text:
package team.unstudio.udpl.nms.mapping;

import team.unstudio.udpl.UDPLib;
import team.unstudio.udpl.annotation.Init;
import team.unstudio.udpl.exception.MemberMappingException;
import team.unstudio.udpl.util.ServerUtils;

public final class MappingHelper {

    private MappingHelper() {
    }

    private static MemberMapping memberMapping;

    public static MemberMapping getMemberMapping() {
        return memberMapping;
    }

    @Init
    public static void loadMapping() {
        loadMapping(ServerUtils.getMinecraftVersion());
    }

    private static void loadMapping(String version) {
        try {
            memberMapping = MemberMapping.fromClassLoader(version);
            UDPLib.getLogger().info("Loaded mapping " + version);
        } catch (MemberMappingException e) {
            UDPLib.debug(e);
            memberMapping = null;
        }
    }
}


I sing to you and thus I remind you of those golden days..
Poet was walking down a street yesterday when this poem came to him. She descended from the sky as rays of 9 am sun touched his cheeks. She was triggered by a long distant memory of the poet. Poet remembered his past in a brief moment. He used to worship many gods. He used to chant many mantras, hymns. Some of those gods were the dearest of him , one of them was sun god. But as he later understood he loved the word 'god' more than the 'sun' because he fantasized them. He wanted to become one of them. He had the idea of sun in a human form, concepts and scriptures lead him to all kinds of stupidity.
One fine morning some time ago, he looked at the sun from his little window. And he was chanting a hymn so sincerely looking directly into the eyes of the sun god. He believed that the activity of chanting would bring him great virtue, and also as the hymn promised he believed that the sun god would take him to his celestial abode after his death. Once again greed seduced him into a virtue. But practising virtue with a greedy mind leads to only sin, but he did not know it then. He used to do it every day like a routine. He had the great yogis of India who acquired great supernatural powers in mind when he did that. But slowly what was on the first day such a joyful activity turned into a boring ritual. Discipline ultimately leads to boredom, he did not even know this then.
But if one is sincere in one's quest even of the lowest kind, one meets somebody to guide him. Universe responds to a sincere quest with an equally befitting reply. One good morning, he was sitting beside 'a man who knew'. He was remarkable man who trod this path and knew where it ultimately leads. He looked at the poet for a brief moment poet and then looked at the sun. the poets ears became alert in an instant. He knew the words 'the man who knew' would speak are going to be for him. And thus spoke the wise one, one does not need a mantra to worship the divine. The divine grace falls upon one who has learned how to look. Looking at the sun, the sheer beauty of it, is its own reward. Why does one need a hymn. Such were the words of the wise one, and he went silent. The poet got confused , well he was not a poet then. He was 'greedy one' then. One's greed for heaven does not make him pious than one who is greedy for money. Greed makes men too earthly and heavy.
This event occurred like many of them, it was special. He did not understand completely what the wise one said. It had its effect for a while, and the poet stopped chanting a mantra and simply looked at the naked sun. but it soon it disappeared into memory. And then yesterday as the sunrays touched his face, while he was walking, The sun thus spoke to him this poem. And said to him to look at him with lustful eyes. He reminded the poet of those good old days. When man was primitive, he had no conception of god. When he used to eat fruits from trees, live in caves, lighted fire in night. When he looked at the sun, moon, and the stars with utter amazement. What was it that shines so bright everyday? He thought. What was it that looks over me like a father the whole day, and hands over the job to the moon mother in the night, He wondered . he had lust in his eyes. Lust to know what this magnificent thing is that rises every morning. He did not even have a name for it. That's why it was so pure. Lust is so pure, its sole existential purpose is a desire to know. Lust is curiosity who built her lovely nest in human eyes.
But man soon found a name for the thing that shines. They called it 'sun' and the corruption began. And that was not enough, soon they made a god of sun. they idolized it , wrote hymns, formed rituals, composed mantras, and established religion. That was the beginning of decay of human perception. When they named him, they stopped looking at him. And When they lost their relation with the sun and its rays, they became sinful. Now the sun speaks to the poet ,and said thus to go back to those beautiful days, to look at him with lust. When man loves he is often frugal, but but when he is lustful he pours his heart out. Thus he asks the poet to look at him and not let name come in the way. That is life. When man forgets how to live, he needs religion. But all the contemporary religions have lost their true form. They have become vehicles of oppression and lies. We must forget them, erase them from our memory. We should cease to even acknowledge their existence, their gods. So the sun asks the poet to metamorphose further from a butterfly to a dragon by looking at sun and drinking the truth of him and burn the old religions and their prophets to ground. He calls the sheep and their shepherds. And thus he speaks the glories of the good old days.


"Cruel or uninformed, a major move backward, and misguided," were some of the criticisms physicians leveled at the House Republicans' repeal and replace plan for the Affordable Care Act (ACA).
The long-awaited plan -- to what some have called the most significant healthcare law in a half-century -- was released late on Monday and contained few surprises: the GOP bill kills the individual mandate, which means that people will no longer face tax penalties for not having coverage.
The plan also proposes significant changes regarding financial assistance, swapping income-based subsidies for age-based tax credits, and rolling back the expansion of Medicaid.
While proponents state that the replacement plan will cut healthcare costs and offer Americans the freedom to choose a plan that works for them, physicians who spoke with MedPage Today had virtually nothing positive to say about it.
Diane Komp, MD, Yale University: "The Republican plan is turning out better than I expected it to. Although I was no fan of Obamacare, I do think to discontinue it with no replacement at this point would be a mistake."
Anne B. Curtis, MD, University at Buffalo: "The Republican plan will inevitably increase the number of uninsured Americans. Healthcare should be a right in this country, not a privilege for those who can afford to use tax credits."
John B. Buse, MD, PhD, University of North Carolina at Chapel Hill: "Rolling back the ability of every American to obtain healthcare coverage is short-sighted, and arguably, either cruel or uninformed. For those that are uninsured, there is virtually a guarantee of early death and disability. This is the problem with anything other than universal health coverage."
Diane Harper, MD, MPH, University of Louisville: "The current changes increase the chances that health will fall in the U.S. rankings from a global perspective. Primary care will be jeopardized. Abundant evidence indicates that without primary care, chronic end-stage disease and suffering, as well as their costs, will increase."
C. Ronald Kahn, MD, Harvard Medical School: "The proposed legislation is a major move backward. This is an example of where the desire to make a political statement comes at great expense to the citizens of the country -- not just measured in dollars, but also in the large numbers of currently insured people who will go back to being uninsured, and suffer with lower quality of healthcare."
