text:
Shakespeare's work and the Ageless Wisdom
The Ageless Wisdom in Modern Times
The Ageless Wisdom and Crimes Against Humanity
Love is Love: Gender and the truth in Shakespeare's Twelfth Night
Shakespeare's work and the ...
Twelfth Night (1602) is a play about Love. It is a dark, bittersweet comedy which audiences find at once funny, inspiring, and disturbing. Using the vehicle of comedy, which has the power to heal grave emotional ills, Shakespeare pulls the plug on the antics of human behaviour and the concepts and consciousnesses they subscribe to when it comes to 'thinking about' gender, love, and desire.
Twelfth Night hilariously reveals the mad re-interpretations of 'love' and 'gender' that we have said 'yes' to and which have kept us stuck in a repeating cycle of desire, rejection, degradation, excitement, melancholy, and torment . . . all of which we have imagined love to be, but which has actually set us up to keep love at bay.
The opening scene of the play plunges straight into the unmasking of the insanity of desire. Orsino (governor and Duke of Illyria) is in 'love' with the Countess Olivia who rejects him soundly as she is in tumultuous grief over the death of her brother, 'for whose dear love,/ They say, she hath abjured the company/ And sight of men.'[1.2.36-8] Caught in his self-imposed role of the rejected, afflicted lover, Orsino regales the audience as he wrestles with his lovesick condition:
'If music be the food of love, play on, /Give me excess of it, that surfeiting/ the appetite may sicken and so die./ That strain again, it had a dying fall./ O, it came o'er my ear like the sweet south/ That breathes upon a bank of violets,/ Stealing and giving odour. Enough! no more/ 'Tis not so sweet now as it was before. [Music ceases]/ O spirit of love, how quick and fresh [hungry] art thou.'[1.1.1-9]
Orsino wants music, the 'food' of love, to play on and on so that he may sicken of it and die, having had too much of a good thing. Shakespeare, merging food, sex and music through wordplay (the musical 'strain' and 'dying fall' doubling with sexual innuendo) has Orsino enact the false consciousness and accepted convention of being sick with love which he has aligned to. Orsino wants to be out of love but he wants to be in it. He wants more music but he also wants it to stop. This restless state of mind, caused by his consent to give away his power to the tyranny of passion, typifies the erratic 'sweet pangs' of what Orsino claims to be the 'unstaid and skittish' behaviour of 'all true lovers.' Feste, Olivia's fool and a pitiless observer of the emptiness of convention, has clocked Orsino's deluded state and drolly suggests he get his tailor to make him a doublet of 'changeable taffeta' to match his mood.[2.4.17.18]; [2.4.72-4]
Orsino goes on: 'So full of shapes is fancy [love]/ That it alone is high fantastical' [that love is exclusively imaginative in the highest degree]. This statement aligns him unequivocally to the observation offered in an earlier play, A Midsummer Night's Dream, that 'The lunatic, the lover, and the poet/ Are of imagination all compact'… i.e. they are all as mad and fanciful as each other. Later, when Viola, disguised as 'Cesario', sent by Orsino to woo Olivia on his behalf, says: 'Alas I took great pains to study it [the courtship speech], and 'tis poetical', Olivia replies 'It is more like to be feigned, I pray you keep it in'… i.e. don't bother to deliver it to me it will be pretence and pretentiousness, like all poetry. Here Shakespeare makes a playful allusion to a Renaissance theory derived from Plato that poetry is a lie and an illusory expression, again clearly equating love, poetry and madness. Certainly the distinguished Duke Orsino has become infected by fancy and is in love with his own fantastical imagination and love-sickness.[1.1.14-5]; [5.1.7-8]; [1.5.189-91]; [2.2.25]
He is so smitten that every subject introduced is immediately perceived through the filter of his obsession with Olivia. He transforms the question posed by his gentleman, Curio, 'Will you go hunt, my lord? . . . The hart [deer]', into a punning eulogy upon Olivia's 'heart' which he had thought would cure him of his insatiable appetite for love, but, he says; 'That instant [meeting her] I was turned into a hart,/ And my desires, like fell and cruel hounds/ E'er since pursue me' – alluding to the myth of Actaeon, who – having seen Diana naked, was transformed into a stag and then hunted to death by his own hounds. This kind of 'love' is indeed a ferocious and hungry beast.[1.1. 16-22]; [1.4.41] But can true Love be ferocious?
A Sea-change in Illyria
The scene shifts and changes, with the audience now transported from the stagnant atmosphere of Orsino's indulgent melancholy to the fresh winds of a wild tempest and shipwreck near the coast of Illyria where Lady Viola finds herself washed up on an unknown shore.
She is not only shipwrecked and shaken but also bereaved, imagining her identical twin and brother Sebastian drowned in the storm. As always in the plays of Shakespeare, violent storms and shipwrecks deconstruct old perceptions and ways of living life, bringing an offer for characters to re-align to a new, more evolving way of living. 'Shipwreck' invariably means opportunity to transform.
Viola hears from the sea Captain, who has also survived the wreck, that Illyria is governed by the noble Duke Orsino who is hopelessly in love with the Countess Olivia. Viola, realising that she has to now survive as a woman in a country where no one knows her, co-opts the Captain into helping with a newly conceived 'sea-change', i.e. disguising herself as a boy and calling herself 'Cesario'. Anyone familiar with Shakespeare's comedies will know that with Viola's adopting her male disguise she will inevitably be liberated from the conventional societal mindsets inflicted upon her sex: she will be able to move freely throughout society, and also be able to be more observational and aware, especially of the gender roles we all consent to play, because she is partaking of both. As Viola (now 'Cesario') later reveals to Olivia on first meeting, 'I am not that I play'. Viola's cross-dressing introduces the first step in Shakespeare's ultimate unveiling of the truth about gender.[1.5.179]
In her masculine attire Viola will look exactly like her 'dead' twin brother Sebastian, whose memory she can thus keep alive, as well as enabling her to obtain work and shelter in a practical and safe way. Which she does, arriving at Orsino's court and soon becoming the go-between who carries Orsino's intimate love-messages to Olivia. From this time forward Viola (whose name also means a low-pitched stringed instrument of the violin family) will be the 'instrument' employed to romantically serenade and seduce the desired mistress for the Duke!
Only one catch here . . . Countess Olivia finds herself more enamoured of the messenger than the message – she falls in love with Cesario/Viola! 'Methinks I feel this youth's perfections/ With an invisible and subtle stealth/ To creep in at mine eyes'. 'Cesario's' knack of presenting Orsino's messages in such a natural and essentially beautiful way when wooing Olivia is irresistible to her. Olivia cannot but help respond to the essence of 'Cesario's' being. Newly-washed from the 'salt waves fresh in love' of the tempest, Cesario brings a breath of fresh air to the fetid atmosphere of Orsino's love-sickness and Olivia's own overwhelming, hyperbolic grief. Because of her detachment in the wooing, 'Cesario'/Viola is able to intelligently and playfully negotiate Olivia's cynical guardedness. No matter the gender and Viola's 'masculine usurped attire', 'Cesario' embodies something vital, fresh and powerful which works its magic – it doesn't matter that the wooing is for Orsino, or that 'he'(Cesario) is actually a 'she'(Viola). Love is Love. It is clear here that it is the quality of energy in the interaction that counts. As 'Cesario' says to her, 'I hold the olive in my hand: my words are as full of peace as matter' – playing on Olivia's name with 'olive', and delivering the truth that the quality of energy behind the words is equally as important as the words of the message itself. Olivia, feeling 'Cesario's' quality of expression becomes ever more besotted with him/her and Orsino doesn't get a look-in! And, as Viola realises that Olivia has fallen for her and not Orsino, it dawns upon her that 'I am the man'.[1.5.288-9]; [5.1.246]; [1.5.204-5]
To complicate matters, 'Cesario'/Viola herself has fallen for her master, the Duke Orsino! She too dips her toe into the pining mood of 'green and yellow melancholy', but there is something more contained and sane about the way she expresses her feelings and interactions. However, the tension within Viola, of loving Orsino while being under the obligation to woo someone else for him in her role as 'Cesario', is substantial and she clearly communicates this to the audience: 'To woo your lady [aside] Yet a barful strife/ Who'er I woo, myself would be his wife'. Disguising her feelings in riddle, Viola constantly lets slip how torn she feels – she wants to declare her love for Orsino but she must at all costs maintain her disguise as a man to keep a roof over her head. When he asks what she knows about feminine love, Viola replies: 'Too well what love women to men may owe./ In faith they are as true of heart as we./ My father had a daughter loved a man/ As it might be, perhaps were I a woman,/ I should your lordship'… (In other words, if I were a woman you would be the man I love). She continues her riddle, naming herself outright as that very daughter, 'I am all the daughters of my father's house,/ And all the brothers too'. She hands Orsino the truth about her love for him on a platter but he is too blind with unrequited desire for Olivia that he cannot put two and two together.
Much of the play's tension and entertainment relies upon the ambiguity of Viola's gender, with the audience, in the know, appreciating the hazardous situation and her growing dilemma . . . but as yet unaware of the powerful truth Viola embodies in her symbolic role as both 'maid and man'.[2.4.113]; [2.4.105-9]; [2.4.120-1]; [5.1.261]
Twelfth Night Revels
Meanwhile the rest of Olivia's household are gearing up for the drunken revels of the closing feast of the Christmas season. Twelfth Night was a medieval festival which was celebrated until the eighteenth century – a festival loosely consisting of feasting, communal drinking, the donning of masks and adopting of disguise, as well as the pagan reign of 'misrule' with its anarchical inversion of all the norms, conventions and class distinctions of society. A 'Festus' or 'Lord of Misrule' was elected to preside over the music, antics and merrymaking.
In this sub-plot of Twelfth Night it is Sir Toby Belch, Countess Olivia's tankard-swilling cousin, who largely presides over these revels in the Countess's kitchen. He is joined by the fool Feste, Maria (Olivia's gentlewoman) and the rich but inane Sir Andrew Aguecheek, whom the profligate Sir Toby cultivates because he is a good source of money. Sir Toby is always trying to set Sir Andrew up as a suitor for Olivia. They are all deep in drinking, laughter and 'caterwauling' together, with the celebrations threatening to spin out of control, when Olivia's steward Malvolio bursts in furiously, interrupting their fun:
'My masters, are you mad or what are you? Have you no wit, manners nor honesty but to gabble like tinkers at this time of night? Do ye make an alehouse of my lady's house that ye squeak out your coziers' catches [cobblers' songs] without any mitigation or remorse of voice? Is there no respect of place, persons, or time in you?'[2.3.85-90]
Malvolio has a point here, but the way he goes about it leaves a lot to be desired.
Sir Toby is hugely affronted by the invasion of this Puritanical self-righteous moralist and tells him to go hang himself! And then says: 'Dost thou think that because thou art virtuous there shall be no more cakes and ale?' and Malvolio immediately threatens to tattle-tale to Olivia. To which Maria replies, 'Go shake your ears' (like an ass). Inspired by Maria, the revellers contrive a revenge plot against Malvolio – a love letter purporting to be in the hand of the Countess Olivia (written by Maria) will be dropped in front of Malvolio's nose with the purpose of setting him up to humiliate himself.[2.3.112-3]; [2.3.112-122]
Fabian, a member of Olivia's household, opts to also join in the plot because Malvolio has brought him 'out o' favour with my lady about a bear-baiting here'. It is telling that the recurrent verbal imagery used by the revellers when planning their revenge is that of blood sports – bear-baiting, trapping, badger hunting – cruel and violent spectacles which were available as alternative 'entertainment' near the Globe Theatre.[2.4.4-7]
Likewise Feste, the fool, is prompted to join in with the revenge plot after hearing Malvolio's snotty and poisonous remarks to Olivia about him: 'I marvel that your ladyship takes delight in such a barren rascal [Feste]. I saw him put down the other day with an ordinary fool that has no more brain than a stone'. The usually wise and detached fool is stung by this venomous dig.[1.5.79-85]
Later when the plot is publicly outed, Feste lets slip that it is the barb remaining from this taunt that has lain behind his cruel torment of Malvolio in the notorious dark-room episode – he throws Malvolio's own words back in his face, mimicking him: ' Madam, why laugh you at such a barren rascal.'[5.1.368] Then he adds 'And thus the whirligig of time brings in his revenges' . . . This chilling statement has the power to stop the audience in its tracks. By referring to the earth's ever-repeating circular movement around the sun, i.e. we are actually going nowhere but round and round like a spinning top, Feste has laid on the table the relationship between revenge and the illusion of time as progress – which hooks humanity into the judgment of another, into the holding of hurts, into withdrawing from life or into revenge, all of which robs us of the space and the powerful ability of being able to observe, read, and understand another's hurts. Revenge will thus be the predictable response from the worldly position of entrapment in what Feste so aptly calls the 'whirligig of time'.
The Plot and the cross-gartered Malvolio
It is well-known to the household that Malvolio prances around admiring his own reflection, and that he entertains a deluded day-dream in which Olivia fancies him (wickedly encouraged by Maria).
The pranksters come upon him posturing and strutting around, fantasizing that Olivia is already his: 'Having been three months married to her sitting in my state – calling my officers about me, in my branched velvet gown, having come from a day-bed where I have left Olivia sleeping' . . . blah blah. The play here is presenting yet another variety of the perversion of true love. As Olivia has earlier said to him, 'O you are sick of self-love Malvolio, and taste with a distempered appetite' – identifying his brand of 'self-love' to be an illness, a moral malaise; he is neck-deep in morbid self-aggrandisement. The soliloquy finishes with him fancying himself to be now master of the house, no longer its steward. The revellers catch him, in flagrante, imagining that Sir Toby is curtsying to him! Needless to say as Sir Toby looks on from behind a tree he comes close to feeling murderous: 'Shall this fellow live?'[1.5.86]; [2.5.41-60]
