Inflow performance relationship

Inflow performance relationship 1. What is IPR and uses of IPR? IPR stands for Inflow Performance Relationship. The relation between the flow rate (q) and the flowing bottom-hole pressure (Pwf) states the inflow performance relationship. For a gas well to flow there must be a pressure differential from the reservoir to the well bore and the fluid characteristics and changes with time. There is a linear relationship between the reservoirs producing at the pressures above the bubble point pressure, this is the pressure when Pwf is greater or equal to bubble point pressure. Inflow Performance Relations The linear form of an IPR represents the Productivity Index (PI), which is the inverse of the slope of IPR. The gas reservoir is deliberately evaluated using the well inflow performance relationship (IPR). Gas well IPR also depends on the flow conditions, that is, transient, steady state or pseudo state flows which are determined by reservoir boundary conditions. Uses of IPR: It is special type of measurement property which is used to measure life and productivity of reservoir. Inflow performance relationship is useful as a tool monitor well performance and predicts the simulation and artificial lift requirements of a number of wells. In order to check or correct the size of a well to an accurate value IPR of a well must be known. 2. List three main factors affecting IPR? The three important factors affecting IPR are: Pressure inside the reservoir. Nature of reservoir fluids. Types of rocks. 3. Explain inflow and outflow performance? Inflow performance of a reservoir is defined as the functional relationship between the flowing bottom-hole and the resulting flow rate. It is the rate at which fluid will flow towards the wellbore and depends on the viscosity of the fluid, the permeability of the rock, and the driving force. For a gas well to flow there must be a pressure difference from reservoir to the well-bore at the reservoir depth. If the well-bore pressure is equal to the reservoir pressure there can be no inflow. If the well-bore pressure is zero , the inflow would be a maximum possible i.e the Absolute Open Flow (AOF). For intermediate well-bore pressures, the inflow will vary. For each reservoir, there will be unique relationship between the inflow rate and wellbore pressure. For a heterogeneous reservoir, the inflow performance might differ from one well to another. The performance is commonly defined in term of a plot of surface production rate (stb/d) versus flowing bottom hole pressure (pwf in psi). Several models are available for determining the different types of Inflow performance Relation; they are Straight line flow, Vogels method, Future IPR flows, The Fetkovich method and many more. Outflow Performance involves fluid flow through flow through the production tubular, the wellhead and the surface flow line. In general the fluid flow involves the pressure difference across each segment of the fluid flow. Calculating the pressure drop at each segment is serious problem as it involves the simultaneous flow of oil, gas and water(multiphase flow), which implies the pressure drop dependent on many variables in which some of them are inter-related. Due to this, it is very difficult to find an analytical solution. Instead, empirical formulas and mathematical models have been developed and used for predicting the pressure drop in multiphase flow. In order to obtain the realistic results, it is therefore important to define the input parameters carefully, through close co-operation with production engineers and to check the results of the Vertical Flow Performance which is also called as the Outflow Performance. 4. State and explain Darcys Equation? Darcys Law states the fundamental law of fluid motion in the porous media. It is used to describe the flow of fluid particles, which includes oil, water gas, through petroleum reservoirs. It also governs the flow of the particles through the porous media and describes the relationship between the flow rate, pressure drop and fluid resistance. The mathematical expression developed by Henry Darcy in 1865 states that the fluid travelling in a the velocity of a homogeneous fluid in a porous medium is proportional to the pressure gradient and inversely proportional to the fluid viscosity. For a horizontal linear system, this relationship is: where: Are the elevations at the top and bottom of the porous material or porous medium. Gives the length of the sand filter and is given by the equation ?l = z1 z2 p1,p2 Is the