Jason Karlawish, MD, Perelman School of Medicine at the University of Pennsylvania: "Among the most complex and anxiety-provoking necessities hardworking Americans face are managing healthcare bills and paying taxes. How sad that this proposal fuses these together and does so with the illusion that it will enhance choice."
Carlos del Rio, MD, Emory Center for AIDS Research: "I am disappointed about the plan primarily because it is 'reverse Robin Hood,' by taking money/benefits from the poor and giving them to the rich."
Michael S. Saag, MD, University of Alabama at Birmingham: "The repeal/replace approach to the ACA is misguided, at best, and hateful/mean spirited at worst. No question, the ACA has flaws and should be modified and amended. But 'throwing it out' and replacing with a piecemeal law that cherry picks some of the benefits, while gutting the primary means to pay for these benefits adds up to a very expensive replacement."
F. Sessions Cole, MD, St. Louis Children's Hospital: "I am disappointed by the House Republican plan. It leaves costs of healthcare coverage to the free market, a strategy that has consistently disadvantaged and discriminated against chronically ill and medically complex patients. The lack of information about the cost of and impact on the number of Americans covered suggests that this legislation has been developed to address special interests, and will have significant unintended, adverse consequences on a variety of health and wellness metrics."
Do you think this bill will make the healthcare landscape better for clinicians?
David L. Katz, MD, MPH, Yale University Prevention Research Center: "The greatest imperative for a clinician is what's good for patients, and ultimately, the public at large. I see this bill as a threat to well-being at the population level, and thus it is bad for clinicians. If more people are prone to advanced disease and bad outcomes, it is an anathema to the mission of being a clinician."
Cole: "The plan will not make healthcare better for clinicians. This plan will restrict clinician practice and patient choice by reducing patient access to life-saving and life-sustaining therapies based on insurance company profits rather than patient need."
Saag: "The idea of 'repeal' (as opposed to amend) creates more chaos in an existing chaotic healthcare system. The ACA began to reduce the chaos. This multiplies the chaos. Right now, it is hard enough to provide care owing to the helter-skelter nature of insurance coverage; the preferred procedures and drugs unique to each insurance plan; and the lack of transparency of drug pricing. The new 'replacement' only makes these problems worse ... and seems to help no one except those who benefit from the chaos: the insurance industry, the device industry, and the pharma industry."
Frederick Masoudi, MD, MSPH, University of Colorado: "It is challenging to deliver the best care for patients if they lack insurance because they may be unable to afford the medications, or follow-up care, that will be necessary to maintain their health, and keep them out of the hospital. Taking care of patients without insurance is extremely frustrating -- a frustration at the situation, not the patient -- and sometimes heartbreaking."
del Rio: "Healthcare needs to be better for patients not clinicians. The Brookings institute estimates that 15 million will lose coverage [if the ACA is repealed]. That is bad for patients and thus, to me, bad for clinicians."
Harper: "Clinicians are still locked into MACRA [Medicare Access and CHIP Reauthorization Act]. This just puts caring, dedicated doctors in the horrible position of telling patients they can no longer care for them because their healthcare system cannot make money."


e micro gold futures e micro gold futures Messiah Ministries used mining amp%3B milling equiment, swiss tower mills minerals ltd linkedinsee who you know at . ... 187; beneficiation of chrome ore Throughout the mining and processing of minerals, the mined ore undergoes a number of crushing, grinding, cleaning, drying, and . Buy Now.
milling crushing for bacteria to 5microns - incam2017. milling crushing for bacteria to 5microns. milling crushing for bacteria to 5microns equipment to crush to 5 micron. Powder Milling and Fine Grind to 5 microns The particle size required is usually less .
Underground Mining Equiment Manufacturer In China. ... China Underground Mining Equipment China Underground Mining Equipment Suppliers and Manufacturers Directory Source a Large Selection of Underground Mining >>Online Mining Suppliers in China SupplyMine Find Mining Suppliers in China Search over 16 000 suppliers .
yinhai mining machinery equiment china al. ball mill for milling machinerypaul o abb233; equipment company is a manufacturer portable gold ore mills priceportable gold ore mills price gold ore portable crusher price manufacturers and exporters of construction and mining machinery. ... Chinese Mining Crushing Milling Equipment Mining .
Milling Machines 44 Hazards of Grinding Machines 45 Safeguarding and Other Controls for Grinding Machines 46 Hazards of Slitters 46 Safeguarding and Other Controls for Slitters 47 OSHA Assistance 49 References 51 Appendix A. Amputation Hazards Not Covered in this Guide 53 Appendix B.
Stone Milling Machine is a leading global manufacturer of crushing and milling equipment (Stone Milling Machine), also supply individual (Stone Milling Machine...) crushers and mills as well as spare parts of them. ... Find out More of this Equiment . Get A Free Quote.
Small Scale Gold Mining EquipmentCrushing and Milling. Crushing and Milling Equipment. To View Products. Compressors and Rock drills. To View Products. Accessories. To View Products. Pumps. To View Products . MINERS WAREHOUSE specialises in the supply and distribution of Mining Equipment to the small scale Artisinal Mining industry.
Crushing Milling Equiment: Mine Girnding Mills. equiment used in gold processing plants Gold Ore Crusher. ... mining and rock crushing machine Crushing Milling . ... Used Milling Equipment for Sale: ... Get Price. grinding machines equipment 26amp 3b accesories.
raw material crushing and screening drying process, producing line crushing milling drying screening limestone materials drying milling selecting supplier of fine powder crushing .
Crushing Milling Equiment - cz-eu . machines for supporting crushing and milling machines Mobile Crushing Milling Machine, Wholesale Various High Quality Mobile Crushing Milling Machine Products from Global Mobile Crushing Milling Machine Suppliers and .
In some instances secondary crushing is required prior to processing of the material. Once the material is at the correct size, fraction processing can occur which could include, milling, flotation, leaching etc.
Mobile crushing plant can make your mining organization substantially considerably simpler and a great deal more helpful! Find out More of this Equiment. ... MTW Milling Machine. Adopting pretty a handful of strengths from distinctive mills, as well because the excellent substitute within the typical mill.
Aug 31, 2013· Zenith rock crusher manufaturer offers rock crushers,rock crushing equiment,rock crusher machines,rock crusher equipment,rock crusher minerals,portable rock crusher. crusher in cement plant Rock crusher plants,quarry equipment,used stone crusher in .
Sep 14, 2013· rock crushing equipment for gold mining. Rock Crusher,Rock Crushers,Rock Crushing Equipment,Rock Crushers . Zenith rock crusher manufaturer offers rock crushers,rock crushing equiment,rock crusher machines,rock crusher .
bauxite milling equipment in south africa. bauxite mining process is a leading global manufacturer of crushing and milling equipment (bauxite mining process), also supply individual (bauxite mining .


