead of one. When Moon detonated it, the explosion was so intense that a piece of cymbal shrapnel cut into Moon's arm; Moon is heard moaning in pain toward the end of the piece. Townshend, who had been in front of Moon's drums at the time, had his hair singed by the blast; he is seen putting out sparks in his hair before finishing the sketch with a visibly shocked Tommy Smothers. The blast allegedly contributed heavily to Townshend's long-term hearing loss.


title: Smothers Brothers

text: With its focus having evolved toward a more youth-oriented one, the show became both popular and controversial. Three specific targets of satire – racism, the President of the United States, and the Vietnam War – wound up defining the show's content for the remainder of its run, eventually leading to its demise.


title: Smothers Brothers

text: The brothers soon found themselves in regular conflict with CBS's network censors. At the start of the 1968–69 season, the network ordered that the Smothers Brothers deliver their shows finished and ready to air 10 days before air date so that the censors could edit the shows as necessary. In the season premiere, CBS deleted the entire segment of Belafonte singing "Lord, Don't Stop the Carnival" against a backdrop of the havoc during the 1968 Democratic National Convention, along with two lines from a satire of their main competitor, "Bonanza". As the year progressed, battles over content continued, including a David Steinberg sermon about Moses and the Burning Bush.


title: Smothers Brothers

text: With some local stations making their own deletions of controversial skits or comments, the continuing problems over the show came to a head after CBS broadcast a rerun on March 9, 1969. The network explained the decision by stating that, because that week's episode did not arrive in time to be previewed, it would not be shown. In that program, Joan Baez paid tribute to her then-husband, David Harris, who was entering prison after refusing military service, while comedian Jackie Mason made a joke about children "playing doctor". When the show finally did air, two months later, the network allowed Baez to state that her husband was in prison, but edited out the reason.


title: Smothers Brothers

text: Despite the conflict, the show was picked up for the 1969-70 season on March 14, seemingly ending the debate over its status. However, network CEO and President William S. Paley abruptly cancelled the show on April 4, 1969. The reason given by CBS was the brothers’ refusal to meet the pre-air delivery dates as specified by the network in order to accommodate review by the censors. This cancellation led the brothers to file a successful breach of contract suit against the network, although the suit failed to see the brothers or their show returned to the air. Despite this cancellation, the show went on to win the Emmy Award that year for best writing. The saga of the cancellation of the show is the subject of a 2002 documentary film, "Smothered".


title: Smothers Brothers

text: The Smothers Brothers starred in several other television shows. These included a 1968 CBS summer replacement series, "The Summer Brothers Smothers Show"; "The Smothers Brothers Show" (1975), initially produced by Joe Hamilton (who concurrently produced "The Carol Burnett Show", starring his wife), which was an unsuccessful attempt to recapture the look and feel of the original comedy-variety series without the controversy; and "The Tom and Dick Smothers Brothers Specials I and II" in 1980.


title: Smothers Brothers

text: In February, 1970, "The Return of the Smothers Brothers" aired. The hour-long special was written by Tom Smothers, David Steinberg, and Bob Einstein. Guests included Peter Fonda and Glen Campbell.


title: Smothers Brothers

text: In 1978, the brothers starred in a replacement cast for "I Love My Wife", Cy Coleman's and Michael Stewart's Broadway musical satire on the sexual revolution of the 1970s, directed by Gene Saks.


title: Smothers Brothers

text: In 1981, Tom and Dick Smothers played non-brothers in a light TV drama, set in San Francisco, titled "Fitz and Bones". Both characters worked at a Bay Area television station; Tom played cameraman Bones Howard and Dick played Ryan Fitzpatrick, an investigative reporter. The show was cancelled after five episodes.


title: Smothers Brothers

text: The pair starred in the Cinemax Comedy Experiment "Rap Master Ronnie," a film version of Garry Trudeau and Elizabeth Swados' off-Broadway play. In 1989, they also appeared in the box office flop "Speed Zone" aka "Cannonball Fever" co-starring John Candy, Peter Boyle, and Donna Dixon.


title: Smothers Brothers

text: In 1988, Tom and Dick reunited with CBS for a special celebrating the 20th anniversary of their variety show (though their show premiered in 1967, which made it their 21st anniversary). The brothers used the special to pay tribute to their network and also poke fun at it for cancelling them 19 years earlier. Several of their former writers, including Steve Martin, Rob Reiner, and Mason Williams appeared as guests, as did former series regulars such as Jennifer Warnes and Glen Campbell. The success of the special led to "The Smothers Brothers Comedy Hour" (1988–1989). This show began production during a 1988 Writers Guild of America strike as the WGA had agreed to settle with the show's producer and grant the show an exemption from the strike and allow writers to go back to work for the series.


title: Smothers Brothers

text: 1988 also marked the release of "The Yo Yo Man Instructional Video", a VHS release in which Tom's non-speaking "Yo-Yo Man" character, who appeared as early as the 1960s, guides viewers through basic yo-yo moves. The video sold over 200,000 copies.


title: Smothers Brothers

text: The brothers have worked independently as well; Dick has appeared as an actor in films, including a rare dramatic role as a Nevada state senator in Martin Scorsese's "Casino". Tom appeared in the 2005 made-for-television movie "Once Upon a Mattress".


title: Smothers Brothers

text: They appeared in the documentary "The Aristocrats" in 2005, and had separate cameos in the 2009 film "The Informant!" In December 2009, the duo guest starred in a 21st-season episode of "The Simpsons" that also featured Cooper, Peyton, and Eli Manning.


title: Smothers Brothers

text: After more than 51 years of touring, the Smothers Brothers officially announced their retirement from touring during their final performance at the Orleans Hotel and Casino in Las Vegas, Nevada, on Sunday May 16, 2010. The affair was kept low key with some family members and friends in attendance.


title: Smothers Brothers

text: On July 22, 2019, the Smothers Brothers made their first official appearance together in almost a decade at a charity event held at McCurdy's Comedy Theater in Sarasota, Florida. Though not a proper performance, they spoke about their careers and answered audience questions. The duo donated much of their archives and artifacts from their career to the National Comedy Center a week later and appeared at the Chautauqua Institution to discuss the 50th anniversary of the cancellation of "The Smothers Brothers Comedy Hour".