pressure due to the water flow, measured by manometers above and below the sand filter. H1,H2 Represents the hydraulic head at the inlet and outlet of the tank and expressed as the sum of pressure head and elevation head. By a series of experiments, Darcy established that, for the same sand, the discharge Q is: proportional to the cross-sectional area A: Q ~ A; Proportional to the difference in the height of the water: Q ~ (H2 H1); notice that because H2 Inversely proportional to the flow length through the porous material: Q ~ 1/?l. Darcy published the results of his experiment, and its law in 1856, opening the era of the groundwater hydrology. The same conclusions can be drawn no matter if the flow is vertical, horizontal, or in any other direction Different porous media models to illustrate Darcys experiment n is the apparent velocity in centimeters per second and is equal to q/A, where q is the volumetric flow rate in cubic centimeters per second and A is total cross-sectional area of the rock in square centimeters. In other words, A includes the area of the rock material as well as the area of the pore channels. The fluid viscosity,  µ, is expressed in centipoises units, and the pressure gradient, dp/dx, is in atmospheres per centimeter, taken in the same direction as nand q. The proportionality constant, k, is the permeability of the rock expressed in Darcy units. The negative sign is because the pressure gradient is negative in the direction of flow. Laminar (viscous) flow Steady-state flow Incompressible fluids Homogeneous formation For turbulent flow, which occurs at higher velocities, the pressure gradient increases at a greater rate than does the flow rate and a special modification of Darcys equation is needed. When turbulent flow exists, the application of Darcys equation can result in serious errors References: Standard Handbook of Petroleum and Natural Gas Engineering (2nd Edition) Edited by: Lyons, William C.; Plisga, Gary J.  © 2005 Elsevier Natural Gas Engineering Handbook By: Guo, Boyun; Ghalambor, Ali  © 2005 Gulf Publishing Company Gas Well Deliquification (2nd Edition) By: Lea, James F.; Nickens, Henry V.; Wells, Mike R.  © 2008 Elsevier http://books.google.co.uk/books?id=AkjWIut5Ll0Cpg=PA28dq=outflow+performance#v=onepageq=outflow%20performancef=false

Elaine Decides to Try Her Hand at investing Essay

Common stock is a form of corporate equity ownership, a type of security. The terms â€Å"voting share† or â€Å"ordinary share† are also used frequently in other parts of the world; â€Å"common stock† being primarily used in the United States. It is called â€Å"common† to distinguish it from preferred stock. If both types of stock exist, common stock holders cannot be paid dividends until all preferred stock dividends are paid in full. In the event of bankruptcy, common stock investors receive any remaining funds after bondholders, creditors (including employees), and preferred stock holders are paid. As such, common stock investors often receive nothing after a bankruptcy. On the other hand, common shares on average perform better than preferred shares or bonds over time.[1] Shareholders’ rights[edit] Common stock usually carries with it the right to vote on certain matters, such as electing the board of directors. However, a company can have both a â€Å"voting† and â€Å"non-voting† class of common stock. Holders of voting common stock are able to influence the corporation through votes on establishing corporate objectives and policy, stock splits, and electing the company’s board of directors. Some holders of common stock also receive preemptive rights, which enable them to retain their proportional ownership in a company should it issue another stock offering. There is no fixed dividend paid out to common stock holders and so their returns are uncertain, contingent on earnings, company reinvestment, efficiency of the market to value and sell stock.[2] Additional benefits from common stock include earning dividends and capital appreciation. Ordinary shares[edit] Ordinary shares are also known as equity shares and they are the most common form of share in the UK. An ordinary share gives the right to its owner to share in the profits of the company (dividends) and to vote at general meetings of the company. The residual value of the company is called common stock. A voting share (also called common stock or an ordinary share) is a share of stock giving the stockholder the right to vote on matters of corporate policy and the composition of the members of the board of directors.