text:
Year's Best
Horton Reviews Year's Best
Apr 30, 2022 Mark Watson3 Comments on The Year's Best Science Fiction & Fantasy 2021 Edition (ed Rich Horton, Prime Books 2022)
At the time of writing (April 2022) I haven't seen a print version for Horton's
Clarke Reviews Year's Best
Oct 6, 2021 Mark WatsonComment on The Best Science Fiction of the Year, Volume 6 (ed Neil Clarke, Nightshade Books 2022
The sixth volume in what is now the longest-running current Year's Best SF anthology. Due
Reviews Strahan SF Year's Best
The Year's Best Science Fiction, Vol. 2 (ed Jonathan Strahan, Saga Press 2021)
Oct 5, 2021 Mark Watson1 Comment on The Year's Best Science Fiction, Vol. 2 (ed Jonathan Strahan, Saga Press 2021)
The second volume in Strahan's new all-SF anthology, the dead-tree version of which has just
Bleiler Dikty Reviews Year's Best
The Best Science Fiction Stories and Novels. Ninth Series. ed T.E. Dikty. 1958.
Oct 1, 2021 Mark WatsonComment on The Best Science Fiction Stories and Novels. Ninth Series. ed T.E. Dikty. 1958.
Contents only.
Bleiler Dikty Reviews
The Best Science Fiction Stories and Novels 1956 (ed T.E. Dikty, Fell 1956)
Sep 30, 2021 Mark WatsonComment on The Best Science Fiction Stories and Novels 1956 (ed T.E. Dikty, Fell 1956)
This book landed with me after an air mail flight from the USA on 22nd
Sep 29, 2021 Mark WatsonComment on The Best Science Fiction Stories 1954 ed Everett F. Bleiler and T.E. Dikty. Frederic Fell Inc, 1954
Published in the UK as 'The Best Science Fiction Stories: Fifth Series', with fewer stories
Published in the UK in smaller format with fewer stories as 'The Best Science Fiction
Just (Oct 2021) replaced my UK (reduced number of stories) edition The Best Science Fiction
I did have the UK edition (restricted number of stories and size), but I have
The Best Science Fiction Stories 1950 ed Everett F. Bleiler and T.E. Dikty. Frederic Fell Inc, 1950.
Sep 27, 2021 Mark WatsonComment on The Best Science Fiction Stories 1950 ed Everett F. Bleiler and T.E. Dikty. Frederic Fell Inc, 1950.
The dust jacket of my volume is somewhat faded and tattered, but I remember the excitement of buying it about 25 years ago.
The Best Science Fiction Stories : 1949 (ed Everett F. Bleiler and T.E. Dikty, Frederic Fell Inc, 1949)
Sep 26, 2021 Mark WatsonComment on The Best Science Fiction Stories : 1949 (ed Everett F. Bleiler and T.E. Dikty, Frederic Fell Inc, 1949)
A book so old, that it is 11 years older than I am, that is how old it is…
Strahan SF
Nov 20, 2020 Mark WatsonComment on The Year's Best Science Fiction, Vol. 1 (ed Jonathan Strahan, Saga Press 2020)
Strahan racked up #13 volumes of his Best SF&F of the Year anthology, initially published
Clarke Reviews
Nov 20, 2020 Mark WatsonComment on The Best Science Fiction of the Year, Volume 5 (ed Neil Clarke, Nightshade Books 2020
Last year, following the sad loss of Gardner Dozois, Neil Clarke became the *only* anthologist
Horton Year's Best
Oct 1, 2020 Mark Watson1 Comment on The Year's Best Science Fiction & Fantasy 2020 Edition (ed Rich Horton, Prime Books 2020)
Rich has published the TOC of this volume on his Blogspot site here, which I've
Horton Reviews
Jan 14, 2020 Mark WatsonComment on The Year's Best Science Fiction & Fantasy 2019 Edition (ed Rich Horton, Prime Books 2019)
I'm restricting myself to buying the purely SF anthologies, and so this book won't be
Clarke Year's Best
The Best Science Fiction of the Year, Volume 4 (ed Neil Clarke, Nightshade Books 2019)
Aug 9, 2019 Mark WatsonComment on The Best Science Fiction of the Year, Volume 4 (ed Neil Clarke, Nightshade Books 2019)
With 2019 being the first year for four decades without a Gardner Dozois take on
Reviews Strahan Year's Best
The Best Science Fiction and Fantasy of the Year Volume Thirteen. (ed Jonathan Strahan, Solaris Books, 2019)
Apr 21, 2019 Mark Watson2 Comments on The Best Science Fiction and Fantasy of the Year Volume Thirteen. (ed Jonathan Strahan, Solaris Books, 2019)
In the sad absence of a Dozois' annual anthology, I've been and gone and bought
Dozois
The Year's Best Science Fiction: Thirty-Fifth Annual Collection (ed Gardner Dozois, St Martins/Griffin 2018)
Aug 13, 2018 Mark WatsonComment on The Year's Best Science Fiction: Thirty-Fifth Annual Collection (ed Gardner Dozois, St Martins/Griffin 2018)
The last of Dozois' amazing annual anthologies…
The Best Science Fiction of the Year: Volume Three. (ed Neil Clarke, Nightshade Books 2018)
Jul 11, 2018 Mark WatsonComment on The Best Science Fiction of the Year: Volume Three. (ed Neil Clarke, Nightshade Books 2018)
An excellent collection of stories.
The Year's Best Science Fiction & Fantasy 2018. (ed Rich Horton, Prime Books 2018)
Apr 11, 2018 Mark WatsonComment on The Year's Best Science Fiction & Fantasy 2018. (ed Rich Horton, Prime Books 2018)
Rich Horton's take on the best in SF&F.
The Best Science Fiction and Fantasy of the Year Volume Twelve. (ed Jonathan Strahan, Solaris Books, 2018)
Apr 11, 2018 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year Volume Twelve. (ed Jonathan Strahan, Solaris Books, 2018)
Strahan's take on the best in SF&F from 2017.
Dozois Year's Best
The Year's Best Science Fiction. 34th Annual Collection. (ed Gardner Dozois, St. Martin's Griffin, 2017).
Jun 10, 2017 Mark WatsonComment on The Year's Best Science Fiction. 34th Annual Collection. (ed Gardner Dozois, St. Martin's Griffin, 2017).
Currently being reviewed.
The Year's Best Science Fiction & Fantasy 2017 (Rich Horton, Prime Books 2017)
Apr 19, 2017 Mark WatsonComment on The Year's Best Science Fiction & Fantasy 2017 (Rich Horton, Prime Books 2017)
As usual, a wide range of sources are drawn upon by Horton.