The letter dropped in Malvolio's path is addressed to 'M.O.A.I' – all letters in his name – with 'Olivia's' words claiming to sigh for him and urging him to wear her favourite yellow cross-gartered stockings: 'I am above thee, but be not afraid of greatness. Some are born great, some achieve greatness and some have greatness thrust upon them . . . She thus advises thee that sighs for thee. Remember who commended thy yellow stockings and wished to see thee ever cross-gartered'– the big joke here lying in the fact that Olivia particularly hates yellow, and cross-gartering. And further, the letter urges him, to remember to smile madly at all times when around Olivia : 'If thou entertain'st my love, let it appear in thy smiling – thy smiles become thee well. Therefore in my presence still smile, dear my sweet, I prithee'. All these instructions does he obey and hilariously enact before Olivia who thinks he has gone quite mad: 'Why this is very midsummer madness' (in midwinter). She bids Malvolio go to bed (to recover) – with his reply, 'To bed? Ay, sweetheart, and I'll come to thee', thinking that she is in love with him, setting off great hilarity among the revellers. This whole scene, if played well, is one of the most comical in theatre history.[2.5.141-171]; [3.4.28-53]
Malvolio is then officially declared mad, locked up in a dark room and mercilessly tormented and punished by the revellers. This may be a more subtle form of blood sport than bear-baiting, but blood sport it most certainly is, fuelled by the indignation of those threatened by the thought of having their alcohol and bear-baiting curtailed in any way. Malvolio (whose name means 'malicious' 'malevolent' 'bearing a grudge') may be a poseur and unpleasant 'time pleaser' (time-server) . . . and of course the audience is nearly always hugely sympathetic to Sir Toby and the revellers (because they themselves wouldn't want their own drinking to ever be interrupted by a posturing puritan), yet this notorious 'dark room' scene is frequently met by the audience with a distinct feeling of ambivalence. There is a general sense that, with the further mental and physical torture of Malvolio, the joke has gone too far.
And Shakespeare intends it this way – the joke certainly has gone too far, with the play exposing the brutality of the drunken company as being equally as despicable as Malvolio's meanness and pompous self-importance.
The relationship on both 'sides' bears no truth or love, and is, at some level, symbolic of the long struggle between the consciousness of old 'Merry England' with its remnants of Christianised pagan ritual, and the ideals and beliefs upheld by Protestant reformation around custom and conduct. (Sir Toby to Malvolio: 'Dost thou think that because thou art virtuous there shall be no more cakes and ale?') Each 'position' is laced with consciousnesses that lay down obstacles to prevent any true human relationship. At the end of the play the prank that has been played by the revellers is revealed to the devastated Malvolio, but there is no healing of the wound. Eaten up with anger he cries: 'I'll be revenged on the whole pack of you!' . . . and exits. His words, 'whole pack of you', reveal the level of abuse that has been channelled by the vicious 'pack energy' or consciousness that the household have allowed to fuel their actions. Olivia, alone of her household, has the grace to admit that 'He hath been most notoriously abused'.[5.1.371-2]
Shakespeare's dramatic setting of the play on the Twelfth Night of Christmas signals to the audience that reversal of societal convention and 'misrule' will be the 'disorder' of the day. On a temporal level there will be drunkenness, feasting, entertainment, and the donning of disguise. But simultaneously, and at a deeper level, we have the shipwreck, with the configuration of Twelfth Night's 'misrule' providing an opening for Viola (and Sebastian) to enter into Illyria. They bring their presence from 'another world' to the world i.e. Illyria. The true significance of the use of Twelfth Night as the play's symbolic setting is that, at this key time which is the end of the old season and the beginning of a new cycle, the usual momentums of society will briefly cease, the tight conventions will be momentarily loosened . . . allowing for the possibility of a newer order to step in and present itself.
Certainly Viola's cross-dressing in her brother's clothes is in keeping with the festival's ambience of mask and disguise – boys can be girls and girls can be boys. And a lot of hilarity is to be had by the audience with the confusions and fights that occur when there are ultimately two identical 'Cesarios' running around the streets of Illyria – Cesario/Viola and Sebastian, still alive and restored from the sea.
Yet the deeper communication of the cross-dressing during Twelfth Night is that mindsets and misconceptions about the exclusivity of gender and the nature of love lend themselves to the possibility of deconstruction.
The magic, the breath of fresh air that enters Illyria with Viola/Cesario and disperses the malaise can be felt by both Olivia and Orsino. Despite his melancholy love-sickness, Duke Orsino can feel that something significant is being constellated at this point in time with the arrival of the girl-boy Cesario/Viola in his household and realm. Verbally playing on music and sexuality, Orsino says re Viola's role in wooing Olivia for him: 'Diana's lip/ Is not more smooth and rubious. Thy small pipe/ Is as the maiden's organ, shrill and sound,/ And all is semblative a woman's part./ I know thy constellation is right apt/ For this affair'.[1.4.29-36] He innately recognises, and is drawn to, the womanly quality of Viola within 'Cesario', and, at some level, he also knows that she has been constellated as the catalyst for transformation – the one who will break the stale-mate of the barren dukedom and get things moving.
The act of unveiling of 'Cesario' to the inhabitants of Illyria as being Viola, exposes the arbitrariness of desire: Olivia falls in love with a girl dressed as a boy and then marries her twin brother. The figure of Viola further exposes the tyranny of passion: the true meaning of passion has been re-interpreted (by our filtered perceptions and our clichéd images of romantic love and gender) to mean; 'to give oneself over to a force that utterly disempowers and whisks one away from the joy of true love'. And when all these imposed images, clichés, perceptions, and behaviours are dropped, what is left? Nothing but Love. As contemporary Shakespearean actress Joely Richardson has so well observed about the role played by the device of cross-dressing in Twelfth Night: 'Age, gender – none of it matters – we get to love another best, one essence to another essence'.[1] Shakespeare's own memorable words from Sonnet 116 relate here: 'Love is not love/ Which alters when it alteration finds'.
It is Viola's vital and loving presence that likewise breaks the momentum of melancholy and the damp tendrils of grief that hang over the domain of Illyria, swamping all joy.
In the course of the play Viola's wooing ignites the fire of love in Olivia, and quite literally 'unveils' her, delivering her from mourning into the arms of Sebastian. Feste has had an admirable 'verbal' go at breaking the curse of Olivia's extended and exaggerated mourning but it is not until the spark of love is ignited in Olivia's heart that she can throw off the veil of grief – witty words alone just don't cut it. Viola further delivers the love-sick Orsino out of melancholy and into the embrace of her own arms; and, by not withdrawing from life into grief-stricken mourning over her apparently 'drowned' twin Sebastian, but instead aligning to commit to life in Illyria, she delivers herself to love, and the 'resurrected' Sebastian to the marriage bed of Olivia. Viola has broken the old rules of engagement that have held Illyria in the bonds of stagnation.[1.5.227]; [1.5. 62-68]
And so we have in Twelfth Night an entertaining comedy in which a Countess falls in love with a boy who turns out to be a girl, and a Duke marries a girl who has been living in his household as a boy. And, at an everyday level, the ambiguous gender figure that is Viola/Cesario, who 'can sing both high and low' (Feste's song)[2], can be for the audience simply a part of the acceptable frolics and expected dressing up that occurs with the revels of Twelfth Night.
Yet it becomes clear that the figure of Viola/Cesario embodies a much deeper meaning in the potent symbol of the 'hermaphrodite' – the energetic hermaphrodite referring, not to a physical body exhibiting both sexes, but to a state of being that holds the qualities of both genders, a state of being that is universal and contains the fullness of the whole, both maleness and femaleness. Viola has, early in the play, already referred to her 'Cesario' self as a 'monster', meaning an androgynous creature/ half man and half woman. And Sebastian says to an amazed Olivia when she beholds Sebastian and 'Cesario' side by side for the first time: do you realise that 'You are betrothed both to a maid and a man?' Add to this that we already know Viola is an 'instrument' (a viola) that will bring about the union of lovers.[2.2.34]; [5.1.259]
Within the deeper metaphysical dimensions of the play, Viola works as a powerful cypher signifying that, from an energetic point of view, no matter what gender body we happen to occupy, we are, by essence, both male and female – we can sing 'both high and low'. We do not need to be defined by gender stereotypes but, in the subtle world of vibration and resonance, we can rather feel and express what is available and known from the all, from the essence within – and so within the one gender we can have equal access to everything that we have always assumed belonged exclusively to the opposite sex – including the tenderness and sensitivity of a man and the sacredness and nurturing of a woman.
And more. We can in truth be the 'gods making love'.[3] The profound implication of the symbol of the divine hermaphrodite that sits at the centre of the play is a far cry from the reductionist world in which Sir Toby can enthusiastically praise Maria, the woman he will marry, as 'a beagle, true bred, and one that adores me'.[2.3.174]
In Twelfth Night Shakespeare invites us to ponder the immense and universal meaning of gender: imagine being able to bypass the limitations of identification with the images and beliefs around gender and feel the richness of the whole? Could this largely eliminate comparison and competition which lie at the root of the conflict and abuse between the sexes?[3]
The inner re-union of the genders is poignantly celebrated in the play with the reconciliation of the twins Sebastian and Viola, a scene which could easily be visualised as a classic Renaissance emblem, so popular in Shakespeare's day, symbolising the 'hermaphroditic' nature of the Soul – in Orsino's words, 'One face, one voice, one habit and two persons'.[5.1.1.212] And this reconciliation of the 'twins' takes place on the streets of Illyria before the gathered crowd – the implication being that this union is denied to no-one – the man in the street can witness it and know it. Further, a potent statement re-affirming the play's message, that it is the truth and reality of the 'essence' that counts and not outer appearance and outer gender, is clearly made when Viola – now betrothed to Orsino and still being called 'Cesario' by him – leaves the stage to celebrate her nuptials, remaining dressed in her 'masculine usurped attire' until she can later reclaim her 'maiden weeds' offstage. Viola's earlier words: 'I am not that I do play'[5.1.246]; [5.1.251]; [1.5.179], at this point in the play reveal an even more profound meaning: I am not the appearance, whether male or female, but the reality – the essence.
It is interesting to note that in The Gospel of Thomas, it is recorded that when a question was put to Yeshua about entering the kingdom of Heaven he answered: 'When you make the two into one, and when you make the inner like the outer and the outer like the inner, the upper like the lower, when you make male and female into a single one, so that the male will not be male nor the female be female . . . then you will enter the kingdom of heaven.'[4]
The world goes on
Meanwhile the merry-go-round of daily life in Twelfth Night's Illyria – 'our' world – carries on with its histrionics, its drunkenness and its antics. Malvolio storms off the stage in bitterness and rage, 'I'll be revenged on the whole pack of you'. And the fool Feste delivers his final song – his wry, unsettling observation about the 'whirligig' of the world, a world which has been shown the truth of the sacred union of the genders, but will just carry on as usual . . . the inebriated world with its prevailing winds of bitterness and harshness, going round and round, which will stubbornly resist truth and keep refusing to budge from its conflicts, cruelties and comforts:
"When that I was and a little tiny boy
For the rain it raineth every day . . . (stanza 1)
But when I came, alas, to wive,
For the rain it raineth every day. (stanza 3)
With tosspots still had drunken heads,
For the rain it raineth every day . . . (stanza 4)"
Twelfth Night ends with the cold bleakness of the mundane world, yet at the heart of the play there remains a shimmering, fiery vision of the nature of true love . . . a taste of what will be known to humanity when it ultimately comes to embody the truth of gender. This profound presentation of the subtle union at the inner level is Twelfth Night's true gift to the bitter creation we know as 'the world'.
Shakespeare Uncovered</i>, DVD, Blakeway Productions
'O Mistress Mine' [2.3.238-250]
https://sergebenhayon.tv, episode 14 'The Gods making Love'
Stephen Patterson and Marvin Meyer, The Scholar Translation of the Gospel of Thomas, 22 9 http://www.earlychristianwritings.com/text/Thomas-scholars.html)
Inspired by and based on the Ageless Wisdom as presented by Serge Benhayon
Sex, Making love, Romance, Same sex relationships, Sacredness, Time, Gender
By Lyndy Summerhaze, PhD, BA (1st class hons; University medal) Dip.Mus.Ed, Practitioner of Universal Medicine Therapies, EPA Recognised
Lyndy loves truth, people, and great conversation. She works as a tutor in English Literature and is a practitioner of the healing arts.
Illustration: Desiree Delaloye, Entrepreneur, Creative Director, Graphic Designer, Illustrator, Branding specialist ... and so much more
Desiree loves expressing through visuals, graphics, colours and angles. She is a professional specialising in bringing that extra touch into corporate branding, book design and illustrations.
Shakespeare and the Lineage of the Ageless Wisdom
Shakespeare's Othello: How does a hero fall?
A Midsummer Night's Dream: Shakespeare's theatre of the absurd