Supernatural Elements in English Literature: the Werewolves

Supernatural Elements in English Literature: The Werewolves A  werewolf, also known as a  lycanthrope, is a  mythological or  folkloric  human with the ability to  transform  into a wolf or an  anthropomorphic  wolf-like creature, either purposely or after being placed under a  curse and/or lycanthropic affliction through a bite or scratch from a werewolf, or some other means. This transformation is often associated with the appearance of the  full moon, as popularly noted by the medieval chronicler  Gervase of Tilbury, and perhaps in earlier times among the ancient  Greeks  through the writings of  Petronius.In addition to the natural characteristics inherent to both wolves and humans, werewolves are often attributed strength and speed far beyond those of wolves or men. The werewolf is generally held as a  European  character, although its knowledge spread through the world in later times. Shape-shifters, similar to werewolves, are common in tales f rom all over the world, most notably amongst the  Native Americans, though most of them involve animal forms other than wolves.Werewolves are a frequent subject of modern  fiction, although fictional werewolves have been attributed traits distinct from those of original folklore. For example, the ideas that werewolves are only vulnerable to  silver bullets  or pierced by silver weapons, or that they can cause others to become werewolves by biting or wounding them derive from works of modern fiction. Werewolves continue to endure in modern culture and fiction, with books, films and television shows cementing the werewolf's stance as a dominant figure in horror.The werewolf of the last 60 years is largely the product of Hollywood. The first big werewolf film was The Werewolf of London (1935) followed by The Wolfman (1941), Frankenstein Meets the Wolfman (1943) and The House of Frankenstein (1944). THE CHILDREN OF LYCAON The Greeks and Romans included the werewolf in their myth ology, in the story of Lycaon, the Tyrant of Arcadia. Lycaon served Zeus (pronounced as ‘zeoos’) human flesh at a banquet. In return the god transformed the evil man into a wolf, reflecting the shape of his soul.The very first transformation scene in werewolf literature was penned by the Roman poet, Ovid. Written in the 1st Century AD, the scene shows even the ancient writers knew what readers wanted to see: †¦ There he uttered howling noises, and his attempts to speak were all in vain. His clothes changed into bristling hairs, his arms to legs, and he became a wolf. His own savage nature showed in his rabid jaws, and he now directed against the flocks his innate lust for killing. He had a mania, even yet, for shedding blood.But though he was a wolf, he retained some traces of his original shape. The greyness of his hair was the same, his face showed the same violence, his eyes gleamed as before, and he presented the same picture of ferocity. From Lycaon's name we get the word â€Å"Lycanthropy† or the state of being a werewolf. From mythology, the werewolf entered legend. In the works of Herodotus and Petronius, the werewolf goes from being a mortal cursed by a god to a shape-shifting witch or warlock with evil intentions. In Petronius'  The Satyricon  is a segment sometimes called â€Å"Niceros' Story.Stories like â€Å"Niceros' Story† were common well up to the feudal times. The werewolf was a man, transformed into the animal with all its vulnerabilities. Geraldis Cambrensis tells about two Irish folk cursed by an abbot, to be wolves for their ungodliness. After seven years penance as wolves, they were to change back into humans and return home. The Rawlinson Manuscript  tells about â€Å"King Arthur and Gorgalon†. Gorgalon is another poor individual cursed to be a wolf. These medieval werewolves did not kill men or livestock, and could even speak the Name of God to prove their goodness.They are victims of pries ts, witches and often their own sin. THE LITERARY WEREWOLF The Renaissance ushered in a new era, that of the literary werewolf. John Webster wrote of moral werewolves and vampires in his play  The Duchess Of Malfi  (1613), figurative creatures rather than literal ones. William Beckford, writing a century later during the Age of Reason, briefly mentions the lycanthrope in his arabesque tale  Vathek  (1787)as does Charles Maturin in his masterpiece,  Melmoth The Wanderer  (1820).Other literary figures like Mrs. Crowe and Alexandre Dumas wrote works with werewolves central to the plot. Even the prolific and sanguine Penny Dreadfuls–semi-illiterate, often plaguaristic, newspapers sold for a penny a page–produced one lycanthrope:  Wagner, The Wehr-Wolf  (1846) by G. W. M. Reynolds. With the exception of Wagner, more often than not, the werewolf was used as a metaphor for the beastly sins of glutton, cruelty and avarice than as an actual creature. Despite wor ks with Romantic tonalities like GeorgeMacDonald's â€Å"The Gray Wolf† and â€Å"The Romance of Photogen and Nycteris† as well as Robert Louis Stevenson's â€Å"Ollala†, the majority of Victorians–perhaps the single period to produce the greatest werewolf classics–preferred the supernatural approach, in adventure stories