The Best Science Fiction and Fantasy of the Year Volume Eleven. (ed Jonathan Strahan, Solaris Books, 2017)
Apr 19, 2017 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year Volume Eleven. (ed Jonathan Strahan, Solaris Books, 2017)
Strahan casts his net far and wide.
The Best Science Fiction of the Year, Volume 2 (ed Neil Clarke, Night Shade Books 2017)
Mar 24, 2017 Mark WatsonComment on The Best Science Fiction of the Year, Volume 2 (ed Neil Clarke, Night Shade Books 2017)
The second volume in the new SF-only anthology.
The Best Science Fiction of the Year, Volume 1. (ed Neil Clarke, Nightshade Books 2016 )
Dec 14, 2016 Mark WatsonComment on The Best Science Fiction of the Year, Volume 1. (ed Neil Clarke, Nightshade Books 2016 )
Another take on the best SF of the year.
Dozois Reviews
The Year's Best Science Fiction. 33rd Annual Collection. (ed Gardner Dozois, St. Martin's Griffin, 2016).
Dec 10, 2016 Mark WatsonComment on The Year's Best Science Fiction. 33rd Annual Collection. (ed Gardner Dozois, St. Martin's Griffin, 2016).
Another year, another instalment in Dozois' take on the best SF of the year.
The Year's Best Science Fiction and Fantasy 2016 (ed Rich Horton, Prime 2016)
Jun 12, 2016 Mark WatsonComment on The Year's Best Science Fiction and Fantasy 2016 (ed Rich Horton, Prime 2016)
The Horton net is cast far and wide, with something for almost everyone.
The Best Science Fiction and Fantasy of the Year Volume Ten. (ed Jonathan Strahan, Solaris Books, 2016)
Jun 12, 2016 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year Volume Ten. (ed Jonathan Strahan, Solaris Books, 2016)
As ever, a wide range of sources to choose from, which the normal reader will have struggled to embrace
Oct 30, 2015 Mark WatsonComment on The Year's Best Science Fiction and Fantasy 2015 (ed Rich Horton, Prime 2015)
Horton provides a representative sample of the Best SFF from across the various publication sources, print and online.
Reviews Year's Best
The Year's Best Science Fiction and Fantasy Novellas 2015. (ed Paul Guran, Prime 2015)
Oct 24, 2015 Mark WatsonComment on The Year's Best Science Fiction and Fantasy Novellas 2015. (ed Paul Guran, Prime 2015)
Another chunky volume for the bookshelf of the Year's Best anthology collector.
Dozois Reviews Year's Best
The Year's Best Science Fiction. 32nd Annual Collection. (ed Gardner Dozois, St. Martin's Griffin, 2015).
Aug 26, 2015 Mark WatsonComment on The Year's Best Science Fiction. 32nd Annual Collection. (ed Gardner Dozois, St. Martin's Griffin, 2015).
Another year, another volume, but this year, also another shelf.
The Best Science Fiction and Fantasy of the Year Volume Nine. (ed Jonathan Strahan, Solaris Books, 2015)
May 29, 2015 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year Volume Nine. (ed Jonathan Strahan, Solaris Books, 2015)
A collection of stories from a very wide range of sources, with only one from the Big 3 magazines (Asimovs, Analog, F&SF).
The Year's Best Science Fiction. 31st Annual Collection. (ed Gardner Dozois, St. Martin's Press, 2014).
Aug 9, 2014 Mark Watson2 Comments on The Year's Best Science Fiction. 31st Annual Collection. (ed Gardner Dozois, St. Martin's Press, 2014).
The juggernaut that is Dozois' Years Best hits the #31 mark, with another chunky volume.
The Best Science Fiction and Fantasy of the Year Volume Eight. (ed Jonathan Strahan, Solaris Books)
Jun 25, 2014 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year Volume Eight. (ed Jonathan Strahan, Solaris Books)
Now published by Solaris books, with lots of big names from a wide variety of sources.
The Year's Best Science Fiction & Fantasy 2014 (ed Rich Horton, Prime Books)
Jun 21, 2014 Mark WatsonComment on The Year's Best Science Fiction & Fantasy 2014 (ed Rich Horton, Prime Books)
Almost three dozen stories, gleaned from sources far and wide, to keep you quiet for a long time!
Hartwell Cramer Reviews Year's Best
Year's Best SF #18. (ed David G. Hartwell. Tor, 2013)
Dec 20, 2013 Mark WatsonComment on Year's Best SF #18. (ed David G. Hartwell. Tor, 2013)
A new publisher (Tor), a new size (Trade Paperback), and Hartwell is the solo editor (no Kathryn Cramer).
The Year's Best Science Fiction & Fantasy 2013. (ed Rich Horton, Prime Book 2013)
Sep 28, 2013 Mark WatsonComment on The Year's Best Science Fiction & Fantasy 2013. (ed Rich Horton, Prime Book 2013)
As is my wont I shall be updating this review as I read the individual stories. You can of course buy the book : amazon.com : book | kindle | amazon.co.uk : book | kindle
The Year's Best Science Fiction. 30th Annual Collection. (ed Gardner Dozois, St. Martin's Press, 2013).
Aug 5, 2013 Mark WatsonComment on The Year's Best Science Fiction. 30th Annual Collection. (ed Gardner Dozois, St. Martin's Press, 2013).
After two slightly slimmer volumes, #30 returns to a chunkier size – huzzah!
Reviews Strahan
The Best Science Fiction and Fantasy of the Year, Volume Seven (ed Jonathan Strahan, Nightshade Books, 2013)
Jul 28, 2013 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year, Volume Seven (ed Jonathan Strahan, Nightshade Books, 2013)
Reviews underway – in the meantime, why not buy yourself a copy from amazon.com | amazon.co.uk – it's always good value for money.
Dec 16, 2012 Mark Watson1 Comment on The Year's Best Science Fiction. 29th Annual Collection. (ed Gardner Dozois, St. Martin's Press, 2012).
A few stories that don't quite do it for me, but otherwise a great read.
The Year's Best Science Fiction & Fantasy 2012. (ed. Rich Horton, Prime Books 2012)
Dec 15, 2012 Mark WatsonComment on The Year's Best Science Fiction & Fantasy 2012. (ed. Rich Horton, Prime Books 2012)
Wow, I've read all of Horton's 2012 volume in 2012, a big improvement over previous years.
Year's Best SF 17. (ed David G. Hartwell, Kathryn Cramer. Harper Voyager, 2012.)
Jul 27, 2012 Mark WatsonComment on Year's Best SF 17. (ed David G. Hartwell, Kathryn Cramer. Harper Voyager, 2012.)
A good range of sources covered, with three of the four major magazines getting a look in (no Analog), a couple of anthologies, and a range of online sources. Buy a copy for your bookshelf.