> > Ah, so. It's the DVD image.
> It's different, but not satisfactory.
> that) later, so I will give a bare minimum for the moment.
> I will leave off now, lots of hex numbers which I'm likely to mistranscribe.
> It ends with kernel panic - not syncing -: Attempted to kill the idle task!
which implies it is in a module.
modules, need to try and remember more to dig it out.
> and it's called from vgacon_set_cursor_size.
A woman was in love with fourteen soldiers.  It was clearly platoonic.


A charming property with amazing potential if you are looking for a house to live in and a second house to rent out.
This renovated olive press and another stone building provide beautiful sea views and is set on a land of 600 m2, located in the area of Nisaki close to beaches and amenities and yet in a very quiet area.
The main house of 148 m2 comprises an entrance with a spacious patio, living room with fireplace, kitchen, bathroom and a double and single bedroom downstairs a guest toilet and storage.
The first floor has its own entrance from outside or by a spiral staircase from the kitchen.
Ideal if you have guests, they can use their own entrance.
This floor comprises a sitting area, a double and single bedroom and a further sitting area outside with beautiful views.
Further there is another stone building of 70 m2 which is in need of total renovation and is positioned in front of the main house. It can be converted to a lovely cottage as well it could be extended.
Behind the cottage there is a garden on two levels, with olive trees and fruit trees, boasting amazing panoramic views. It would be great to place a pool here.
CORFU TOWN: 20km, BEACH: 2 km, PORT: 20 km, AIRPORT: 23 km.


Here's a preview of Monish and Dipti's pre-wed shoot over the weekend. It was a very cold and early start but we had a great time shooting the lovely couple on a beautiful morning!
I can't wait to capture their wedding in July!


text:
public class Bar {
  public static void main(String[] args) {
    for (String s : args) {
      try {
        System.out.println(s);
      }
      catch (Exception e) {
        System.out.println(e);
      }
    }
  }
}

redpajama_set_name: RedPajamaGithub


The price of a Jim Palmer rookie card is determined by a few factors. The condition of the card or cards is vital to its value. The better the condition the more the Jim Palmer rookie card is worth. Scarcity also a determining factor when figuring out how much a Jim Palmer rookie card is worth. Like condition, scarcity can make a big difference when it comes to pricing.
Best and Most Valuable Jim Palmer Rookie Card- 1966 Topps #126 Jim Palmer . This is also his most expensive rookie card.
Some MLB players should automatically be added to a collection, such as Jim Palmer baseball cards. An autographed 1984 Donruss Jim Palmer Baseball Card with a PSA/DNA grade Slabbed sells for about $55, an autographed 1984 Topps HOF Orioles Baseball Card #750 and graded JSA for around $25, and an autographed 2004 Topps Jim Palmer Fan Favorite Baseball Card for approximately $40.
After his father died when Palmer was nine, his mother and sister moved to California, giving him the chance to start playing in a youth baseball league. With a love for the game and natural talent, he signed on with a minor league team after graduating high school. Then in 1965, he signed on to pitch for the Baltimore Orioles, which would allow him to become the only pitcher in MLB to win World Series over a 30-year period. Throughout his 19-year baseball career, Palmer accomplished some amazing feats, the most memorable being his 20-game career consisting of 575 games.
In addition, Palmer was just one of four 20-game winners in the 1971 starting rotation, he was the recipient of four Gold Glove Awards, played in six All-Star games, received three Cy Young Awards, and held two ERA titles. He also played in six World Series and six AL Championship Series, and incredibly, in his entire pitching career, not once did he give up a grand slam or allow back-to-back homeruns.
Palmer retired in 1984, going into broadcasting and advertising. One of his greatest honors was being inducted into the Baseball Hall of Fame and having his number 22 jersey number retired in 1985. Newer Jim Palmer baseball cards can be found online through sites such as eBay whereas older and more expensive cards are usually sold through dealers.
Top 3 Jim Palmer Rookie Cards- These are some of the best Jim Palmer Rookie cards and some of his most expensive.