like Rudyard Kipling's â€Å"The Mark of the Beast†(1891), moral tales like Clemence Houseman's â€Å"The Werewolf†(1896) and the masterpiece of vampirism,  Dracula  (1897) by Bram Stoker. More interesting to the lycanthrophile is the excised first chapter, published as â€Å"Dracula's Guest† in 1914.In this chapter–cut because of the novel's length–Jonathan Harker leaves his carriage, which is taking him to Transylvania, and gets lost in a snowstorm. The graveyard he takes shelter in is inhabited by the undead. Only Dracula's appearance as a great, red-eyed wolf, saves Harker, so that he can go onto Castle Dracula and the well-known events there. It is with Stoker and the other Victorians that lycanthrope returns to its true state as a supernatural creature, but retains some allusive qualities as a literary device.The Twentieth Century brought many works about werewolves, more than in any preceding era. Early on these works resemble their Victorian counterparts in the works of writers like Algernon Blackwood and Eden Phillpotts, dealing largely with moral evil embraced in traditional ghost story techniques. It took a novel by New Yorker, Guy Endore (Harry Relis), to change the werewolf theme forever. Before Endore, the only werewolves to comment on social ills or the state of Mankind, were the allusive villains of Webster, evil men but not in actuality flesh-eating monsters.Endore combine the â€Å"actual† werewolf and the â€Å"literary† werewolf to create a modern classic. During the years that Endure wrote  The Werewolf Of Paris, the greatest explosi on of entertainment writing in American history was taking place. During the 1920-50's the Pulp magazines dominated popular entertainment. Titles like Weird Tales and Strange Stories produced hundreds of works about werewolves and other monsters. One writer who exemplified an imaginative use of the werewolf, was Robert E. Howard, the creator of Conan the Cimmerian.One of his very first stories was the vignette â€Å"In the Forest of Villefere†(1925) which first introduces de Montour, a man who meets a werewolf and kills him in wolf form. By so doing, he assumes the curse from the last victim. When we meet him again in â€Å"Wolfshead†(1926) we get to see how the curse comes on him like a ghost, possessing him and turning him into a â€Å"wolf man†. De Montour was standing, legs braced, arms thrown back, fists clenched. The muscles bulged beneath his skin, his eyes widened and narrowed, the veins stood out upon his forehead as if in great physical effort.As I loo ked, to my horror, out of nothing, a shapeless, nameless something took vague form! Like a shadow it moved upon de Montour. It was hovering about him! Good God, it was merging, becoming one with the man! It should be noted that Henry Hull had yet to appear as  The Werewolf Of London  and set Hollywood's werewolf mould for all time. Across many stories, Howard sets down the idea that the wolf people, the harpies and other mythological creatures are ancient survivors of a time when man had yet to evolve from the trees. Contemporary with Howard was H.Warner Munn who penned  The Tales of the Werewolf Clan. Beginning with â€Å"The Werewolf of Ponkert†(1925) he creates a different image of the lycanthrope, not a man who becomes a wolf but another creature who only shares some of the wolf's features: Munn’s work was inspired by a letter from H. P. Lovecraft published in Weird Tales. HPL asked â€Å"†¦ why someone had not attempted a werewolf story narrated by the werewolf himself†. Munn tells the decline of a man who is selected against his will to join the wolf clan that is led by the fearsome Master, a vampire-like being who feeds on victims' souls.The sequel â€Å"The Werewolf's Daughter†(1928) tells of the Werewolf of Ponkert's daughter who is wrongfully prosecuted for his crimes. H. P. Lovecraft, whose fame lies with monsters on such a gigantic scale as to make the werewolf look trivial, himself used the werewolf in a collaborative story called â€Å"The Ghost-eater†(1923), in which the werewolf has been murdered but returns as a ghost, reliving over and over its revenge. He also used the lycanthrope in the poem, â€Å"The Howler†(1929).MODERN WEREWOLVES With the coming of pulps like Astounding Science Fiction and Amazing Stories in the 1920's, Science Fiction writers would eventually get around to explaining the werewolf in scientific terms, in magazines like John W. Campbell's  Unknown. Three of the most intriguing are  Ã¢â‚¬Å"The Wolves of Darkness†(1932,  Strange Tales)  and the novel  Darker Than You Think  (1940,  Unknown) by Jack Williamson and â€Å"There Shall Be No Darkness† (1950,  Thrilling Wonder Stories) by James Blish.Recent horror writers have used this same approach, playing fast and loose with the traditional werewolf but creating consistent, terrifying monsters. Whitley Strieber disposed with the shape-shifter altogether and gave us  The Wolfen  (1978), ancient wolf-like spirits who have been on the Earth longer than humans. Preying off the unwanted and derelict, the Wolfen are the top of the human food chain, taking the sick and the weak. The future of the werewolf is assured. The old lycanthrope has a few surprises left up his furry sleeve.