The Best Science Fiction and Fantasy of the Year, Volume Six (ed Jonathan Strahan, Nightshade Books, 2012)
Apr 15, 2012 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year, Volume Six (ed Jonathan Strahan, Nightshade Books, 2012)
First of the Year's Best volumes to find its way into my clutches in 2012. amazon.com | amazon.co.uk
Oct 14, 2011 Mark WatsonComment on Year's Best SF 16. (ed David G. Hartwell, Kathryn Cramer. Harper Voyager, 2011.)
As ever, a good anthology full of strong SF from the big name SF magazines and online sources, and three of the most welll-received major anthologies amazon.com : book | kindle amazon.co.uk : book | kindle
Aug 22, 2011 Mark WatsonComment on The Year's Best Science Fiction & Fantasy 2011. (ed. Rich Horton, Prime Books 2011)
Rich Horton's take on the best from 2010. amazon.com | amazon.co.uk
Jun 7, 2011 Mark WatsonComment on The Year's Best Science Fiction. 28th Annual Collection. (ed Gardner Dozois, St. Martin's Press, 2011).
Over 300,000 words of fiction as ever, although the volume is slimmer than usual…
Feb 23, 2011 Mark Watson1 Comment on The Year's Best Science Fiction. 27th Annual Collection. (ed Gardner Dozois, St. Martin's Press, 2010).
Phew! Finished off the stories in Dozois' take on the best of 2009, just in time to address the soon to be published year's bests for 2010.
The Best Science Fiction & Fantasy of the Year Volume 5. (ed Jonathan Strahan, Nightshade Books, 2011)
Jan 16, 2011 Mark WatsonComment on The Best Science Fiction & Fantasy of the Year Volume 5. (ed Jonathan Strahan, Nightshade Books, 2011)
An excellent collection. amazon.com | amazon.co.uk
The Year's Best Science Fiction & Fantasy 2010. (ed Rich Horton). Prime Books 2010.
Jan 6, 2011 Mark Watson2 Comments on The Year's Best Science Fiction & Fantasy 2010. (ed Rich Horton). Prime Books 2010.
A handsome book, and Horton has cast his net very far and very wide, he certainly can't be faulted for being conservative in the range of sources from which he chooses.
The Best Science Fiction and Fantasy of the Year. Volume Four. (ed Jonathan Strahan, Night Shade Books 2010)
Dec 31, 2010 Mark Watson2 Comments on The Best Science Fiction and Fantasy of the Year. Volume Four. (ed Jonathan Strahan, Night Shade Books 2010)
An excellent collection, with that part of the volume covering fantasy stories not leaving me too far adrift
Year's Best SF 15. (eds Hartwell/Cramer, Eos Books, 2010).
Oct 16, 2010 Mark WatsonComment on Year's Best SF 15. (eds Hartwell/Cramer, Eos Books, 2010).
As ever, a strong collection of stories, albeit fairly 'safe' in terms of a relatively narrow range of sources.
Rich Horton. The Year's Best Science Fiction and Fantasy 2009.
Jul 25, 2010 Mark Watson2 Comments on Rich Horton. The Year's Best Science Fiction and Fantasy 2009.
A late arrival on my doorstep, and it's taken much longer to finish the review than I had hoped. Note to self : faster dude, faster!
Jonathan Strahan. The Best Science Fiction and Fantasy of the Year. Volume 3.
May 2, 2010 Mark Watson4 Comments on Jonathan Strahan. The Best Science Fiction and Fantasy of the Year. Volume 3.
A collection of excellent stories.
Rich Horton. Science Fiction The Best of the Year 2008 Edition.
Jan 20, 2010 Mark WatsonComment on Rich Horton. Science Fiction The Best of the Year 2008 Edition.
As has been the case with others in his take on the year's best SF there is less I agree with than is the case with the other year's best volumes.
Year's Best Science Fiction, 26th Annual Collection. Gardner Dozois. St. Martins Griffin, 2009
Sep 25, 2009 Mark WatsonComment on Year's Best Science Fiction, 26th Annual Collection. Gardner Dozois. St. Martins Griffin, 2009
Stories by : Alastair Reynolds, Aliette de Bodard, Charles Coleman Finlay, Daryl Gregory, Dominic Green, Elizabeth Bear, Garth Nix, Geoff Ryman, Gord Sellar, Greg Egan, Gwyneth Jones, Hannu Rajaniemi, Ian McDonald, James Alan Garner, James. L. Cambias, Jay Lake, Karl Schroeder, Kristine Kathryn Rusch, Mary Robinette Kowal, Mary Rosenblum, Maureen F. McHugh, Michael Swanwick, Nancy Kress, Paolo Bacigalupi, Paul McAuley, Robert Reed, Stephen Baxter, Ted Kosmatka
Year's Best SF 14. ed David G. Hartwell and Kathryn Cramer. Eos Books 2009
Sep 20, 2009 Mark WatsonComment on Year's Best SF 14. ed David G. Hartwell and Kathryn Cramer. Eos Books 2009
Stories by : Alastair Reynolds, Ann Halam, Carolyn Ives Gilman, Cory Doctorow, Daryl Gregory, Elizabeth Bear and Sarah Monette, Jason Sanford, Jeff VanderMeer, Karl Schroeder and Tobias S. Buckell, Kathleen Ann Goonan, M Rickert, Mary Rosenblum, Michael Swanwick, Neil Gaiman, Paolo Bacigalupi, Robert Reed, Rudy Rucker, Sue Burke, Ted Chiang, Ted Kosmatka, Vandana Singh.
The Best Science Fiction and Fantasy of the Year Volume Two. ed Jonathan Strahan, Night Shade Books, 2008.
Jun 19, 2008 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year Volume Two. ed Jonathan Strahan, Night Shade Books, 2008.
Stories by : Ted Chiang, Peter S. Beagle, Charles Stross, Greg Egan, Daryl Gregory, Jeffrey Ford, Holly Black, Ted Kosmatka, Alex Irvine, Daniel Abraham, Nancy Kress, Bruce Sterling, Theodore Goss, Neil Gaiman, Stephen Baxter, Ken Macleod, Susan Palwick, Michael Swanwick, M. Rickert, Tony Daniel, Elizabeth Hand, Chris Roberson, Elizabeth Bear, Kelly Link.
The Best Science Fiction and Fantasy of the Year Volume One. ed Jonathan Strahan, Night Shade Books, 2007.
Aug 26, 2007 Mark WatsonComment on The Best Science Fiction and Fantasy of the Year Volume One. ed Jonathan Strahan, Night Shade Books, 2007.