title: Smothers Brothers

text: The Smothers Brothers made several appearances in 2022. On the December 11, 2022, episode of "CBS News Sunday Morning", the brothers announced that they would be going on tour in 2023.


title: Smothers Brothers

text: Tom Smothers, along with his wife Marcy Carriker, operates the Remick Ridge Vineyards (Remick was the maiden name of Smothers' mother) in Sonoma County, California.


title: Smothers Brothers

text: In 2003, the brothers were awarded the George Carlin Freedom of Expression Award from the Video Software Dealers' Association. The award was in recognition of the brothers' "extraordinary comic gifts and their unfailing support of the First Amendment". In the same year, they both received Honorary Doctorate Degrees from San Jose State University. The Boston Comedy Festival presented a Lifetime Achievement Award to the brothers in 2008.


title: Smothers Brothers

text: In September 2008, during the 60th Primetime Emmy Awards, Tommy Smothers, a lead writer of "The Smothers Brothers Comedy Hour", was belatedly awarded a 1968 Emmy for Outstanding Writing in a Comedic Series. The award was presented to him by Steve Martin, one of the show's original writers. In 1968, Tommy Smothers had refused to let his name be on the list of writers nominated for the Emmy because he felt his name was too controversial, and thus when the writing staff won he was the only member not to receive the award.


title: Smothers Brothers

text: On June 18, 2022, the Smothers Brothers received the Johnny Carson Comedy Legend Award at the conclusion of the Great American Comedy Festival in Norfolk, Nebraska.


title: Phalanx

text: The phalanx (; plural phalanxes or phalanges, , ) was a rectangular mass military formation, usually composed entirely of heavy infantry armed with spears, pikes, sarissas, or similar pole weapons. The term is particularly used to describe the use of this formation in ancient Greek warfare, although the ancient Greek writers used it to also describe any massed infantry formation, regardless of its equipment. Arrian uses the term in his "Array against the Alans" when he refers to his legions. In Greek texts, the phalanx may be deployed for battle, on the march, or even camped, thus describing the mass of infantry or cavalry that would deploy in line during battle. They marched forward as one entity.


title: Phalanx

text: The term itself, as used today, does not refer to a distinctive military unit or division (e.g., the Roman legion or the contemporary Western-type battalion), but to the type of formation of an army's troops. Therefore, this term does not indicate a standard combat strength or composition but includes the total number of infantry, which is deployed in a single formation known as a "phalanx".


title: Phalanx

text: Many spear-armed troops historically fought in what might be termed phalanx-like formations. This article focuses on the use of the military phalanx formation in Ancient Greece, the Hellenistic world, and other ancient states heavily influenced by Greek civilization.


title: Phalanx

text: The earliest known depiction of a phalanx-like formation occurs in the Sumerian Stele of the Vultures from the 25th century BC. Here the troops seem to have been equipped with spears, helmets, and large shields covering the whole body. Ancient Egyptian infantry were known to have employed similar formations. The first usage of the term comes from Homer's "", used to describe hoplites fighting in an organized battle line. Homer used the term to differentiate the formation-based combat from the individual duels so often found in his poems.


title: Phalanx

text: Historians have not arrived at a consensus about the relationship between the Greek formation and these predecessors of the hoplites. The principles of shield wall and spear hedge were almost universally known among the armies of major civilizations throughout history, and so the similarities may be related to convergent evolution instead of diffusion.


title: Phalanx

text: Traditionally, historians date the origin of the hoplite phalanx of ancient Greece to the 8th century BC in Sparta, but this is under revision. It is perhaps more likely that the formation was devised in the 7th century BC after the introduction of the aspis by the city of Argos, which would have made the formation possible. This is further evidenced by the Chigi vase, dated to 650 BC, identifying hoplites armed with aspis, spear and panoply.


title: Phalanx

text: Another possible theory as to the birth of Greek phalanx warfare stems from the idea that some of the basic aspects of the phalanx were present in earlier times yet were not fully developed due to the lack of appropriate technology. Two of the basic tactics seen in earlier warfare include the principle of cohesion and the use of large groups of soldiers. This would suggest that the Greek phalanx was rather the culmination and perfection of a slowly developed idea that originated many years earlier. As weaponry and armour advanced through the years in different city-states, the phalanx became complex and effective.


title: Phalanx

text: The hoplite phalanx of the Archaic and Classical periods in Greece was the formation in which the hoplites would line up in ranks in close order. The hoplites would lock their shields together, and the first few ranks of soldiers would project their spears out over the first rank of shields. The phalanx therefore presented a shield wall and a mass of spear points to the enemy, making frontal assaults against it very difficult. It also allowed a higher proportion of the soldiers to be actively engaged in combat at a given time (rather than just those in the front rank).


title: Phalanx

text: Battles between two phalanxes usually took place in open, flat plains where it was easier to advance and stay in formation. Rough terrain or hilly regions would have made it difficult to maintain a steady line and would have defeated the purpose of a phalanx. As a result, battles between Greek city-states would not take place in just any location, nor would they be limited to sometimes obvious strategic points. Rather, many times, the two opposing sides would find the most suitable piece of land where the conflict could be settled. Typically, the battle ended with one of the two fighting forces fleeing to safety.


title: Phalanx

text: The phalanx usually advanced at a walking pace, although it is possible that they picked up speed during the last several yards. One of the main reasons for this slow approach was to maintain formation. The formation would be rendered useless if the phalanx was lost as the unit approached the enemy and could even become detrimental to the advancing unit, resulting in a weaker formation that was easier for an enemy force to break through. If the hoplites of the phalanx were to pick up speed toward the latter part of the advance, it would have been for the purpose of gaining momentum against the enemy in the initial collision. Herodotus said of the Greeks at the Battle of Marathon: "They were the first Greeks we know of to charge their enemy at a run." Many historians believe that this innovation was precipitated by their desire to minimize their losses from Persian archery. The opposing sides would collide, possibly severing many of the spears of the row in front and killing the front part of the enemy army due to the bone-breaking collision.