Many times peoples are used search analytics of webmaster to find out the most performing keyword of our website. But there is another use of this analysis to find out how our brand is performing on the web. When you try to rank organically and perform some SEO strategies. So after some time like weeks, we get some impression to the pages and then we can find out which keyword get more impression on the web.
So the question is how can you find your brand keyword is people search on the web?
This is good insight if your brand keyword is performing. You can also analyse which pages with the brand keyword are performing. There are so many works which have to do before this activity like social promotion, online promotion etc. so people can know about it and for more information, they can search for it on google. If your brand is new then this insight help you.


text:
Verizon furthers copper-to-fiber replacement strategy in 4 states
Verizon (NYSE: VZ) continues to make progress with its copper-to-fiber migration strategy. The service provider, according to a series of FCC filings, is retiring copper network facilities in White Plains, N.Y., Pittsburgh, Falls Church, Va., and Providence, R.I.
Similar to other markets like New York City, when the migration is completed Verizon will no longer offer services over copper wires and maintain those facilities. However, it will continue to offer consumers and businesses a 64 Kbps grade PSTN (public switched telephone network) over the fiber connection.
It emphasized that consumers, the majority of which are POTS (plain old telephone service) customers, will not see any effect to the services they use and it is not a transition to IP-based services. Verizon has not revealed whether it would try to upsell these customers with FiOS services now that they will be connected to the FTTH network.
"There will be no change in the underlying features and functionalities in their service: this is not a transition to IP-based service and these customers will be offered the same regulated service they have today," Verizon said in an FCC filing. "There are no wholesale customers at these locations at this time. If in the future, wholesale customers approach us to provide service at these locations, they will continue to be able to buy services over the more reliable network as they do in other areas where we have retired copper and deployed fiber."
Verizon added that while it does not provide wholesale customers service in these locations, it will allow customers to purchase services over the new fiber network.
"There are no wholesale customers at these locations at this time," Verizon said. "If in the future, wholesale customers approach us to provide service at these locations, they will continue to be able to buy services over the more reliable network as they do in other areas where we have retired copper and deployed fiber."
Overall, the transition to fiber in these markets includes what is a small amount of customers. In Providence it serves about 430 POTS customers, while in Falls Church it serves 250 retail customers and 100 retail customers in Pittsburgh.
Despite the potential that copper to fiber migration has for Verizon in terms of lower costs and maintenance costs, the migration hasn't been without controversy.
Verizon has had to fight back against claims from competitive providers that it has engaged in a practice known as de facto copper retirement where a telco would let its aging copper plant deteriorate to the point where it would become necessary to replace the copper with fiber. It asked the FCC to not include new requirements addressing the issue in its technology transition plans.
What's more, a former copper-based POTS customer in Herndon, Va., was told to switch to fiber or have his voice service cut off. The consumer told Ars Technica that while his phone service started working again, Verizon said that if he refused to have fiber installed at his premises they would cut off his phone line and close his account in July. Ultimately, the consumer cancelled his service and switched his voice service to Cox, which he already uses for Internet access.
Regardless of the issues it has faced, Verizon has made steady progress in reaching its copper-to-fiber migration goals for 2015. While it won't release its third-quarter earnings until next Tuesday, the service provider reported that as of the second quarter it converted 51,000 copper customers to fiber, bringing its first-half total to 98,000. It set a goal to convert a total of 200,000 customers from copper to fiber by the end of the year.
- see this Pittsburgh filing (PDF)
- see this White Plains, N.Y. filing (PDF)
- see this Providence, R.I. filing (PDF)
- see this Falls Church, Va. filing (PDF)
Verizon transitions more New York City wireline customers from copper to fiber
Verizon sees value in transforming network to IP, fiber, but conversion challenges remain
Verizon's Stratton sees 'host' of opportunities to improve wireline, wireless operations
Verizon, CenturyLink say abandoning copper network is a "myth"

redpajama_set_name: RedPajamaCommonCrawl


The Cancer Support Center gives strength, guidance and support to anyone living with a cancer diagnosis, as well as to their loved ones. We do this as a community-based, volunteer-driven, donor-supported organization. Our programs, resources and services are always delivered by professional therapists, counselors, nutritionists, and experts in a warm, welcoming and nurturing setting at no cost to participants. The Cancer Support Center has locations in Homewood and Mokena.


This unit describes the skills and knowledge required to monitor the implementation and progress of financial plans and establish ongoing client service arrangements. It encompasses discussing and confirming arrangements and procedures for ongoing service with clients, establishing procedures for providing ongoing service, and undertaking or supervising review of a financial plan.
It applies to individuals, working within a team, who use specialised knowledge and managerial techniques to monitor and complete their own work and/or the work of others and to build relationships and rapport with others.
Work functions in the occupational areas where this unit may be used are subject to regulatory requirements. Refer to the FNS Implementation Guide Companion Volume or the relevant regulator for specific guidance on requirements.
The self-paced activities will be delivered thought various technology platforms and include your contribution to activities, discussion threads, reflective journals on industry updates, presentations, quizzes and interactive sessions.
The collaborative classroom based activities will include role plays, group discussion, group problem solving activities and opportunities to practice your skills in a simulated/real workplace environment.
The Teaching Schedule for this course is attached to this document (Part B) but please note that it is subject to change.
The nominal hours associated with this are a guide only and represent the total teaching time and student effort required to successfully complete the course. This may include not only scheduled classes but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities including the self - paced activities in the workbooks.
maintain accurate documentation of records and data relating to implementation and review.
outline the key requirements relating to documenting financial plans.
office equipment, technology, software and consumables.
The assessments for this course have been designed to allow participants apply their learning to particular simulated work scenarios and demonstrate their competence in a variety of ways.
For this Assessment Task you are required to demonstrate your knowledge by completing a series of eight theory and problem solving activities over the course of the semester from weeks 3 to 14. You will be required to submit each activity as specified in the weekly schedule.
For the first part of the project you will assume the role of a para planner at the Swanton Bank Group Ltd and you will prepare a financial plan that includes advice in relation to the essential life insurance products relevant for the simulated client you interviewed in previous clusters. The financial plan that you will prepare must demonstrate that the needs of the client have been met.
In the second part of the assessment you will be required to interview the client at the premises of Swanston Banking Group Ltd. You will need to continue building a good rapport with the client and present the financial plan for life insurance that you drafted to them.
You will need to ensure that the client understands all the information provided particularly the concepts in reference to life insurance and life insurance products. The main aim of this part is for you is to be able to explain all the relevant terms in the financial plan, answer the questions that the client may have and to negotiate the contents of the financial plan.
You will be given one week after the initial interview Part 2 to revise and complete the advice and submit it as part 3 of this task.
The purpose of the assessment is to enable you to demonstrate a breadth of understanding across all of the course material at an independent level. It assesses the knowledge you have obtained through undertaking the concepts of life insurance, your communication skills in presenting that knowledge and your problem-solving skills in answering the questions posed in a live interview with the simulated client.
Learners will be given one week after the initial interview to revise their financial plan and submit it as part of this task.
A number of Learning Audit Dates have been scheduled and you are expected to progress as per the set targets throughout your studies.
For this Assessment Task you are required to demonstrate your knowledge of life insurance by completing an open book in class supervised assessment comprised of a series of theoretical and practical questions including: short answer and mini case studies. The purpose of this Task is to assess your understanding of the concepts and issues included in the topics covered throughout the semester. This assessment will take place during your normal scheduled class time.
You must successfully complete all assessment tasks to achieve competency.
Grading will be applied once you have been deemed competent for each competency.
• Each page of your assessment should include footer with your name, student number, the title of the assessment, unit code and title and page numbers. For example, Callie Harvey, 324567, Task 2, OHS2345C Ensure safe workplace, Page 1 of 10.


A new vacancy has arisen with a medium sized solicitors firm based in Cheshire. Looking for a commercial property locum to join them for 4-5 weeks from Monday 25th February 2019. The firm are within walking distance of a train station. Full time or part time fine. The firm will consider someone working a minimum of 3 days per week but similarly full time 5 days per week is good for them.
Well regarded Legal 500 practice.
Interested? Contact Jonathan Fagan via email – jobs@interimlawyers.co.uk – posted 10th February 2019.


text:
The Sound of Silence: Reach's End
Death. There's a cheery old subject to talk about on a sunny Sunday afternoon.
Gillen McAllister
Don't worry, this is Britain: atmospheric rain clouds will blow across the horizon soon enough.) Its a subject we never want to tackle in real life, one that's used far too often in worst kinds of movies and novels to try and add gravitas into a story (and usually handled pretty poorly).
Then there's death in video games. (I'm ignoring the Everest-sized mountain of dead from decades of shooters. We're talking story-driven exits here).
It's a subject that I've been mulling over for some weeks now, but for the simple reason of avoiding spoilers cannot mention the games that have lead me to think about it so much. For those yet to play certain recent titles, it's unfair, and a little early to cover them for a Generation's Greatest article (but they will come). So I'll talk about another death equally as effecting from this generation: your own in Halo: Reach (sorry if you've yet to play the now near-three year old title).
As a prequel to the original trilogy, the planet Reach's demise had already been common knowledge in the canon of the Halo universe for years. The alien Covenant find it, and systematically torch it, wiping out human population centres and anything else that moves. And while the fate of Reach's cast of characters, the Spartans from Noble Team, was unknown going into the game, you'd suspected that someone was going to bite the bullet before the credits.
Yet when Noble started to fall like dominoes late on the game, you saw the concluding arc of the story pretty clearly. Like a slasher movie, it was only a matter of working who was going out next and how. It robbed the game's third act of its surprise. Or so we thought.
'Lone Wolf' is effectively an epilogue to the main campaign. While Bungie fumbled the attempt of showcasing a worldwide war over a sustained period of time, it nailed it's ending. With the last human-manned spaceship set off to the safety of the stars, you alone are left on a dying planet with a world full of aliens out for your blood. Bungie almost mock the situation in flashing up the mission's single objective on screen: "SURVIVE."
Amongst the ruins of a destroyed city, would-be-killers looming out of the murk, you try. And ultimately, you fail. No wise-cracking marines, no squad members backing you up. You go out alone, but you go out fighting. Your visor starts to crack, and as you're downed the game transitions to a cinematic as you watch Noble Six go out swinging.
It's an epic conclusion to the game and Bungie's time with the series. It proved you didn't need to go big to go out strong. One lone wolf's fight - our fight - was all it took.
Related texts
REVIEW. Written by Jonas Mäki (Gamereactor Sweden) on the 12th of September 2010 at 15
"The time has come for Bungie's farewell to the Halo series, and they bid farewell with the biggest and most epic chapter in the series to date."
Bungie Halo page will be taken offline next month
NEWS. Written by Jonas Mäki on the 15th of January 2021 at 14:41
Nothing will be lost however, as all of the news articles, forums and groups were imported into the current Bungie.net back in 2013.
Microsoft celebrates "monumental" PC launch of Halo: Reach
NEWS. Written by Sam Bishop on the 12th of December 2019 at 10:51
Reach made its debut on PC and Xbox One in its remastered form earlier this month, and it was received well.
Halo: Reach is up for today's livestream
NEWS. Written by Sam Bishop on the 6th of December 2019 at 13:53
The classic game is almost a decade old, and has just landed on PC and Xbox for players to try out once again.
Halo: Reach headlines packed December Game Pass offering
The service is expanding even further, from Overcooked 2 to The Division and plenty of other titles.
Halo: Reach becomes third most-played game on Steam
The Steam version has only just arrived, with players flooding to the Master Chief Collection to try it.
Gaming's Defining Moments - Remembering Reach
ARTICLE. Written by Mike Holmes on the 2nd of December 2019 at 16
We take a spoiler-riddled look back at Bungie's Halo swansong.
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System: PC, Xbox 360, Xbox One
Developer: Bungie
Online players: 1-16