Stories by : Neil Gaiman, Peter S. Beagle, Cory Doctorow, Ellen Klages, Christopher Rowe, Margo Langanan, Walter Jon Williams, Jeffrey Ford, Benjamin Rosenbaum, Frances Hardinge, Tim Powers, Paolo Bacigalupi, Geoff Ryman, Jay Lake, Robert Charles Wilson, M. Rickert, Robert Reed, Kelly Link, Elizabeth Hand, Connie Willis, Paul Di Filippo, Gene Wolfe, Benjamin Rosenbaum, Ian McDonald
Reviews Wollheim Carr Year's Best
Best Science Fiction for 1973. ed Forrest J. Ackerman. Ace, 1973.
Feb 28, 2004 Mark WatsonComment on Best Science Fiction for 1973. ed Forrest J. Ackerman. Ace, 1973.
Stories by : Norman Spinrad, Robert Silverberg, Philip Jose Farmer, Frederik Pohl, Milton A. Rothman, Thomas N. Scortia, Robert Block, A.E. van Vogt
Best Science Fiction for 1972. Frederik Pohl, Ace Books, 1972.
Feb 28, 2004 Mark WatsonComment on Best Science Fiction for 1972. Frederik Pohl, Ace Books, 1972.
Continuing the Wollheim/Carr series. Stories by : Larry Niven, Ryu Mitsuse, James Tiptree Jr., Grahame Leman, Doris Piserchia, Harlan Ellison, H.H. Hollis, John Brunner, Frederik Pohl
Merril Reviews Year's Best
Best SF 12. Judith Merril. Simon & Schuster 1967
Feb 28, 2004 Mark Watson1 Comment on Best SF 12. Judith Merril. Simon & Schuster 1967
Stories by : Tuli Kupferberg, Harvey Jacobs, Kit Reed, Tommaso Landolfi, Donald Barthelme, J.G. Ballard, Gilbert Thomas, Tuli Kupferberg, John Updike, Hilary Bailey, Bob Shaw, Peter Tate, R.A. Lafferty, Sonya Dorman, Thomas M. Disch, Brian W. Aldiss, Hortense Calisher, Charles L. Harness, R.A. Lafferty, William Burroughs, Fritz Leiber, Dick Allen, J.G. Ballard, Henri Michaux, Katherine MacLean, Carol Emshwiller, Gunter Grass, Samuel R. Delany, Tuli Kupferberg. (Contents only).
The 11th Annual Year's Best SF
Feb 27, 2004 Mark WatsonComment on The 11th Annual Year's Best SF
Not in my collection (yet!).
The Tenth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1965
Feb 26, 2004 Mark WatsonComment on The Tenth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1965
Stories by : Kit Reed, Richard Wilson, Arthur C. Clarke, Mack Reynolds, Stephen Becker, John D. MacDonald, James D. Houston, Russell Baker, Rick Raphael, Josef Nesvadba, Thomas M. Disch, Romain Gary, Fritz Leiber, Frank Roberts, James T. Farrell, Hap Cawood, Bruce Simmonds, Larry Eisenberg, Jack Sharkey, Roger Zelazny, J.G. Ballard, Arthur Porges, Donald Hall, Normal Kagan, Morgan Kent, Jose Maria Gironella, M.E. White, Robert Wallace, David R. Bunch, Philip H. Smith and Alan E. Nourse, John Brunner, Robert Rohrer, Isaac Bashevis Singer. (Contents only).
The Ninth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1964
Feb 26, 2004 Mark WatsonComment on The Ninth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1964
Stories by : William Tenn, Fred Saberhagen, Peter Redgrove, R. Bretnor, John Gallagher, Alfred Bester, Allan Danzig, Bruce McAllister, Lloyd Biggle Jr. Fritz Leiber, Richard Matheson, Charles Beaumont, Julius Feiffer, Bernard Malamud, J.F. Bone, Walt & Leigh Richmond, Fredric Brown, Frank A. Javor, Ray Nelson, Ben Bova, Andre Maurois, W.J.J. Gordon, Hal Clement, Mort Gerberg, Cliff Owsley, E.C. Tubb, Gerald Kersh, Cordwainer Smith. (Contents only).
The Eighth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1963
Feb 26, 2004 Mark WatsonComment on The Eighth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1963
Stories by : Gerald Kersh, R.A. Lafferty, Harry Harrison, Jack Finney, R.C. Fitzpatrick, John Brunner, Fritz Leiber, Poul Anderson, Vance Aandahl, James White, Ray Bradbury, Harlan Ellison, William F. Nolan, Arnold M. Auerbach, Russell Baker, J.G. Ballard, William Sambrot, George Whitley, Brian Cleve, Fredric Brown, Mark Clifton, Mack Reynolds, Frederik Pohl, Bertrand Russell, Edward Wellen, Zenna Henderson, Karen Anderson, Gordon R. Dickson. (Contents only)
The Seventh Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1962
Feb 26, 2004 Mark WatsonComment on The Seventh Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1962
Stories by : Conrad Aiken, Kaatje Hurlbut, George P. Elliott, Robert Beverly Hale, David Rome, Julian F. Grow, R. Bretnor, Muriel Spark, George Bamber, Robert F. Young, Fredric Brown, Jule Feiffer, John Dos Passos, Ward Moore, Leo Szillard, J.F. Bone, Mack Reynolds, Lawrence Durrell, Frederik Pohl & C.M. Kornbluth. (Contents only.)
The Sixth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1961
Feb 26, 2004 Mark WatsonComment on The Sixth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1961
Stories by : Holley Cantine, Bernard Wolfe, Ward Moore, R.C. Phelan, Felicia Lamport, Michael Ffolkes, Arthur C. Clarke, Leonard Lockhard, Shel Silverstein, John Brunner, Roger Price, Henry Slesar, Lester del Rey, Howard Fast, Christopher Anvil, Elizabeth Emmett, Isaac Asimov, Marshall King, William Sambrot, Frederic Brown, R. Bretnor, Rosel George Brown, Walt Kelly, Zenna Henderson, Joseph Whitehill, Ray Bradbury, Hilbert Schenck Jr., Dean McLaughlin, Kingsley Amis, Richard McKenna, Brian W. Aldiss. (Contents only).
The Fifth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1960
Feb 26, 2004 Mark Watson1 Comment on The Fifth Annual of the Year's Best SF. Judith Merril. Simon & Schuster 1960
Stories by : Damon Knight, Jack Finney, Avram Davidson, Cordwainer Smith, Ray Bradbury, Gordon R. Dickson, Jack Sharkey, Daniel Keyes, John W. Campbell Jr., Ralph Davidson, Clifford D. Simak, Fritz Leiber, Roger Price, Carol Emshwiller, Randall Garret, Darrel T. Langart, J.G. Ballard, Will Worthington, Theodore Sturgeon, Lawrence Block, Mark Clifton, Hilbert Schenk Jr. (Contents only).