title: Phalanx

text: The spears of a phalanx had spiked butts. In battle, the back ranks used the spikes to finish fallen enemy soldiers.


title: Phalanx

text: The "physical pushing match" theory is one where the battle would rely on the valour of the men in the front line, whilst those in the rear maintained forward pressure on the front ranks with their shields, and the whole formation would consistently press forward trying to break the enemy formation. This is the most widely accepted interpretation of the ancient sources thus when two phalanx formations engaged, the struggle essentially became a pushing match. Historians such as Victor Davis Hanson point out that it is difficult to account for exceptionally deep phalanx formations unless they were necessary to facilitate the physical pushing depicted by this theory, as those behind the first two ranks could not take part in the actual spear thrusting.


title: Phalanx

text: No Greek art ever depicts anything like a phalanx pushing match, so this hypothesis is a product of educated speculation rather than explicit testimony from contemporary sources and is far from being academically resolved. The Greek term for "push" was used in the same metaphorical manner as the English word is (for example it was also used to describe the process of rhetorical arguments) and so does not necessarily describe a literal physical push, although it is possible that it did.


title: Phalanx

text: For instance, if "Othismos" were to accurately describe a physical pushing match, it would be logical to state that the deeper phalanx would always win an engagement since the physical strength of individuals would not compensate for even one additional rank on the enemy side. However, there are numerous examples of shallow phalanxes holding off an opponent. For instance, at Delium in 424 BC, the Athenian left flank, a formation eight men deep, held off a formation of Thebans 25 deep without immediate collapse. It is difficult with the physical pushing model to imagine eight men withstanding the pushing force of 25 opponents for a matter of seconds, let alone half the battle.


title: Phalanx

text: Such arguments have led to a wave of counter-criticism to physical shoving theorists. Adrian Goldsworthy, in his article "The Othismos, Myths and Heresies: The nature of Hoplite Battle", argues that the physical pushing match model does not fit with the average casualty figures of hoplite warfare nor the practical realities of moving large formations of men in battle. This debate has yet to be resolved amongst scholars.


title: Phalanx

text: Practical difficulties with this theory also include the fact that, in a shoving match, an eight-foot spear is too long to fight effectively or even parry attacks. Spears enable a formation of men to keep their enemies at a distance, parry attacks aimed at them and their comrades, and give the necessary reach to strike multiple men in the opposite formation. A pushing match would put enemies so close together that a quick stabbing with a knife would kill the front row almost instantly. The crush of men would also prevent the formation from withdrawing or retreating, which would result in much higher casualties than is recorded. The speed at which this would occur would also end the battle very quickly, instead of prolonging it for hours.


title: Phalanx

text: Each individual hoplite carried his shield on his left arm, protecting not only himself but also the soldier to the left. This meant that the men at the extreme right of the phalanx were only half-protected. In battle, opposing phalanxes would try to exploit this weakness by attempting to overlap the enemy's right flank. It also meant that, in battle, a phalanx would tend to drift to the right (as hoplites sought to remain behind the shield of their neighbor). Some groups, such as the Spartans at Nemea, tried to use this phenomenon to their advantage. In this case, the phalanx would sacrifice its left side, which typically consisted of allied troops, in an effort to overtake the enemy from the flank. It is unlikely that this strategy worked very often, as it is not mentioned frequently in ancient Greek literature.


title: Phalanx

text: There was a leader in each row of a phalanx, and a rear rank officer, the (meaning tail-leader), who kept order in the rear. The hoplites had to trust their neighbors to protect them and in turn be willing to protect their neighbors; a phalanx was thus only as strong as its weakest elements. The effectiveness of the phalanx therefore depended on how well the hoplites could maintain this formation in combat and how well they could stand their ground, especially when engaged against another phalanx. For this reason, the formation was deliberately organized to group friends and family close together, thus providing a psychological incentive to support one's fellows, and a disincentive, through shame, to panic or attempt to flee. The more disciplined and courageous the army, the more likely it was to winoften engagements between the various city-states of Greece would be resolved by one side fleeing before the battle. The Greek word (the "will to fight") expresses the drive that kept hoplites in formation.


title: Phalanx

text: Each hoplite provided his own equipment. The primary hoplite weapon was a spear around in length called a "dory". Although accounts of its length vary, it is usually now believed to have been seven to nine feet long (~2.1–2.7 m). It was held one-handed, with the other hand holding the hoplite's shield (aspis). The spearhead was usually a curved leaf shape, while the rear of the spear had a spike called a ('lizard-killer') which was used to stand the spear in the ground (hence the name). It was also used as a secondary weapon if the main shaft snapped or to kill enemies lying on the ground. This was a common problem, especially for soldiers who were involved in the initial clash with the enemy. Despite the snapping of the spear, hoplites could easily switch to the without great consequence. The rear ranks used the secondary end to finish off fallen opponents as the phalanx advanced over them.


title: Phalanx

text: Throughout the hoplite era, the standard hoplite armour went through many cyclical changes. An Archaic hoplite typically wore a bronze breastplate, a bronze helmet with cheekplates, as well as greaves and other armour. Later, in the classical period, the breastplate became less common, replaced instead with a corselet that some claim was made of linothorax (layers of linen glued together), or perhaps of leather, sometimes covered in whole or in part with overlapping metal scales. Eventually, even greaves became less commonly used, although degrees of heavier armour remained, as attested by Xenophon as late as 401 BC.


title: Phalanx

text: These changes reflected the balancing of mobility with protection, especially as cavalry became more prominent in the Peloponnesian War and the need to combat light troops, which were increasingly used to negate the hoplite's role as the primary force in battle. Yet bronze armour remained in some form until the end of the hoplite era. Some archaeologists have pointed out that bronze armour does not actually provide as much protection from direct blows as more extensive corselet padding, and have suggested its continued use was a matter of status for those who could afford it. In the classical Greek dialect, there is no word for swordsmen; yet hoplites also carried a short sword called the "xiphos", used as a secondary weapon if the dory was broken or lost. Samples of the recovered at excavation sites were typically around in length. These swords were double-edged and could therefore be used as a cutting and thrusting weapon. These short swords were often used to stab or cut at the enemy's neck during close combat.