Begin with the reality of budgeting for kitchen remodels: Kitchens are always one of the most expensive areas of the home to remodel. Bedrooms, living rooms, hallways, and even small bathrooms pale in comparison to the price of remodeling a kitchen. The good news is that a budget kitchen remodel is possible relative to the average cost of other kitchen remodels.
Windfalls of free or cheap kitchen cabinets or bargain appliance might help, but you cannot count on this. What you can count on is being educated about a few basic themes that guide budget kitchen remodels.
The most important theme is that you are the only person who truly cares about keeping the kitchen remodel within budget. All of the secondary parties involved in a kitchen remodel, including contractors, subcontractors, architects, designers, and suppliers, will tacitly agree to your stated budget. But it is not within their best interests to do so; the home remodeling ecosystem and commerce as a whole do not work that way.
On the bad side, you may find a contractor or architect who willfully tries to punch holes in your budget by heaping on more extras or finding problems down the road that require more and more construction change orders. On the more common and realistic side, you have secondary parties who continually need to be reminded to stay within the limits that you are comfortable with.
In the end, you are your own best advocate when it comes to keeping your kitchen remodeling budget within a manageable range.
New kitchen cabinets are invariably expensive. Purchasing new kitchen cabinets usually means that you can remove the word "budget" from your bragging rights when showing off your new kitchen to friends and family.
In general, tear-out-and-replace projects will be more expensive than projects that keep a majority of the materials. It is also more eco-friendly to avoid landfilling tons of flooring, glass, laminates, plastics, and other materials that take centuries to degrade.
Painting your kitchen cabinets is the classic method of refreshing the outside shell of your cabinets. More expensive than painting, kitchen cabinet refacing adds a new wood or thermofoil veneer to the outside of the cabinets and entirely replaces doors and drawer fronts.
If you are replacing your cabinets, think outside the box. Cabinets are usually less expensive when they are partially constructed from MDF. If you don't mind putting together your cabinets, you can look for RTA, or ready to assemble, kitchen cabinets.
One way to limit the use of expensive wall cabinets is to install some open shelving. Result: an airy feel, almost like that of a commercial kitchen.
Do-it-yourself home remodeling projects let you pay for only the materials while bringing down labor costs to zero.
Some remodeling projects range from easy to moderately difficult for do-it-yourselfers: interior painting, flooring installation, changing outlets and lights, hanging drywall, and installing baseboards and other trim, among other projects.
Time, or lack of it, is another factor behind your decision to do-it-yourself or hire a professional. When you have the luxury of time to complete your kitchen remodel, you can do much of it yourself. Tight timetables entail hiring professionals.
At one time, it was assumed that all appliances, even perfectly functioning ones, would be landfilled during the course of a kitchen remodel. Thankfully, that antiquated thinking is on its way out, as most municipalities have enacted restrictions against sending kitchen appliances directly to the landfill.
Dramatically changing around the kitchen layout is one sure way to drive up the budget. Conversely, keeping your kitchen layout basically the same, while changing only the elements within that framework, is one important key to keeping your remodel within budget.
Moving essential plumbing services such as the dishwasher, sink, and refrigerator (ice maker) entails hiring plumbers. Moving around electrical services such as GFCI outlets, lights, dishwasher, refrigerator, and garbage disposal means tearing out drywall and rewiring the kitchen.
Kitchen layouts are usually determined in the first place by the size of the available kitchen space. So, major changes to the footprint are sometimes more effort and cost than they are worth. Try to work within your current layout in order to save money.
Corridor- or galley-style kitchens often have such limited space that footprint changes literally are not possible, short of major alterations to the home's structure. One-wall layouts allow for a little more flexibility since they do have an open side. In this case, adding a kitchen island is a great way to add more prep space and storage without major layout changes.


Marjorie Taggart asks us to pray for her friend Sue who just had surgery. She is in pain, which we all hope will soon subside, but she must also learn to live with the side effects of the surgery. We pray for strength of body and soul.


Each participant in the affiliate program offered by 4Patriots LLC (the "Program Operator") at (the "website") expressly agrees to this affiliate agreement.
d) To the extent you have in any manner violated or threatened to violate the Program Operator's intellectual property rights, the Program Operator may seek injunctive or other appropriate relief in any court located in Davidson, Tennessee, USA and you consent to exclusive jurisdiction and venue in such courts. Use of the Program Operator website is unauthorized in any jurisdiction that does not give effect to all provisions of these terms and conditions, including without limitation this paragraph. You agree that no joint venture, partnership, employment, or agency relationship exists between you and the Program Operator as a result of this agreement or use of the website, products, and/or services. The Program Operator's performance of this agreement is subject to existing laws and legal process, and nothing contained in this agreement is in derogation of the Program Operator's right to comply with governmental, court and law enforcement determined to be invalid or unenforceable pursuant to applicable law including, but not limited to, the warranty disclaimers and liability limitations set forth above, then the invalid or unenforceable provision will be deemed superseded by a valid, enforceable provision that most closely matches the intent of the original provision and the remainder of the agreement shall continue in effect.
e) This Agreement shall be governed and construed in accordance with the laws of Tennessee, USA applicable to agreements made and to be performed in Tennessee, USA. You agree that any legal action or proceeding between the Program Operator and you for any purpose concerning this agreement or the parties' obligations hereunder, will first attempt to be resolved with the help of a mutually agreed-upon online mediator. Any costs and fees (other than attorney fees) associated with the mediation will be shared equally by each of us.
f) If it proves impossible to arrive at a mutually satisfactory solution through online mediation, we agree to submit the dispute to binding arbitration at the following location: for legal actions or proceedings between the Program Operator and you, in Davidson, Tennessee, USA under the commercial rules of the American Arbitration Association. Judgment upon the award rendered by the arbitration may be entered in any court with jurisdiction to do so.


genuine chubby guy and is discreet, 6ft tall, part hairy ,blue eyes and silver hair.I like most things and enjoy passion. Interested in many things and guys witha personality is key.
...tons of hot guys and interesting people to meet up with in Farnham. If you prefer to see who's around, do some 'window shopping' first. If you know what you want, search by selecting the right category. Nobody stays alone here for long!


text:
Home :: Military :: Library :: News :: 2007 :: February ::
Bagram PRT Opens New Bridge, Road
By Staff Sgt. Thomas J. Doscher, USAF
Special to American Forces Press Service
BAGRAM AIR BASE, Afghanistan, Feb. 9, 2007 – When local contractor Asil Khan first thought of building a bridge over the Gogamanda River, he was knee-deep in it, evading the Soviet army on a trip to Pakistan to procure weapons for the Mujahadeen.
More than 15 years later, that idea became a reality, as Gov. Jabar Taqwa officially opened the Gogomanda Bridge and the road that links Kabul with thousands of villagers who had been cut off from the capital by the river.
"Behind the mountains there are 6,000 villagers," Khan said. "They had no way to get to Kabul. Now they have the bridge."
Construction of the bridge took six months and more than 40 local Afghan workers. The road and bridge cost $225,000 apiece. Army Maj. Don Johnson, Bagram Provincial Reconstruction Team commander, said the price was a bargain.
"Normally a road like this costs $25,000 per kilometer," he said. "It should have cost us $400,000. It was a steal."
Khan said he wanted to do his part for the people.
"I felt these people needed help, and this is the help we can do for them," he said.
The Bagram PRT provided funds for the project and some oversight.
"We would go and periodically check the work," Johnson said. "It's a strong bridge. We were here when it was just the foundations."
As Johnson's final mission before his redeployment, he took the opportunity to speak to some of the assembled local Afghans.
"In the 10 months I've been here, I've learned a lot about the Afghan people," he said. "They're generous, hospitable. They value education and they want the best for their people."
Johnson said a project like this would not be possible under the Taliban. He asked the Afghans, "How many bridges have the Taliban built?"
One Afghan stepped forward and answered him. "Don't ask that question," he said. "Ask how many they have destroyed."
(Air Force Staff Sgt. Thomas J. Doscher is assigned to the Combined Joint Task Force 76 Public Affairs Office.)