Aftermath of World War 1 - Treaty of Versailles

The World Comes to Paris In the wake of the November 11, 1918 armistice which ended hostilities on the Western Front, Allied leaders gathered in Paris to begin negotiations over the peace treaties that would formally conclude the war. Convening in the Salle de lHorloge at the French Foreign Ministry on January 18, 1919, the talks initially included leaders and representatives from over thirty nations. To this crowd was added a host of journalists and lobbyists from a variety of causes. While this unwieldy mass took part in the early meetings, it was President Woodrow Wilson of the United States, Prime Minister David Lloyd George of Britain, Prime Minister Georges Clemenceau of France, and Prime Minister Vittorio Orlando of Italy who came to dominate the talks. As defeated nations, Germany, Austria, and Hungary were prohibited from attending, as was Bolshevik Russia which was in the midst of a civil war. Wilsons Goals Arriving in Paris, Wilson became the first president to travel to Europe while in office. The basis for Wilsons position at the conference was his Fourteen Points which had been instrumental in securing the armistice. Key among these was freedom of the seas, equality of trade, arms limitation, self-determination of peoples, and the formation of the League of Nations to mediate future disputes. Believing that he had an obligation to be a prominent figure at the conference, Wilson endeavored to create a more open and liberal world where democracy and liberty would be respected. French Concerns for the Conference While Wilson sought a softer peace for Germany, Clemenceau and the French wished to permanently weaken their neighbor economically and militarily. In addition to the return of Alsace-Lorraine, which had been taken by Germany following the Franco-Prussian War (1870-1871), Clemenceau argued in favor of heavy war reparations and the separation of the Rhineland to create buffer state between France and Germany. Furthermore, Clemenceau sought British and American assurances of aid should Germany ever attack France. The British Approach While Lloyd George supported the need for war reparations, his goals for the conference were more specific than his American and French allies. Concerned first and foremost for the preservation of the British Empire, Lloyd George sought to settle territorial issues, ensure the security of France, and remove the threat of the German High Seas Fleet. While he favored the formation of the League of Nations, he discouraged Wilsons call for self-determination as it could adversely affect Britains colonies. Italys Goals The weakest of the four major victorious powers, Italy sought to ensure that it received the territory that it had been promised by the Treaty of London in 1915. This largely consisted of the Trentino, Tyrol (including Istria and Trieste), and the Dalmatian coast excluding Fiume. Heavy Italian losses and a severe budget deficit as a result of the war led to a belief that these concessions had been earned. During the talks in Paris, Orlando was constantly hampered by his inability to speak English. The Negotiations For the early part of the conference, many of the key decisions were made by the Council of Ten which was comprised of the leaders and foreign ministers of the United States, Britain, France, Italy, and Japan. In March, it was decided that this body was too unwieldy to be effective. As a result, many of the foreign ministers and nations left conference, with talks continuing between Wilson, Lloyd George, Clemenceau, and Orlando. Key among the departures was Japan, whose emissaries were angered by a lack of respect and the conferences unwillingness to adopt a racial equality clause for the Covenant of the League of Nations. The group shrank further when the Italy was offered Trentino to the Brenner, the Dalmatian port of Zara, the island of Lagosta, and a few small German colonies in lieu of what was originally promised. Irate over this and the groups unwillingness to give Italy Fiume, Orlando departed Paris and returned home. As the talks progressed, Wilson was increasingly unable to garner acceptance of his Fourteen Points. In an effort to appease the American leader, Lloyd George and Clemenceau consented to the formation of the League of Nations. With several of the participants goals conflicting, the talks moved slowly and ultimately produced a treaty which failed to please any of the nations involved. On April 29, a German delegation, led by Foreign Minister Ulrich Graf von Brockdorff-Rantzau, was summoned to Versailles to receive the treaty. Upon learning of the content, the Germans protested that they had not been allowed to participate in the talks. Deeming the treatys terms a violation of honor, they withdrew from the proceedings. Terms of the Treaty of Versailles The conditions imposed upon Germany by the Treaty of Versailles were severe and wide-ranging. Germanys military was to be limited to 100,000 men, while the once formidable Kaiserliche Marine was reduced to no more than six battleships (not to exceed 10,000 tons), 6 cruisers, 6 destroyers, and 12 torpedo boats. In addition, production of military aircraft, tanks, armored cars, and poison gas was prohibited. Territorially, Alsace-Lorraine was returned to France, while numerous other changes reduced Germanys size. Key among these was the loss of West