title: Phalanx

text: Hoplites carried a circular shield called an "aspis" made from wood and covered in bronze, measuring roughly a metre (3.3 feet) in diameter. It spanned from chin to knee and was very heavy: . This medium-sized shield (fairly large for the period considering the average male height) was made possible partly by its dish-like shape, which allowed it to be supported with the rim on the shoulder. This was quite an important feature of the shield, especially for the hoplites who remained in the latter ranks. While these soldiers continued to help press forward, they did not have the added burden of holding up their shield. But the circular shield was not without its disadvantages. Despite its mobility, protective curve, and double straps the circular shape created gaps in the shield wall at both its top and bottom. (Top gaps were somewhat reduced by the one or two spears jutting out of the gap. In order to minimize the bottom gaps, thick leather curtains were used but only by an unknown percentage of the hoplites, possibly only in the first row since there were disadvantages as well: considerable weight on an already heavy shield and a certain additional cost.) These gaps left parts of the hoplite exposed to potentially lethal spear thrusts and were a persistent vulnerability for hoplites controlling the front lines.


title: Phalanx

text: The phalanx of the Ancient Macedonian kingdom and the later Hellenistic successor states was a development of the hoplite phalanx. The "phalangites" were armed with a much longer spear, the sarissa, and less heavily armoured. The sarissa was the pike used by the ancient Macedonian army. Its actual length is unknown, but apparently it was twice as long as the dory. This makes it at least , but appears more likely. (The cavalry xyston was by comparison.) The great length of the pike was balanced by a counterweight at the rear end, which also functioned as a butt-spike, allowing the sarissa to be planted into the ground. Because of its great length, weight and different balance, a sarissa was wielded two-handed. This meant that the aspis was no longer a practical defence. Instead, the phalangites strapped a smaller pelte shield (usually reserved for peltasts, light skirmishers) to their left forearm. Recent theories, including examination of ancient frescoes depicting full sets of weapons and armor, claim that the shields used were actually larger than the pelte but smaller than the aspis, hanging by leather from the left shoulder or from both shoulders. The shield would retain handling straps in the inner curve, to be handled like a (smaller) aspis if the fight progressed to sword-wielding. Although in both shield size assumptions this reduced the shield wall, the extreme length of the spear kept the enemy at a greater distance, as the pikes of the first three to five ranks could all be brought to bear in front of the front row. This pike had to be held underhand, as the shield would have obscured the soldier's vision had it been held overhead. It would also be very hard to remove a sarissa from anything it stuck in (the earth, shields, and soldiers of the opposition) if it were thrust downwards, due to its length. The Macedonian phalanx was much less able to form a shield wall, but the lengthened spears would have compensated for this. Such a phalanx formation also reduced the likelihood that battles would degenerate into a pushing match.


title: Phalanx

text: The basic combat element of the Greek armies was either the ("file", usually 8–16 men strong) or the ("sworn" and made up by 2–4 , totaling up to 32 men), both led by a who was assisted by a and two (sing. ). Four to a maximum of 32 (depending on the era in question or the city) formed a "lochos" led by a "lochagos", who in this way was in command of initially a hundred hoplites to a maximum of around five hundred in the late Hellenistic armies. Here, it has to be noted that the military manuals of Asclepiodotus and Aelian use the term to denote a file in the phalanx. A ("mora" for the Spartans) was the greatest standard hoplitic formation of five to fifteen hundred, led by a "strategos" (general). The entire army, a total of several or was led by a generals' council. The commander-in-chief was usually called a or a .


title: Phalanx

text: Hoplite phalanxes usually deployed in ranks of eight men or more deep; the Macedonian phalanxes were usually 16 men deep, sometimes reported to have been arrayed 32 men deep. There are some notable extremes; at the battles of Leuctra and Mantinea, the Theban general Epaminondas arranged the left wing of the phalanx into a "hammerhead" of fifty ranks of elite hoplites deep (see below) and when depth was less important, phalanxes just four deep are recorded, as at the battle of Marathon.


title: Phalanx

text: The phalanx depth could vary depending on the needs of the moment and plans of the general. While the phalanx was in march, an formation (loose, meaning literally "in depth") was adopted in order to move more freely and maintain order. This was also the initial battle formation as, in addition, it permitted friendly units to pass through whether assaulting or retreating. In this status, the phalanx had twice the normal depth and each hoplite had to occupy about in width. When enemy infantry was approaching, a rapid switch to the (spelled also ) formation (dense or tight formation) was necessary. In that case, each man's space was halved and the formation depth returned to normal. An even denser formation, the or (ultra-tight or locked shields formation), was used when the phalanx was expected to experience extra pressure, intense missile volleys or frontal cavalry charges. In , the rank depth was half that of a normal phalanx and the width each man occupied was as small as .


title: Phalanx

text: The early history of the phalanx is largely one of combat between hoplite armies from competing Greek city-states. The usual result was rather identical, inflexible formations pushing against each other until one broke. The potential of the phalanx to achieve something more was demonstrated at Battle of Marathon (490 BC). Facing the much larger army of Darius I, the Athenians thinned out their phalanx and consequently lengthened their front, to avoid being outflanked. However, even a reduced-depth phalanx proved unstoppable to the lightly armed Persian infantry. After routing the Persian wings, the hoplites on the Athenian wings wheeled inwards, destroying the elite troop at the Persian centre, resulting in a crushing victory for Athens. Throughout the Greco-Persian Wars the hoplite phalanx was to prove superior to the Persian infantry (e.g., the battles of Thermopylae and Plataea).


title: Phalanx

text: Perhaps the most prominent example of the phalanx's evolution was the oblique order, made famous in the Battle of Leuctra. There, the Theban general Epaminondas thinned out the right flank and centre of his phalanx, and deepened his left flank to an unheard-of fifty men deep. In doing so, Epaminondas reversed the convention by which the right flank of the phalanx was strongest. This allowed the Thebans to assault in strength the elite Spartan troops on the right flank of the opposing phalanx. Meanwhile, the centre and right flank of the Theban line were echeloned back, from the opposing phalanx, keeping the weakened parts of the formation from being engaged. Once the Spartan right had been routed by the Theban left, the remainder of the Spartan line also broke. Thus, by localising the attacking power of the hoplites, Epaminondas was able to defeat an enemy previously thought invincible.