Everybody wants to feel like a star sometimes. So give your guests a reminder that you think they are the stars in your life With our exquisite star design wine bottle stoppers. Both decorative and useful, each 4 �� x 1� x �� bottle stopper has a brilliant, prism-effect, multifaceted glass star top and a black gasket encircled metal stopper base. Surrounded by satin inside a Choice Crystal signature gray star design box, tied with an organza and satin bow with a crystal heart on top and an attached heart shaped tag, these favors make for a stunning presentation.


text:
FCA Alerts Public of Unlicensed Cryptocurrency Broker Get Financial
This warning is yet another case in which FCA goes after illegal cryptocurrency brokers.
Aziz Abdel-Qader | News ( CryptoCurrency ) | Friday, 25/05/2018 | 22:19 GMT+2 2018-05-25T20:19:03+00:00 2018-05-28T17:30:29+00:00
Photo: Bloomberg
A lesser-known cryptocurrency and FX broker called Get Financial was just blacklisted by the UK's financial regulator after the company in question claimed that it operated with an FCA license.
The Financial Conduct Authority has clarified that the company in question does not, in fact, have any valid license of any kind, stating that Get Financial is not authorized to provide investment services or activities in the country.
Get Financial is the latest company to come under scrutiny by the watchdog. The broker is operating from the site www.getfinancial.com, purporting to be registered in the UK and Saint Vincent and the Grenadines.
This warning is yet another case in which British authorities seem to have stepped up their game and have gone after illegal cryptocurrency brokers. In November 2017, FCA issued a warning for investors in cryptocurrency contracts for difference (CFD), mentioning the risks involved.
However, the watchdog decided in late December not to regulate the digital asset class, though it stated the decision is not indicative of the approval of investments in the cryptocurrency.
Back to the warning, FCA recommends traders to avoid Get Financial and all other shady brokers at all costs. It also revealed that investors should assume that in case they deposit money at the respective company they might end up losing all their money.
The UK watchdog further added: "You should be aware that if you give money to an unauthorized firm, you will not be covered by the Financial Ombudsman Service or Financial Services Compensation Scheme (FSCS) if things go wrong."
The FCA again reminds traders who wish to conduct investment activities with an institution or person to beforehand check its official Register as to whether or not such providers are authorized to render financial services.
Tags: crypto ban / fca / Warns
But they are back and have a new web site: https://www2.getfinancial.com/#


text:
using System;
using System.Collections.Generic;
using System.Text;

using GameOverlay.Drawing;
using GameOverlay.Windows;

namespace Examples
{
	public class Example : IDisposable
	{
		private readonly GraphicsWindow _window;

		private readonly Dictionary<string, SolidBrush> _brushes;
		private readonly Dictionary<string, Font> _fonts;
		private readonly Dictionary<string, Image> _images;

		private Geometry _gridGeometry;
		private Rectangle _gridBounds;

		private Random _random;
		private long _lastRandomSet;
		private List<Action<Graphics, float, float>> _randomFigures;

		public Example()
		{
			_brushes = new Dictionary<string, SolidBrush>();
			_fonts = new Dictionary<string, Font>();
			_images = new Dictionary<string, Image>();

			var gfx = new Graphics()
			{
				MeasureFPS = true,
				PerPrimitiveAntiAliasing = true,
				TextAntiAliasing = true
			};

			_window = new GraphicsWindow(0, 0, 800, 600, gfx)
			{
				FPS = 60,
				IsTopmost = true,
				IsVisible = true
			};

			_window.DestroyGraphics += _window_DestroyGraphics;
			_window.DrawGraphics += _window_DrawGraphics;
			_window.SetupGraphics += _window_SetupGraphics;
		}

		private void _window_SetupGraphics(object sender, SetupGraphicsEventArgs e)
		{
			var gfx = e.Graphics;

			if (e.RecreateResources)
			{
				foreach (var pair in _brushes) pair.Value.Dispose();
				foreach (var pair in _images) pair.Value.Dispose();
			}

			_brushes["black"] = gfx.CreateSolidBrush(0, 0, 0);
			_brushes["white"] = gfx.CreateSolidBrush(255, 255, 255);
			_brushes["red"] = gfx.CreateSolidBrush(255, 0, 0);
			_brushes["green"] = gfx.CreateSolidBrush(0, 255, 0);
			_brushes["blue"] = gfx.CreateSolidBrush(0, 0, 255);
			_brushes["background"] = gfx.CreateSolidBrush(0x33, 0x36, 0x3F);
			_brushes["grid"] = gfx.CreateSolidBrush(255, 255, 255, 0.2f);
			_brushes["random"] = gfx.CreateSolidBrush(0, 0, 0);

			if (e.RecreateResources) return;

			_fonts["arial"] = gfx.CreateFont("Arial", 12);
			_fonts["consolas"] = gfx.CreateFont("Consolas", 14);

			_gridBounds = new Rectangle(20, 60, gfx.Width - 20, gfx.Height - 20);
			_gridGeometry = gfx.CreateGeometry();

			for (float x = _gridBounds.Left; x <= _gridBounds.Right; x += 20)
			{
				var line = new Line(x, _gridBounds.Top, x, _gridBounds.Bottom);
				_gridGeometry.BeginFigure(line);
				_gridGeometry.EndFigure(false);
			}

			for (float y = _gridBounds.Top; y <= _gridBounds.Bottom; y += 20)
			{
				var line = new Line(_gridBounds.Left, y, _gridBounds.Right, y);
				_gridGeometry.BeginFigure(line);
				_gridGeometry.EndFigure(false);
			}

			_gridGeometry.Close();

			_randomFigures = new List<Action<Graphics, float, float>>()
			{
				(g, x, y) => g.DrawRectangle(GetRandomColor(), x + 10, y + 10, x + 110, y + 110, 2.0f),
				(g, x, y) => g.DrawCircle(GetRandomColor(), x + 60, y + 60, 48, 2.0f),
				(g, x, y) => g.DrawRoundedRectangle(GetRandomColor(), x + 10, y + 10, x + 110, y + 110, 8.0f, 2.0f),
				(g, x, y) => g.DrawTriangle(GetRandomColor(), x + 10, y + 110, x + 110, y + 110, x + 60, y + 10, 2.0f),
				(g, x, y) => g.DashedRectangle(GetRandomColor(), x + 10, y + 10, x + 110, y + 110, 2.0f),
				(g, x, y) => g.DashedCircle(GetRandomColor(), x + 60, y + 60, 48, 2.0f),
				(g, x, y) => g.DashedRoundedRectangle(GetRandomColor(), x + 10, y + 10, x + 110, y + 110, 8.0f, 2.0f),
				(g, x, y) => g.DashedTriangle(GetRandomColor(), x + 10, y + 110, x + 110, y + 110, x + 60, y + 10, 2.0f),
				(g, x, y) => g.FillRectangle(GetRandomColor(), x + 10, y + 10, x + 110, y + 110),
				(g, x, y) => g.FillCircle(GetRandomColor(), x + 60, y + 60, 48),
				(g, x, y) => g.FillRoundedRectangle(GetRandomColor(), x + 10, y + 10, x + 110, y + 110, 8.0f),
				(g, x, y) => g.FillTriangle(GetRandomColor(), x + 10, y + 110, x + 110, y + 110, x + 60, y + 10),
			};
		}

		private void _window_DestroyGraphics(object sender, DestroyGraphicsEventArgs e)
		{
			foreach (var pair in _brushes) pair.Value.Dispose();
			foreach (var pair in _fonts) pair.Value.Dispose();
			foreach (var pair in _images) pair.Value.Dispose();
		}

		private void _window_DrawGraphics(object sender, DrawGraphicsEventArgs e)
		{
			var gfx = e.Graphics;

			var padding = 16;
			var infoText = new StringBuilder()
				.Append("FPS: ").Append(gfx.FPS.ToString().PadRight(padding))
				.Append("FrameTime: ").Append(e.FrameTime.ToString().PadRight(padding))
				.Append("FrameCount: ").Append(e.FrameCount.ToString().PadRight(padding))
				.Append("DeltaTime: ").Append(e.DeltaTime.ToString().PadRight(padding))
				.ToString();

			gfx.ClearScene(_brushes["background"]);

			gfx.DrawTextWithBackground(_fonts["consolas"], _brushes["green"], _brushes["black"], 58, 20, infoText);

			gfx.DrawGeometry(_gridGeometry, _brushes["grid"], 1.0f);

			if (_lastRandomSet == 0L || e.FrameTime - _lastRandomSet > 2500)
			{
				_lastRandomSet = e.FrameTime;
			}

			_random = new Random(unchecked((int)_lastRandomSet));

			for (float row = _gridBounds.Top + 12; row < _gridBounds.Bottom - 120; row += 120)
			{
				for (float column = _gridBounds.Left + 12; column < _gridBounds.Right - 120; column += 120)
				{
					DrawRandomFigure(gfx, column, row);
				}
			}
		}

		private void DrawRandomFigure(Graphics gfx, float x, float y)
		{
			var action = _randomFigures[_random.Next(0, _randomFigures.Count)];

			action(gfx, x, y);
		}

		private SolidBrush GetRandomColor()
		{
			var brush = _brushes["random"];

			brush.Color = new Color(_random.Next(0, 256), _random.Next(0, 256), _random.Next(0, 256));

			return brush;
		}

		public void Run()
		{
			_window.Create();
			_window.Join();
		}

		~Example()
		{
			Dispose(false);
		}

		#region IDisposable Support
		private bool disposedValue;

		protected virtual void Dispose(bool disposing)
		{
			if (!disposedValue)
			{
				_window.Dispose();

				disposedValue = true;
			}
		}

		public void Dispose()
		{
			Dispose(true);
			GC.SuppressFinalize(this);
		}
		#endregion
	}
}


text:
package com.sankoudai.java.basics.topics;

import org.junit.Assert;
import junit.framework.TestCase;

/**
 * @author : sankoudai
 * @version : created at 2015/8/16
 */
public class TestEnum extends TestCase {
    private static enum EnumExample {
        One(1), Two(2), Three(3);

        private Integer attr;

        EnumExample(Integer attr) {
            this.attr = attr;
        }

        public Integer intValue() {
            return this.attr;
        }
    }

    public void testElem() {
        EnumExample enumExample = EnumExample.One;
        Assert.assertTrue(EnumExample.One == enumExample);
        Assert.assertTrue(EnumExample.One != EnumExample.Two);
    }

    public void testMethod() {
        EnumExample enumExample = EnumExample.One;
        Assert.assertTrue(enumExample.intValue() == 1);
    }

    public void testEnumeration(){
        for(EnumExample enumExample : EnumExample.values()){
            System.out.printf("testEnumeration: enum-name = %s, enum-inValue=%s \n", enumExample.name(), enumExample.intValue());
        }
    }

    public void testSwitch(){
        EnumExample enumExample = null;
        try{
            switch (enumExample){
                case One:
                    System.out.printf("testSwitch: one\n");
                    return;
                case Two:
                    System.out.printf("testSwitch: two\n");
                    return;
            }
            Assert.assertTrue(false);
        }catch (NullPointerException e){
            System.out.printf("You should be here");
        }
    }
}


text:
Q: Add integer value to Shared prefference Im creating a alarm app that will have multiple alarm.. so i want to store the times in shared preference. if there is any solution to store integer list in shared preference

A: SharedPreferences preferences = getSharedPreferences("prefs", Activity.MODE_PRIVATE);
SharedPreferences.Editor editor = preferences.edit();
editor.putInt("key", yourIntValue);
editor.apply();

Use editor.apply() to save preferences asynchronously. apply() is preferable in the most cases.
Use editor.commit() to save preferences synchronously.