The Year's Greatest Science Fiction and Fantasy 3rd Annual Volume ed Judith Merril 1958
Feb 26, 2004 Mark WatsonComment on The Year's Greatest Science Fiction and Fantasy 3rd Annual Volume ed Judith Merril 1958
Clearly a momentous time for the SF community, as the cover proudly proclaims 'Special Section
Years Greatest Science Fiction and Fantasy 4th Annual Volume. ed Judith Merril. Dell, 1959
Feb 26, 2004 Mark Watson1 Comment on Years Greatest Science Fiction and Fantasy 4th Annual Volume. ed Judith Merril. Dell, 1959
Stories by Carol Emshwiller, J.F. BOne, Richard Gehman, Robert Sheckley, Rog Phillips, Gerald Kersh, Theodore L. Thomas, R. M. McKenna, Fritz Leiber, Avram Davidson, Brian W. Aldiss, E. C. Tubb, Arthur Zirul, Theodore Sturgeon, John Steinbeck, Avram Davidson
Carr Reviews
Best Science Fiction of the Year 11. Terry Carr, Timescape 1982
Feb 26, 2004 Mark WatsonComment on Best Science Fiction of the Year 11. Terry Carr, Timescape 1982
Poul Anderson. The Saturn Game. Mildred Downey Broxon. Walk the Ice. Ted Reynolds. Trial Sample.
The Year's Greatest Science Fiction and Fantasy Second Annual Volume ed Judith Merril 1957
Feb 26, 2004 Mark Watson3 Comments on The Year's Greatest Science Fiction and Fantasy Second Annual Volume ed Judith Merril 1957
Stories by John Bernard Daley, C.M. Kornbluth, Theodore L Thomas, E L Malpas, R Bretnor, Algis Budrys, Damon Knight, Isaac Asimov, Randall Garrett, Ray Russell, Robert Nathan, Roger Thorne, Robert Abernathy, Mack Reynolds, J G Ballard, Theodore Sturgeon, Garson Kanin
World's Best Science Fiction : 1971. Donald Wollheim/Terry Carr (eds), 1971
Feb 26, 2004 Mark WatsonComment on World's Best Science Fiction : 1971. Donald Wollheim/Terry Carr (eds), 1971
Stories by : Arthur Sellings, Bob Shaw, Clifford D Simak, Gerald Jonas, Gordon Eklund, Gregory Benford, H B Hickey, Isaac Asimov, Larry Niven, Michael G. Coney, Neal Barrett Jr, R.A. Lafferty, Robert Silverberg, Ron Goulart, Theodore Sturgeon. (Contents only.)
Stories by : Richard Wilson, Robert Silverberg, Larry Niven, Alexei Panshin, Suzette Haden Elgin, James Tiptree Jr., Keith Roberts, Michael G Coney, Harlan Ellison, Bruce McAllister, Fritz Leiber, Ursula K Le Guin, Norman Spinrad. (Content listing only)
Harrison Aldiss Reviews Year's Best
Best SF: 1975. edited by Harry Harrison and Brian Aldiss. 1976
Feb 26, 2004 Mark WatsonComment on Best SF: 1975. edited by Harry Harrison and Brian Aldiss. 1976
Stories by : Algis Budrys, Lisa Tuttle, Thomas M Disch, Barry N Malzberg, Peter Redgrove, Richard Cowper, Stephen Robinett, M John Harrison, John Updike, Joe Haldeman, Louis Phillips, Michael Moorcock (Contents only).
Stories by : Alfred Bester, Angela Carter, Craig Strete, Doris Piserchie, Ian Watson, James Tiptree Jr., Kate Wilhelm, Kit Reed, Philip Jose Farmer, Robert R. Olsen, Sydney J. Van Scyoc, Thomas Baum.
Stories by : Brian W. Aldiss, Gene Wolfe, Joe W. Haldemn, Josef Nesvadba, Kingsley Amis, Max Beerbohm, R.A. Lafferty, Robert Scheckley, Robert Silverberg, Thomas M. Disch, Tor Age Bringsvaerd, William Harrison.
Stories by : Ken W. Purdy, Brian W. Aldiss, James E. Gunn, Jonathan Ela, Keith Roberts, Robert F. Young, Andre Carneiro, Alex Hamilton, Howard L. Myers, Victor Sabah, Christopher Priest, Joe W Haldeman.
Best SF : 1971. edited by Harry Harrison and Brian Aldiss. 1972
Feb 26, 2004 Mark WatsonComment on Best SF : 1971. edited by Harry Harrison and Brian Aldiss. 1972
Stories by : Arnold M. Auerbach, Arthur C Clarke, B. Alan Burhoe, Barry N. Malzberg, Brian W. Aldiss, Charles Baxter, Cynthia Ozick, Donald Barthelme, Gahan Wilson, James Blish, Kingsley Amis, Lawrence Sail, Norman Spinrad, Richard E. Peck, Robert Sheckley, Steven Herbst, Steven Schrader, Thomas M. Disch.
Page 1 Page 2 Page 3 NextNext page

redpajama_set_name: RedPajamaCommonCrawl


text:
All art is autobiographical.
Why and What I Will Write
Since 1899 no one has persuasively resolved the mysteries posed by Elgar's Enigma Variations. Why risk writing on this seemingly impenetrable subject confounded by a fog of confusion and conflicting 'solutions'? What are my qualifications? Do I have anything to add that has not already been proffered by prominent Elgar scholars? The many discoveries I was permitted to unmask are considerable, resolving a multitude of unanswered questions about one of Elgar's most celebrated orchestral works. As this investigation will show, there is far more to Elgar's melodic labyrinth than anyone previously envisioned.
Elgar and the Three Cs
The key to understanding the secrets behind the Enigma Variations is to wade into the mind and motives of Elgar. Three of his most formative influences were his Roman Catholicism, a lifelong fascination with cryptograms, and a penchant for writing counterpoints to famous melodies. The three C's of Elgar's psychological profile are Catholicism, cryptograms, and counterpoint. It is of vital importance to recognize these influences because a person's character is more often than not a reliable predictor of behavior.
A Missing Principal Theme
A cardinal sin among Elgar scholars is conjuring the right answers to the wrong questions. This book does not replicate that misguided practice. As one prominent philosopher put it, "Getting the question right is the answer." So what is the right question? To ask what the covert melodic Principal Theme is the Enigma Variations. All of the answers to Elgar's remaining enigmas revolve around that elusive theme. The crux of Elgar's Variations is a famous melody, not an abstract concept, metaphor, symbol, or number. The remaining enigmas – the "dark saying" linked to the Enigma Theme and the hidden friend of Variation XIII – are essentially branches extending from the trunk of that core question. Those who deny the existence of a hidden melodic Principal Theme contradict the recorded words of the composer from multiple, unimpeachable sources. The focus of any credible search must begin with a famous melodic theme, for it is the key to Elgar's melodic safe and its ancillary secrets. The search must be for a song – not a song and dance.