title: Phalanx

text: Philip II of Macedon spent several years in Thebes as a hostage, and paid attention to Epaminondas' innovations. On return to his homeland, he raised a revolutionary new infantry force, which was to change the face of the Greek world. Philip's phalangites were the first force of professional soldiers seen in Ancient Greece apart from Sparta. They were armed with longer spears (the sarissa) and were drilled more thoroughly in more evolved, complicated tactics and manoeuvres. More importantly, though, Philip's phalanx was part of a multi-faceted, combined force which included a variety of skirmishers and cavalry, most notably the famous Companion cavalry. The Macedonian phalanx now was used to pin the centre of the enemy line, while cavalry and more mobile infantry struck at the foe's flanks. Its supremacy over the more static armies fielded by the Greek city-states was shown at the Battle of Chaeronea, where Philip II's army crushed the allied Theban and Athenian phalanxes.


title: Phalanx

text: The hoplite phalanx was weakest when facing an enemy fielding lighter and more flexible troops without its own such supporting troops. An example of this would be the Battle of Lechaeum, where an Athenian contingent led by Iphicrates routed an entire Spartan mora (a unit of 500–900 hoplites). The Athenian force had a considerable proportion of light missile troops armed with javelins and bows that wore down the Spartans with repeated attacks, causing disarray in the Spartan ranks and an eventual rout when they spotted Athenian heavy infantry reinforcements trying to flank them by boat.


title: Phalanx

text: The Macedonian phalanx had weaknesses similar to its hoplitic predecessor. Theoretically indestructible from the front, its flanks and rear were very vulnerable, and once engaged it may not easily disengage or redeploy to face a threat from those directions. Thus, a phalanx facing non-phalangite formations required some sort of protection on its flankslighter or at least more mobile infantry, cavalry, etc. This was shown at the Battle of Magnesia, where, once the Seleucid supporting cavalry elements were driven off, the phalanx was static and unable to go on the offensive against its Roman opponents (although they continued to resist stoutly and attempted a fighting withdrawal under a hail of Roman missiles, until the elephants posted on their flanks panicked and disrupted their formation).


title: Phalanx

text: The Macedonian phalanx could also lose its cohesion without proper coordination or while moving through broken terrain; doing so could create gaps between individual blocks/syntagmata, or could prevent a solid front within those sub-units as well, causing other sections of the line to bunch up. In this event, as in the battles of Cynoscephalae and Pydna, the phalanx became vulnerable to attacks by more flexible unitssuch as Roman legionary centuries, which were able to avoid the sarissae and engage in hand-to-hand combat with the phalangites.


title: Phalanx

text: Another important area that must be considered concerns the psychological tendencies of the hoplites. Because the strength of a phalanx depended on the ability of the hoplites to maintain their frontline, it was crucial that a phalanx be able to quickly and efficiently replace fallen soldiers in the front ranks. If a phalanx failed to do this in a structured manner, the opposing phalanx would have an opportunity to breach the line which, many times, would lead to a quick defeat. This then implies that the hoplites ranks closer to the front must be mentally prepared to replace their fallen comrade and adapt to his new position without disrupting the structure of the frontline.


title: Phalanx

text: Finally, most of the phalanx-centric armies tended to lack supporting echelons behind the main line of battle. This meant that breaking through the line of battle or compromising one of its flanks often ensured victory.


title: Phalanx

text: After reaching its zenith in the conquests of Alexander the Great, the phalanx began a slow decline, as Macedonian successor states declined. The combined arms tactics used by Alexander and his father were gradually replaced by a return to the simpler frontal charge tactics of the hoplite phalanx. The expense of the supporting arms and cavalry, and the widespread use of mercenaries, caused the Diadochi to rely on phalanx vs. phalanx tactics during the Wars of the Diadochi.


title: Phalanx

text: The decline of the Diadochi and the phalanx was linked with the rise of Rome and the Roman legions from the 3rd century BC. The Battle of the Caudine Forks showed the clumsiness of the Roman phalanx against the Samnites. The Romans had originally employed the phalanx themselves but gradually evolved more flexible tactics. The result was the three-line Roman legion of the middle period of the Roman Republic, the Manipular System. Romans used a phalanx for their third military line, the "triarii". These were veteran reserve troops armed with the "hastae" or spear. Rome conquered most of the Macedonian successor states, along with the various Greek city-states and leagues. As these states ceased to exist, so did the armies which used the traditional phalanx. Subsequently, troops from these regions were equipped, trained and fought using the Roman model.


title: Phalanx

text: A phalanx formation called the phoulkon appeared in the late Roman army and Byzantine army. It had characteristics of the classical Greek and Hellenistic phalanxes, but was more flexible. It was used against cavalry more than infantry.


title: Phalanx

text: However, the phalanx did not totally disappear. In some battles between the Roman army and Hellenistic phalanxes, such as Pydna (168 BC), Cynoscephalae (197 BC) and Magnesia (190 BC), the phalanx performed well. It even drove back the Roman infantry. However, at Cynoscephalae and Magnesia, failure to defend the flanks of the phalanx led to defeat. At Pydna, the phalanx lost cohesion when pursuing retreating Roman soldiers. This allowed the Romans to penetrate the formation. Then, Roman close combat skills proved decisive. The historian Polybius details the effectiveness of the Roman legion against the phalanx. He deduces that the Romans refused to fight the phalanx where the phalanx was effective, Romans offered battle only when a legion could exploit the clumsiness and immobility of a phalanx.


title: Phalanx

text: Spear-armed troops continued to be important elements in many armies until reliable firearms became available. These did not necessarily fight as a phalanx. For example, compare the classical phalanx and late medieval pike formations.