redpajama_set_name: RedPajamaStackExchange


Background: Assessment of skeletal maturity and dental development is a common clinical practice in many health professions, especially for growth modification in orthodontics and dentofacial orthopedics and for age estimation in forensic sciences. Generally, dental development can be assessed by phase of tooth eruption or stage of tooth calcification, with the latter being more reliable. An assessment of skeletal development is commonly done using hand-wrist radiographs and lateral cephalograms. Aim: To evaluate the relationships between the stages of mandibular second molar calcification and skeletal maturity, and to evaluate whether second molar calcification stages can be used as a reliable diagnostic tool to determine skeletal maturity. Materials and Methods: Panoramic radiograph and lateral cephalometric radiographs of 200 subjects was analysed. Tooth calcification was rated according to the Demirjian Index, in which one of eight stages of calcification (A to H) was assigned to the tooth. Evaluation of Cervical Vertebrae Maturity on Lateral Cephalogram CVMI was done according to Hassel and Farman. Results: A highly significant association was found between DI and CVMI. DI stage E corresponded to stage 2 of CVMI (pre–peak of pubertal growth spurt) and DI stages F corresponded to stages 3 CVMI (peak of pubertal growth spurt). DI stage G and H was associated with stages 4, 5 and 6 of CVMI (end of pubertal growth spurt). Conclusion: There exists a highly positive correlation between DI of mandibular 2nd molars and CVMI, Stage F of DI with the root length equal to or greater than the crown height, corresponds to stage 3 of CVMI indicating the start of peak in mandibular growth which would be appropriate time to plan for functional appliances. Stage G and H of DI with partially to completely closed apex corresponding to CVMI 4, 5 and 6 indicates that peak of mandibular growth has already occurred and suggests insignificant/no remaining growth.


FATF report recognises the effectiveness of the Commission's work as a civil regulator in protecting charities from harm.
The Financial Action Task Force (FATF), the inter-governmental body that sets the standards for Anti-Money Laundering (AML), Counter Terrorist Financing (CFT) and Counter Proliferation of the Financing of Weapons of Mass Destruction (CPF) has today published its Mutual Evaluation Report of the United Kingdom. The report can be accessed here. A team of international assessors evaluated the UK's technical compliance with the FATF standards as well as the effectiveness the United Kingdom's AML and CTF regime.
The UK has achieved the highest rating of any country assessed as part of this round of evaluations - this includes achieving the highest ratings, for both technical compliance and effectiveness, relating to protecting charities and the UK's wider non-profit sector from abuse for terrorist financing. The UK secured a compliant rating for Recommendation 8 and a highly effective rating for Immediate Outcome 10 – the best ratings available. FATF's evaluation of the UK identified no deficiencies in its approach relating to charities and non-profit organisations and has made no recommendations on this issue in the report published today.
The Commission welcomes the report published today and in particular the ratings and findings of the FATF assessors relating to the UK's approach to the protection of charities and other NPOs from terrorist financing. We're pleased to see that the report recognises the effectiveness and importance of the work of the Commission as civil regulator – including our outreach and collaborative engagement with charities and those who work with and support them, as well as our investigative and partnership working with law enforcement agencies and the Charity Commission for Northern Ireland and the Office of the Scottish Charity Regulator.
The sad reality is that a number of people who have supported or engaged in terrorism have used and abused charities, including for the resourcing and financing of terrorism. The report published today recognises that the Commission's approach to tackling terrorist abuse and supporting charities to protect themselves against it, is firmly a layered, risk based approach. We have led the way in making clear that this risk of abuse is not shared equally across the charitable and not for profit sector, but is of serious concern where it does arise. The UK has a good understanding of those risks and the Commission's response is proportionate to that risk, with both targeted and robust interventions where needed, along with support and tools to make charities more resilient to such abuse. This enables legitimate charitable work to thrive. Charities and their work is a vital part of our society and we are working to ensure that public trust can continue.


Program MONITORING / REDUCING CO2 is a voluntary tool for the environmental protection, which enhances active involvement of companies, municipalities and other entities in activities focused on climate protection. The programs stems from the objectives of international and national agreements and treaties and its objective is to raise awareness in terms of the climate protection issue, support and publicising particular measures and projects aimed at reducing greenhouse gases emissions in the Czech Republic. The whole program, which is truly unique and the only one of its kind was launched in July 2015.
The expert guarantor and the administrator of the program is a Czech non-profit organisation CI2, benevolent association, which along with other partners systematically monitors and checks the carbon footprint in various Czech companies and which realizes expert activities supporting climatically responsible entrepreneurship in the Czech Republic.


With a peak up to 252 792 km/h in solar perihelion, April 17, 1976, the Helios probe is the fastest man-made object of all time. This incredible speed is largely due to the interaction with the sun : Helios II rose to just under 43.44 million kilometers from the sun (this is the object that approached the sun the most without being destroyed), taking advantage of solar attraction to increase its speed.
The probe has exceeded the orbit of Mercury, and although it is no longer sending data since 1985, it is still in orbit around the sun.


In January 2017, Wadhwani Foundation's National Entrepreneurship Network (WF NEN) was launched in Latin America to strengthen the entrepreneurial ecosystem in the country by supporting Entrepreneurship Education, Startups & SMEs, and enabling access to knowledge, mentor and investor resources.
Over the last decade, WF NEN has demonstrated a highly successful and replicable model that facilitates entrepreneurship and job creation through partnerships with colleges and universities, entrepreneur support organizations, and mentor and investor community in several countries.
The scalable model of WF NEN, its resources and IP are contextualized for emerging economies and regions. WF NEN works in entrepreneurship in Chile through its partnerships with relevant entities. WF NEN is looking to expand its partnerships in Chile and the region.
WF NEN's current focus in Latin America is to advance the availability of high quality entrepreneurship education. This will help inspire students to be entrepreneurs, enable them to develop entrepreneurial skills, knowledge and experience increasing their ability and propensity to startup.