Prussia to the new nation of Poland while Danzig was made a free city to ensure Polish access to the sea. The province of Saarland was transferred to League of Nations control for a period of fifteen years. At the end of this period, a plebiscite was to determine whether it returned to Germany or was made part of France. Financially, Germany was issued a war reparations bill totaling  £6.6 billion (later reduced to  £4.49 billion in 1921). This number was determined by the Inter-Allied Reparations Commission. While Wilson took a more conciliatory view on this issue, Lloyd George had worked to increase the demanded amount. The reparations required by the treaty included not only money, but a variety of goods such as steel, coal, intellectual property, and agricultural produce. This mixed approach was an effort to prevent hyperinflation in postwar Germany which would decrease the value of the reparations. Several legal restrictions were also imposed, most notably Article 231 which laid sole responsibility for the war on Germany. A controversial part of the treaty, its inclusion had been opposed by Wilson and it became known as the War Guilt Clause. Part 1 of the treaty formed the Covenant of the League of Nations which was to govern the new international organization. German Reaction Signing In Germany, the treaty provoked universal outrage, particularly Article 231. Having concluded the armistice in expectation of a treaty embodying the Fourteen Points, Germans took to the streets in protest. Unwilling to sign it, the nations first democratically-elected chancellor, Philipp Scheidemann, resigned on June 20 forcing Gustav Bauer to form a new coalition government. Assessing his options, Bauer was soon informed that army was not capable of offering meaningful resistance. Lacking any other options, he dispatched Foreign Minister Hermann Mà ¼ller and Johannes Bell to Versailles. The treaty was signed in the Hall of Mirrors, where the German Empire had been proclaimed in 1871, on June 28. It was ratified by the National Assembly on July 9. Allied Reaction to the Treaty Upon release of the terms, many in France were displeased and believed that Germany had been treated too leniently. Among those who commented was Marshal Ferdinand Foch who predicted with eerie precision that This is not Peace. It is an Armistice for twenty years. As a result of their displeasure, Clemenceau was voted out of office in January 1920. While the treaty was better received in London, it ran into strong opposition in Washington. The Republican chairman of the Senate Foreign Relations Committee, Senator Henry Cabot Lodge, worked vigorously to block its ratification. Believing that Germany had been let off too easily, Lodge also opposed the United States participation in the League of Nations on constitutional grounds. As Wilson had intentionally excluded Republicans from his peace delegation and refused to consider Lodges changes to the treaty, the opposition found strong support in Congress. Despite Wilsons efforts and appeals to the public, the Senate voted against the tr eaty on November 19, 1919. The US formally made peace through the Knox-Porter Resolution which was passed in 1921. Though Wilsons League of Nations moved forward, it did so without American participation and never became an effective arbiter of world peace. The Map Changed While the Treaty of Versailles ended conflict with Germany, the Treaties of Saint-German and Trianon concluded the war with Austria and Hungary. With the collapse of the Austro-Hungarian Empire a wealth of new nations took shape in addition to the separation of Hungary and Austria. Key among these was Czechoslovakia and Yugoslavia. To the north, Poland emerged as an independent state as did Finland, Latvia, Estonia, and Lithuania. In the east, the Ottoman Empire made peace through the Treaties of Sà ¨vres and Lausanne. Long the sick man of Europe, the Ottoman Empire was reduced in size to Turkey, while France and Britain were given mandates over Syria, Mesopotamia, and Palestine. Having aided the aided in defeating the Ottomans, the Arabs were given their own state to the south. A Stab in the Back As the postwar Germany (Weimer Republic) moved forward, resentment over the end of the war and the Treaty of Versailles continued to fester. This coalesced in the stab-in-the back legend which stated that Germanys defeat was not the fault of the military but rather due to a lack of support at home from anti-war politicians and the sabotaging of the war effort by Jews, Socialists, and Bolsheviks. As such, these parties were seen to have stabbed the military in the back as it fought the Allies. The myth was given further credence by the fact that German forces had won the war on the Eastern Front and were still on French and Belgian soil when the armistice was signed. Resonating among conservatives, nationalists, and former-military, the concept became a powerful motivating force and was embraced by the emerging National Socialist Party (Nazis). This resentment, coupled with the economic collapse of Germany due to reparation-caused hyperinflation during the 1920s, facilitated the rise of the Nazis to power under Adolf Hitler. As such, the Treaty of Versailles may be seen as leading to many of the causes of World War II in Europe. As Foch had feared, the treaty simply served as a twenty-year armistice with World War II beginning in 1939.