title: Phalanx

text: Military historians have suggested that the Scots under William Wallace and Robert the Bruce consciously imitated the Hellenistic phalanx to produce the Scots' schiltron ("hedgehog"). However, long spears might have been used by Picts and others in Scotlands' Early Middle Ages. Prior to 1066, long spear tactics (also found in North Wales) might have been part of irregular warfare in Britain. The Scots used imported French pikes and dynamic tactics at the Battle of Flodden. However, Flodden found the Scots pitted against effective light artillery, while advancing over bad ground. The combination disorganised the Scottish phalanxes and permitted effective attacks by English longbowmen, and soldiers wielding shorter, handier polearms called bills. Some contemporary sources might say that the bills cut off the heads of Scottish pikes.


title: Phalanx

text: The pike was briefly reconsidered as a weapon by European armies in the late 18th and early 19th centuries. It could protect riflemen, whose slower rate of fire made them vulnerable. A collapsible pike was invented but never issued. The Confederate Army considered these weapons for the American Civil War. Some were even manufactured but probably were never issued. Pikes were manufactured during World War II as "Croft's Pikes".


title: Phalanx

text: While obsolete in military practice, the phalanx remained in use as a metaphor of warriors moving forward as a single united block. This metaphor inspired several 20th-century political movements, notably the Spanish Falange and its ideology of Falangism.


title: Doctor Zhivago (novel)

text: Doctor Zhivago ( ; ) is a novel by Boris Pasternak, first published in 1957 in Italy. The novel is named after its protagonist, Yuri Zhivago, a physician and poet, and takes place between the Russian Revolution of 1905 and World War II.


title: Doctor Zhivago (novel)

text: Owing to the author's independent-minded stance on the October Revolution, "Doctor Zhivago" was refused publication in the USSR. At the instigation of Giangiacomo Feltrinelli, the manuscript was smuggled to Milan and published in 1957. Pasternak was awarded the Nobel Prize for Literature the following year, an event that embarrassed and enraged the Communist Party of the Soviet Union.


title: Doctor Zhivago (novel)

text: The novel was made into a film by David Lean in 1965, and since then has twice been adapted for television, most recently as a miniseries for Russian TV in 2006. The novel "Doctor Zhivago" has been part of the Russian school curriculum since 2003, where it is read in 11th grade.


title: Doctor Zhivago (novel)

text: The plot of "Doctor Zhivago" is long and intricate. It can be difficult to follow for two reasons. Firstly, Pasternak employs many characters, who interact with each other throughout the book in unpredictable ways. Secondly, he frequently introduces a character by one of his/her three names, then subsequently refers to that character by another of the three names or a nickname, without expressly stating that he is referring to the same character.


title: Doctor Zhivago (novel)

text: Imperial Russia, 1902. The novel opens during a Russian Orthodox funeral liturgy, or panikhida, for Yuri's mother, Marya Nikolaevna Zhivago. Having long ago been abandoned by his father, Yuri is taken in by his maternal uncle, Nikolai Nikolaevich Vedenyapin, a philosopher and former Orthodox priest who now works for the publisher of a progressive newspaper in a provincial capital on the Volga River. Yuri's father, Andrei Zhivago, was once a wealthy member of Moscow's merchant gentry, but has squandered the family's fortune in Siberia through debauchery and carousing.


title: Doctor Zhivago (novel)

text: The next summer, Yuri (who is 11 years old) and Nikolai Nikolaevich travel to Duplyanka, the estate of Lavrenty Mikhailovich Kologrivov, a wealthy silk merchant. They are there not to visit Kologrivov, who is abroad with his wife, but to visit a mutual friend, Ivan Ivanovich Voskoboinikov, an intellectual who lives in the steward's cottage. Kologrivov's daughters, Nadya (who is 15 years old) and Lipa (who is younger), are also living at the estate with a governess and servants. Innokenty (Nika) Dudorov, a 13-year-old boy who is the son of a convicted terrorist has been placed with Ivan Ivanovich by his mother and lives with him in the cottage. As Nikolai Nikolaevich and Ivan Ivanovich are strolling in the garden and discussing philosophy, they notice that a train passing in the distance has come to a stop in an unexpected place, indicating that something is wrong. On the train, an 11-year-old boy named Misha Grigorievich Gordon is traveling with his father. They have been on the train for three days. During that time, a kind man had given Misha small gifts and had talked for hours with his father, Grigory Osipovich Gordon. However, encouraged by his attorney, who was traveling with him, the man had become drunk. Eventually, the man had rushed to the vestibule of the moving train car, pushed aside the boy's father, opened the door and thrown himself out, killing himself. Misha's father had then pulled the emergency brake, bringing the train to a halt. The passengers disembark and view the corpse while the police are called. The deceased's lawyer stands near the body and blames the suicide on alcoholism.


title: Doctor Zhivago (novel)

text: During the Russo-Japanese War (1904–1905), Amalia Karlovna Guichard arrives in Moscow from the Urals with her two children: Rodion (Rodya) and Larissa (Lara). Mme. Guichard's late husband was a Belgian who had been working as an engineer for the railroad and had been friends with Victor Ippolitovich Komarovsky, a lawyer and "cold-blooded businessman." Komarovsky sets them up in rooms at the seedy Montenegro hotel, enrolls Rodion in the Cadet Corps and enrolls Lara in a girls' high school. The girls' school is the same school that Nadya Kologrivov attends. On Komarovsky's advice, Amalia invests in a small dress shop. Amalia and her children live at the Montenegro for about a month before moving into the apartment over the dress shop. Despite an ongoing affair with Amalia, Komarovsky begins to groom Lara behind her mother's back.