1. The legal relationship between the client and coming home GmbH is regulated by these General Terms and Conditions. The parties agree that the "General Terms and Conditions of coming home GmbH for Tenants", as amended from time to time, shall likewise apply to follow-up orders.
2.1. coming home GmbH is commissioned to demonstrate an opportunity to rent living space on a temporary basis. Such an opportunity may be demonstrated verbally or in writing or by telephone, fax or email. Should the client already have learned of an offer, he shall forthwith inform coming home GmbH stating the source.
2.2. The agency service is free of charge to the client.
3. The client shall be obligated to inform coming home GmbH forthwith of the conclusion and the essential details of a tenancy agreement and to hand over a copy of the tenancy agreement. This duty to inform shall likewise apply if contract negotiations are abandoned at an advanced stage and an agreement is not concluded unexpectedly. Likewise, coming home GmbH shall be informed without delay of any intention to prolong an already existing tenancy.
4. Any cancellation or premature termination of a tenancy shall not give rise to any claim against coming home GmbH.
5. The offers are confidential and solely intended for the client personally. The opportunities demonstrated by coming home GmbH and the personal data of any offerer of living space must not be used or disclosed to any third party without the consent of the agency even after termination of the contract regarding the finding of an apartment. If this provision is not complied with, a reasonable contractual penalty shall apply which coming home GmbH may define as being just and equitable. Any claim to damages shall be reserved. Hence, the client may be liable for any loss of a commission.
6.1. coming home GmbH is not a party to the tenancy agreement and as a living space agent cannot assume any responsibility for damage caused to the rental object. Claims for damages against coming home GmbH are ruled out, except in the event of a wilful or grossly negligent act or any culpable violation of a material contractual obligation or any injury to life, body or health. With respect to any violation of a material contractual obligation, liability shall be limited to the damage typically occurring in connection with this kind of business transaction.
6.2. The period of limitation for claiming damages shall be one year. The period of limitation shall start upon expiry of the year in which the claim has arisen and the client has learned, or should have learned unless acting with gross negligence, of the facts giving rise to the claim and the person of the debtor.
6.3. The demonstration of any opportunity is based on the information provided by the landlord. coming home GmbH assumes that the information provided by the landlord is true. coming home GmbH does not assume any liability for the correctness and completeness of the information provided by the landlord. Likewise, any liability for non-accomplishment of a tenancy agreement shall be ruled out.
7. Any subsequent change of the contract regarding the demonstration of opportunities shall be valid only if agreed upon in writing. Should any of the provisions be or become legally invalid in whole or in part, this shall not affect the validity of the remaining provisions. The original provision shall be replaced with a provision that assumedly reflects the intention of the parties.
8. The client's data provided to coming home GmbH will be stored electronically for the purpose of processing the order and used in accordance with the order. The client gives his consent to this. The data shall be deleted upon expiry of the statutory storage periods. Any disclosure to a third party is ruled out.
9. coming home GmbH shall be authorised to provide services to the landlord as well, in return for payment or free of charge. If coming home GmbH acts on behalf of both the tenant and the landlord, it undertakes to be impartial.
10.1. The contract is unlimited in time and shall not be terminated by any letting. It can be terminated at the end of a month by either party by giving four weeks' notice. Any notice of termination shall be valid only if made in writing. The obligations under No. 2 and No. 3 shall not be affected thereby.
10.2. The contract shall be concluded only upon a written acknowledgement of the order by coming home GmbH. Accordingly, the request made to coming home GmbH to provide agency services is without obligation.
11. coming home GmbH is entitled to make changes to its "General Terms and Conditions of coming home GmbH for Tenants" at its sole discretion. Any changes will be announced on its website. The landlord will also receive notification by email. If the landlord continues to use the services of coming home GmbH or fails to contest the changes within 14 days, the landlord will be deemed to have accepted the changes.
12. Any amendment or collateral agreement shall only be valid if made in writing. This shall likewise apply to any alteration of this provision. Should any part of the contract regarding the demonstration of opportunities be or become ineffective, the remaining provisions of the contract shall remain valid. The parties undertake to replace any invalid provision with a provision coming as close as possible to what was originally intended.
13. This contract shall be governed exclusively by German law, excluding application of the provisions of the private international law. With respect to any dispute arising in connection with this contract or its validity, Landgericht [regional court] Berlin shall have jurisdiction ratione loce and ratione materiae, provided the client is a merchant, a corporate body under public law or a special fund under public law registered in Germany. Exclusive competence of the aforementioned court is likewise agreed upon if the client is an entrepreneur registered in the European Union outside Germany, Switzerland, Norway or Iceland.
1.1. The legal relationship between the client and coming home GmbH is regulated by these General Terms and Conditions. The parties agree that the "General Terms and Conditions of coming home GmbH for Landlords", as amended from time to time, shall likewise apply to follow-up orders.
1.2. coming home GmbH is commissioned to demonstrate an opportunity to let or broker the letting of living space on a temporary basis. Such an opportunity may be demonstrated verbally or in writing or by telephone, fax or email.
1.3. coming home GmbH shall market the living space by means of an anonymised description of the object, stating the street, but not the house number (property description), by publishing it on the coming home website and relevant real estate portals.
1.4. Any subsequent change of the landlord's order shall be valid only if agreed upon in writing.
2.1. If an opportunity to conclude a temporary living space tenancy agreement is successfully demonstrated or such an agreement is concluded, a commission shall be owed. The commission shall be 200% of a monthly rent including 19% value-added tax = 200.00% of a monthly rent (corresponds to 2 monthly rents). The commission shall be calculated exact to a day. Monthly rent shall mean the monthly total rent payable to the client, including utility and operating costs and any special facilities (e.g. garage, parking space, electricity, heating, water). If a basic rent plus advance payments for service charges is agreed, the monthly rent shall be the amount of the basic rent plus the advance payments for service charges.
2.3. In the event of premature termination by the tenant for reasons not attributable to the landlord, the commission shall be reimbursed proportionally.
2.4. If the originally agreed term of tenancy is prolonged, another partial payment shall become due to coming home GmbH until the maximum rate as per No. 2.1. is reached. The commission already charged shall be deducted in full.
2.5. The claim to the commission shall arise upon the conclusion of a tenancy agreement and fall due at the latest upon the start of the tenancy. Other regulations shall require agreement with coming home GmbH.
2.6. Any cancellation or premature termination of the tenancy, with the exception of the facts regulated in No. 2.3., shall not give rise to any claim against coming home GmbH. coming home GmbH's claim to the full agency fee in accordance with No. 2.1. and No. 2.2. based on the contractual term shall not be affected thereby.
2.7. A commission in accordance with No. 2.1. and No. 2.2. shall also be owed if the client presents and lets to the prospective tenant any other offer than the one originally demonstrated by coming home GmbH. This shall also apply in case the client is not the owner of a property or acts on behalf of a third party.
3.1. Should the client already have learned of a tenant found or brokered, he shall forthwith inform coming home GmbH stating the source. Otherwise, coming home GmbH shall be entitled to the commission payable in accordance with No. 2.1. and No. 2.2. if a tenancy agreement is concluded.
3.2. The client shall be obligated to inform coming home GmbH forthwith of the conclusion and the essential details of a tenancy agreement and to hand over a copy of the tenancy agreement. This duty to inform shall likewise apply if contract negotiations are abandoned at an advanced stage and an agreement is not concluded unexpectedly. Should the client fail to comply with the duty to inform as per No. 3.2., he shall be obligated to indemnify coming home GmbH from and against any claims asserted by a third party because coming home GmbH has offered the living space although it was not available.
3.4. The client shall forthwith inform coming home GmbH if any data relevant to the conclusion of the tenancy agreement changes (e.g. contact details, longer absence, rent, furnishings, availability, viewings cannot take place or other circumstance preventing letting).
3.5. The client shall forthwith inform coming home GmbH if a tenant found or brokered by coming home GmbH makes a new inquiry directly to the client within 24 months of the expiry of the tenancy agreement and another tenancy agreement is concluded.
3.6. The client undertakes to give the name of the tenant, regardless of whether the tenancy agreement has been brought about by coming home GmbH or otherwise. Only the transmission of this data enables coming home GmbH to check whether the agreement was concluded due to an opportunity demonstrated by the agency. The landlord shall point out to the prospective tenants the necessity and purpose of this transmission of data.
3.7. Prior to the provision of the services owed by coming home GmbH, the client shall be obligated to inform coming home GmbH about the property to be managed and point out any sources of danger. This shall also include any construction defects, planned construction work, defects remedied recently (e.g. mildew etc.), upcoming repair work and any and all circumstances which may be of importance to the lettability of the apartment (e.g. construction site in front of the building). The client confirms the proper function of the heating and the hot-water supply. Any breach of this duty shall result in the provision of No. 2.3. not applying.
4.1. The client shall refrain from making arrangements with the prospective tenants found which are suitable to circumvent the client's obligation to pay the commission to coming home GmbH. The same shall apply to any to arrangements that have an effect on the amount of the client's obligation to pay the commission.
4.2. For the duration of the order, the client undertakes to inform coming home GmbH if the living space is published in market-relevant media, at other agencies, on internet portals or on own websites. Moreover, the client undertakes to not install a link to the property description published by coming home GmbH.
5.1. The demonstrations of opportunities are confidential and intended exclusively for the client. Any disclosure of the personal data of the prospective tenants found or brokered by coming home GmbH without the consent of coming home GmbH shall be prohibited until the expiry of a period of twelve months after the end of the landlord's order. If this provision is not complied with, a contractual penalty shall be paid in the amount of the commission payable in accordance with No. 2.1. The client may prove that the loss that has occurred is lower. The right to claim further damages shall be reserved.
5.2. The above obligations shall likewise apply if the clients cancels or terminates the landlord's order between him and coming home GmbH.
6. The data specified will be stored in accordance with the data protection law regulations taking account of the obligations regarding tax law and accounting and the decision of the supreme court regarding commission claims. The data will not be disclosed or sold for advertising purposes.
7.1. coming home GmbH shall be entitled, but not obligated, to photograph or film the landlord's interior for the purpose of marketing. All photos, including video materials and floor plans, made or created by coming home GmbH are protected by copyright and must not be used without permission. coming home GmbH shall be entitled to publish the material on the internet and to use it for its own advertising purposes. coming home GmbH shall be entitled to choose the photos and the kind of representation.
7.2. Even if an opportunity to conclude a tenancy agreement is not demonstrated or a tenancy agreement is not brokered, coming home GmbH shall be entitled to keep the address of the property to which the order relates and the property description for a period of one year after the end of the contract regarding the demonstration of opportunities and to process them for its own advertising purposes.
7.3. Should the client provide his own photo material, coming home GmbH shall be granted a non-exclusive and free-of-charge right to use the photo material for the broker activity. The non-exclusive right of use shall cover all acts which are necessary to market the living space as is usual in the industry. This also includes the non-naming of the author and the marking of the photo material with a visible water mark of coming home GmbH. The copy right also relates to all written documents which are provided or made available to the client and which are protected by copyright law.
7.4. The client shall guarantee that the materials provided are free from third-party rights or that the client has been granted the right of use under the conditions set forth at No. 7.3. Should any claim be asserted against coming home GmbH based on the infringement of a right of a third party regarding the materials provided, the client shall indemnify coming home GmbH from and against any expenses and obligations to pay compensation in connection with therewith.
8. The client assures to be authorised to let or sublet. coming home GmbH cannot be held liable for any damage resulting from unauthorised letting.
9.1. coming home GmbH is not a party to the tenancy agreement and as a living space agent cannot assume any responsibility for damage caused to the rental object. Claims for damages against coming home GmbH are ruled out, except in the event of a wilful or grossly negligent act or any culpable violation of a material contractual obligation or any injury to life, body or health. With respect to any violation of a material contractual obligation, liability shall be limited to the damage typically occurring in connection with this kind of business transaction.
9.2. The period of limitation for claiming damages shall be one year. The period of limitation shall start upon expiry of the year in which the claim has arisen and the client has learned, or should have learned unless acting with gross negligence, of the facts giving rise to the claim and the person of the debtor.
9.3. The demonstration of any opportunity is based on the information provided by the prospective tenant. coming home GmbH assumes that the information provided by the prospective tenant is true. coming home GmbH does not assume any liability for the correctness and completeness of the information provided by the prospective tenant. Likewise, any liability for non-accomplishment of a tenancy agreement shall be ruled out.
10. The landlord is aware of the obligation to show the Energy Performance Certificate in the property description and advertisements. The landlord shall indemnify the agent from and against any claims asserted due to faulty information provided or information not provided by the landlord in the context of the brokering of the property. This shall in particular apply to any possible costs incurred for the assertion of rights. The client is made aware of the fact that there is a legal obligation to present an Energy Performance Certificate (EnEV [German energy saving ordinance]) without being asked at the latest upon the inspection of the rental object by the prospective tenant and that the certificate must be attached to the tenancy agreement.
11.1. The contract is unlimited in time and shall not be terminated by any letting. It can be terminated at the end of a month by either party by giving four weeks' notice. The obligations under No. 2 and No. 3 shall not be affected thereby.
11.2. The contract shall be concluded only upon a written acknowledgement of the order by coming home GmbH. Accordingly, the request made to coming home GmbH to provide agency services is without obligation.
12. coming home GmbH shall be authorised to provide services to the tenant as well, in return for payment or free of charge. If coming home GmbH acts on behalf of both the tenant and the landlord, it undertakes to be impartial.
13. coming home GmbH shall be entitled to amend the "General Terms and Conditions of coming home GmbH for Landlords" at any time and without prior agreement. Amendments shall be published on the website and the landlord shall be notified by email. If the landlord continues to use the services of coming home GmbH or does not object within 14 days of the notification, he shall be deemed to have given his consent.
14. Any amendment or collateral agreement shall only be valid if made in writing. This shall likewise apply to any alteration of this provision. Should any part of the contract regarding the demonstration of opportunities be or become ineffective, the remaining provisions of the contract shall remain valid. The parties undertake to replace any invalid provision with a provision coming as close as possible to what was originally intended.
15. This contract shall be governed exclusively by German law, excluding application of the provisions of the private international law. With respect to any dispute arising in connection with this contract or its validity, Landgericht [regional court] Berlin shall have jurisdiction ratione loce and ratione materiae, provided the client is a merchant, a corporate body under public law or a special fund under public law registered in Germany. Exclusive competence of the aforementioned court is likewise agreed upon if the client is an entrepreneur registered in the European Union outside Germany, Switzerland, Norway or Iceland.


You may be struggling to understand how a shooting could occur in New Zealand, and why such a terrible thing would happen. There may never be satisfactory answers to these questions.
It's understandable and to be expected that for the time being, our slice of heaven feels less safe than it did last week.
and weeks, yourself and other loved ones around you may report problems such as trouble sleeping, concentrating, eating, or remembering even simple tasks. These are all common and should pass after a while.
Listen to people who want to share their stories and emotions, remember there is no right or wrong way to feel.
This can also be calming for those affected.
spiritual advisors or a professional.