title: Doctor Zhivago (novel)

text: In early October, the workers of the Moscow-Brest railroad line go on strike. The foreman of the station is Pavel Ferapontovich Antipov. His friend Kiprian Savelyevich Tiverzin is called into one of the railroad workshops and stops a workman from beating his apprentice (whose name is Osip (Yusupka) Gimazetdinovich Galiullin). The police arrest Pavel Ferapontovich for his role in the strike. Pavel Ferapontovich's boy, Patulya (or Pasha or Pashka) Pavlovich Antipov, comes to live with Tiverzin and his mother. Tiverzin's mother and Patulya attend a demonstration which is attacked by dragoons, but they survive and return home. As the protestors flee the dragoons, Nikolai Nikolaevich (Yuri's uncle) is standing inside a Moscow apartment, at the window, watching the people flee. Some time ago, he moved from the Volga region to Petersburg, and at the same time moved Yuri to Moscow to live at the Gromeko household. Nikolai Nikolaevich had then come to Moscow from Petersburg earlier in the Fall, and is staying with the Sventitskys, who were distant relations. The Gromeko household consists of Alexander Alexandrovich Gromeko, his wife Anna Ivanovna, and his bachelor brother Nikolai Alexandrovich. Anna is the daughter of a wealthy steel magnate, now deceased, from the Yuriatin region in the Urals. They have a daughter Tonya.


title: Doctor Zhivago (novel)

text: In January 1906, the Gromekos host a chamber music recital at their home one night. One of the performers is a cellist who is a friend of Amalia's, and her next-door neighbor at the Montenegro. Midway through the performance, the cellist is recalled to the Montenegro because, he is told, someone there is dying. Alexander Alexandrovich, Yuri and Misha come along with the cellist. At the Montenegro, the boys stand in a public corridor outside one of the rooms, embarrassed, while Amalia, who has taken poison, is treated with an emetic. Eventually, they are shooed into the room by the boarding house employees who are using the corridor. The boys are assured that Amalia is out of danger and, once inside the room, see her, half-naked and sweaty, talking with the cellist; she tells him that she had "suspicions" but "fortunately it all turned out to be foolishness." The boys then notice, in a dark part of the room, a girl (it is Lara) asleep on a chair. Unexpectedly, Komarovsky emerges from behind a curtain and brings a lamp to the table next to Lara's chair. The light wakes her up and she, unaware that Yuri and Misha are watching, shares a private moment with Komarovsky, "as if he were a puppeteer and she a puppet, obedient to the movements of his hand." They exchange conspiratorial glances, pleased that their secret was not discovered and that Amalia did not die. This is the first time Yuri sees Lara, and he is fascinated by the scene. Misha then whispers to Yuri that the man he is watching is the same one who got his father drunk on the train shortly before his father's suicide.


title: Doctor Zhivago (novel)

text: In November 1911, Anna Ivanovna Gromeko becomes seriously ill with pneumonia. At this time, Yuri, Misha, and Tonya are studying to be a doctor, philologist, and lawyer respectively. Yuri learns that his father had a child, a boy named Evgraf, by Princess Stolbunova-Enrizzi.


title: Doctor Zhivago (novel)

text: The narrative returns to the Spring of 1906. Lara is increasingly tormented by Komarovsky's control over her, which has now been going on for six months. In order to get away from him, she asks her classmate and friend Nadya Laurentovna Kologrivov to help her find work as a tutor. Nadya says she can work for Nadya's own family because her parents happen to be looking for a tutor for her sister Lipa. Lara spends more than three years working as a governess for the Kologrivovs. Lara admires the Kologrivovs, and they love her as if she were their own child. In her fourth year with the Kologrivovs, Lara is visited by her brother Rodya. He needs 700 rubles to cover a debt. Lara says she will try to get the money, and in exchange demands Rodya's cadet revolver along with some cartridges. She obtains the money from Kologrivov. She does not pay the money back, because she uses her wages to help support her boyfriend Pasha Antipov (see above) and his father (who lives in exile), without Pasha's knowledge.


title: Doctor Zhivago (novel)

text: We move forward to 1911. Lara visits the Kologrivovs' country estate with them for the last time. She is becoming discontented with her situation, but she enjoys the pastimes of the estate anyway, and she becomes an excellent shot with Rodya's revolver. When she and the family return to Moscow, her discontent grows. Around Christmastime, she resolves to part from the Kologrivovs, and to ask Komarovsky for the money necessary to do that. She plans to kill him with Rodya's revolver should he refuse her. On 27 December, the date of the Sventitsky's Christmas party, she goes to Komarovsky's home but is informed that he is at a Christmas party. She gets the address of the party and starts toward it, but relents and pays Pasha a visit instead. She tells him that they should get married right away, and he agrees. At the same moment that Lara and Pasha are having this discussion, Yuri and Tonya are passing by Pasha's apartment in the street, on their way to the Sventitskys. They arrive at the party and enjoy the festivities. Later, Lara arrives at the party. She knows no one there other than Komarovsky, and is not dressed for a ball. She tries to get Komarovsky to notice her, but he is playing cards and either does not notice her or pretends not to. Through some quick inferences, she realizes that one of the men playing cards with Komarovsky is Kornakov, a prosecutor of the Moscow court. He prosecuted a group of railway workers that included Kiprian Tiverzin, Pasha's foster father.


title: Doctor Zhivago (novel)

text: Later, while Yuri and Tonya are dancing, a shot rings out. There is a great commotion and it is discovered that Lara has shot Kornakov (not Komarovsky) and Kornakov has received only a minor wound. Lara has fainted and is being dragged by some guests to a chair; Yuri recognizes her with amazement. Yuri goes to render medical attention to Lara but then changes course to Kornakov because he is the nominal victim. He pronounces Kornakov's wound to be "a trifle", and is about to tend to Lara when Mrs. Sventitsky and Tonya urgently tell him that he must return home because something was not right with Anna Ivanovna. When Yuri and Tonya return home, they find that Anna Ivanovna has died.


title: Doctor Zhivago (novel)

text: Komarovsky uses his political connections to shield Lara from prosecution. Lara and Pasha marry, graduate from university, and depart by train for Yuriatin.


title: Doctor Zhivago (novel)

text: The narrative moves to the second autumn of the First World War. Yuri has married Tonya and is working as a doctor at a hospital in Moscow. Tonya gives birth to their first child, a son. Back in Yuriatin, the Antipovs also have their first child, a girl named Katenka. Although he loves Lara deeply, Pasha feels increasingly stifled by her love for him. In order to escape, he volunteers for the Imperial Russian Army. Lara starts to work as a teacher in Yuriatin. Sometime later, she leaves Yuriatin and goes to a town in Galicia, to look for Pasha. The town happens to be where Yuri is now working as a military doctor. Elsewhere, Lt. Antipov is taken prisoner by the Austro-Hungarian Army, but is erroneously declared missing in action. Wounded by artillery fire, Yuri is sent to a battlefield hospital in the town of Meliuzeevo, where Lara is his nurse. Galiullin (the apprentice who was beaten in Part 2) is also in Lara's ward, recovering from injuries. He is now a lieutenant in Pasha's unit; he informs Lara that Pasha is alive, but she doubts him. Lara gets to know Yuri better but is not impressed with him. At the very end of this Part, it is announced in the hospital that there has been a revolution.


title: Doctor Zhivago (novel)

text: After his recovery, Zhivago stays on at the hospital as a physician. This puts him at close quarters with Lara. They are both (along with Galiullin) trying to get permission to leave and return to their homes.


title: Doctor Zhivago (novel)

text: In Meliuzeevo, a newly arrived commissar for the Provisional Government, whose name is Gintz, is informed that a local military unit has deserted and is camped in a nearby cleared forest. Gintz decides to accompany a troop of Cossacks who have been summoned to surround and disarm the deserters. He believes he can appeal to the deserters' pride as "soldiers in the world's first revolutionary army." A train of mounted Cossacks arrives and the Cossacks quickly surround the deserters. Gintz enters the circle of horsemen and makes a speech to the deserters. His speech backfires so badly that the Cossacks who are there to support him gradually sheath their sabres, dismount and start to fraternize with the deserters. The Cossack officers advise Gintz to flee; he does, but he is pursued by the deserters and brutally murdered by them at the railroad station.


title: Doctor Zhivago (novel)

text: Shortly before he leaves, Yuri says goodbye to Lara. He starts by expressing his excitement over the fact that "the roof over the whole of Russia has been torn off, and we and all the people find ourselves under the open sky" with true freedom for the first time. Despite himself, he then starts to clumsily tell Lara that he has feelings for her. Lara stops him and they part. A week later, they leave by different trains, she to Yuriatin and he to Moscow. On the train to Moscow, Yuri reflects on how different the world has become, and on his "honest trying with all his might not to love [Lara]."


title: Doctor Zhivago (novel)

text: Following the October Revolution and the subsequent Russian Civil War, Yuri and his family decide to flee by train to Tonya's family's former estate (called Varykino), located near the town of Yuriatin in the Ural Mountains. During the journey, he has an encounter with Army Commissar Strelnikov ("The Executioner"), a fearsome commander who summarily executes both captured Whites and many civilians. Yuri and his family settle in an abandoned house on the estate. Over the winter, they read books to each other and Yuri writes poetry and journal entries. Spring comes and the family prepares for farm work. Yuri visits Yuriatin to use the public library, and during one of these visits sees Lara at the library. He decides to talk with her, but finishes up some work first, and when he looks up she is gone. He gets her home address from a request slip she had given the librarian. On another visit to town, he visits her at her apartment (which she shares with her daughter). She informs him that Strelnikov is indeed Pasha, her husband. During one of Yuri's subsequent visits to Yuriatin they consummate their relationship. They meet at her apartment regularly for more than two months, but then Yuri, while returning from one of their trysts to his house on the estate, is abducted by men loyal to Liberius, commander of the "Forest Brotherhood," the Bolshevik guerrilla band.


title: Doctor Zhivago (novel)

text: Liberius is a dedicated Old Bolshevik and highly effective leader of his men. However, Liberius is also a cocaine addict, loud-mouthed and narcissistic. He repeatedly bores Yuri with his long-winded lectures about the glories of socialism and the inevitability of its victory. Yuri spends more than two years with Liberius and his partisans, then finally manages to escape. After a grueling journey back to Yuriatin, made largely on foot, Yuri goes into town to see Lara first, rather than to Varykino to see his family. In town, he learns that his wife, children, and father-in-law fled the estate and returned to Moscow. From Lara, he learns that Tonya delivered a daughter after he left. Lara assisted at the birth and she and Tonya became close friends. Yuri gets a job and stays with Lara and her daughter for a few months. Eventually, a townsperson delivers a letter to Yuri from Tonya, which Tonya wrote five months before and which has passed through innumerable hands to reach Yuri. In the letter, Tonya informs him that she, the children, and her father are being deported, probably to Paris. She says "The whole trouble is that I love you and you do not love me," and "We will never, ever see each other again." When Yuri finishes reading the letter, he has chest pains and faints.


title: Doctor Zhivago (novel)

text: Komarovsky reappears. Having used his influence within the CPSU, Komarovsky has been appointed Minister of Justice of the Far Eastern Republic, a Soviet puppet state in Siberia. He offers to smuggle Yuri and Lara outside Soviet soil. They initially refuse, but Komarovsky states, falsely, that Pasha Antipov is dead, having fallen from favor with the Party. Stating that this will place Lara in the Cheka's crosshairs, he persuades Yuri that it is in her best interests to leave for the East. Yuri convinces Lara to go with Komarovsky, telling her that he will follow her shortly. Meanwhile, the hunted General Strelnikov (Pasha) returns for Lara. Lara, however, has already left with Komarovsky. After expressing regret over the pain he has caused his country and loved ones, Pasha commits suicide. Yuri finds his body the following morning.


title: Doctor Zhivago (novel)

text: After returning to Moscow, Zhivago's health declines; he marries another woman, Marina, and fathers two children with her. He also plans numerous writing projects which he never finishes. Yuri leaves his new family and his friends to live alone in Moscow and work on his writing. However, after living on his own for a short time, he dies of a heart attack while riding the tram. Meanwhile, Lara returns to Russia to learn of her dead husband and ends up attending Yuri Zhivago's funeral. She persuades Yuri's half-brother, who is now NKVD General Yevgraf Zhivago, to assist her in her search for a daughter that she had conceived with Yuri, but had abandoned in the Urals. Ultimately, however, Lara disappears, believed arrested during Joseph Stalin's Great Purge and dying in the Gulag, "a nameless number on a list that was later misplaced."