A Missing "Dark Saying"
In the original 1899 program note, Elgar explained the Enigma contains a "dark saying" that must remain "unguessed." The capitalized word Enigma explicitly refers to the opening Theme. In other words, Elgar claims the Enigma Theme holds a "dark saying," a phrase that means obscured words. Elgar was a renowned expert in ciphers, so his cryptic language points to a coded message. What else could be unguessed except a cipher since the solution is not guessed, but decoded?
A Missing Friend
Variation XIII is dedicated to a hidden friend whose initials are represented by three asterisks (✡ ✡ ✡). Standard solutions to this enigma such as Lady Lygon or Helen Weaver are easily disproved, leaving the question unresolved.
Elgar's Covert Theme: Ein feste Burg
Evidence confirms the covert Theme of the Enigma Variations is Ein feste Burg (A Mighty Fortress) by Martin Luther. That sublime hymn satisfies six criteria given by Elgar concerning the correct melodic solution:
Confirmation: A Music Box Cipher
It is generally believed by scholars that Elgar did not leave a written record authenticating the correct solution to his Variations, opting instead to take his secret to the grave. The conventional wisdom is turned on its head by the discovery of an ingenious musical Polybius box cipher embedded in the first six measures of the Enigma Theme. This Music Box Cipher confirms the name of the covert Principal Theme and the hidden friend's identity for Variation XIII. The decryption decisively proves Elgar encoded the answers to his enigmas within the score of the Enigma Variations. Not only did Elgar encode the answer to his Enigma Variations using a breathtakingly original Music Box Cipher, he cleverly encoded his name within the decryption. How? By means of the first letters of the four languages used in that cipher: English, Latin, German, and Aramaic.
The Program Anagram Cipher
In the original 1899 program note describing a work dedicated to his friends, Elgar gives only one name, and that for a stranger: Maeterlinck. A careful analysis of that unusually placed name reveals two incredibly revealing anagrams. The first instructs us to "Seek Martin L" while the second states, "See EE copy Martin L." Thes anagrams are incredibly revealing because the composer of Ein feste Burg is Martin Luther.
The Keys Cipher
In the Enigma Theme, Elgar brilliantly encodes the initials for Ein feste Burg using the keys in which that opening movement is played. The Enigma Theme is written in the minor and major modes of G. The accidentals for those two keys are B-flat, E-flat, and F-sharp. In an extraordinary parallel, those same letters provide the initials (E.F.B.) for Ein feste Burg.
The German Sixth Cipher
The discovery that Ein feste Burg is the covert Principal Theme to the Enigma Variations shines the equivalent of a Klieg light on Elgar's use of a deceptive cadence in measure 5 that resolves to a German Sixth chord. Why? Because the complete title of the secretive theme is six words in German.
The Nimrod Wordplay Cipher
The unusual title for Variation IX – Nimrod – exquisitely captures Elgar's nuanced sense of wordplay. In the book of Genesis Nimrod is described as "a mighty hunter," a descriptive statement that conveniently provides the first two words of the covert Theme's title in the correct order: A Mighty. Tradition holds Nimrod was a famous architect and builder of fortified cities, more generally known as fortresses. A well-known fortress constructed on the Northern Golan Heights is called Nimrod Fortress. The Biblical connotations associated with Nimrod may be easily culled together to generate the title of the unstated principal Theme: A Mighty Fortress. Since Variation IX is dedicated to Elgar's German friend August Jaeger, this invites the translation of this English rendering into German as Ein feste Burg.
The FAE Cipher
In Variation XIII Elgar inserts four melodic fragments drawn from Felix Mendelssohn's concert overture Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage). The key signatures of these fragments are A flat major, F minor, and E flat major. Those key letters may be reshuffled to form the well-known musical cryptogram FAE that forms the basis of a famous violin sonata composed collaboratively by Robert Schumann, Johannes Brahms, and Albert Dietrich for the famed violin virtuoso Joseph Joachim. Those letters represent Joachim's personal romantic motto, "Frei aber einsam." In English, that German phrase translates as, "Free but lonely." The letters FAE are intriguing because when the E is turned downwards to the right to resemble an M, they become "FAM". Those letters form an anagram of "AMF", the initials for A Mighty Fortress. This interpretation of the letter E as an M is suggested by Elgar's unconventional treatment of the capital letter E in his Dorabella Cipher dating from 1897. In that cryptogram, Elgar twists and turns the capital letter E into a number of configurations including one resembling the capital letter M.
The Mendelssohn EFB Cipher
The Mendelssohn fragments of Variation XIII encode the initials for Ein feste Burg. The decryption process is relatively simple, for it involves identifying how many times a given fragment is performed in a specific key and taking that number to pinpoint the note letter for that particular scale degree. The A flat major fragment is played twice; the second degree of the A flat major scale is B flat. The F minor fragment is performed once; the first scale degree of F minor is F. The E flat major fragment is played once; the first scale degree of that key is E flat. The three solution letters are revealed by this decryption as E, F, and B. Those same initials are ingeniously encoded by Mendelssohn's autograph – Felix Mendelssohn Bartholdy – as an acrostic glyphs anagram.
The Enigma Date Cipher
Although he completed the original score on February 19, 1899, Elgar wrote an inaccurate date on the last page of the Enigma Variations: Feb. 18, 1898. The date is off by 1 year and 1 day. Why would Elgar write the wrong date when he was known for being fastidious with even the minutest detail of his scores? The erroneous date serves as a revealing clue because February 18 marks the anniversary of Martin Luther's death. Luther composed the covert Theme to the Enigma Variations, the hymn Ein feste Burg. More tantalizing still is that Elgar wrote the month as "FEb" because those particular letters are an anagram of "EFB", the very same initials encoded by the Keys, Mendelssohn, and Dominant-Tonic-Dominant (5-1-5) ciphers. While one cipher solution may be casually chalked up to coincidence, four discrete ciphers encoding the same solution are compelling evidence for a grand design.
Variation XIII: The Hidden Friend
Elgar's secret friend of Variation XIII is not a lady, but a lord – the Lord. This famous friend's initials are represented by the Roman numerals XIII. X stands for the tenth letter of the alphabet (J), and III for the third (C). His name is found in the lyrics of Ein feste Burg – Christ Jesus. A cipher in the Mendelssohn fragments refers to the Turin Shroud, the famous burial cloth of Christ. The timing of this shroud reference is remarkable since a very famous photograph of the Turin Shroud was taken only five months before Elgar began work on the Variations. The photographic negative reveals a miraculous image of a crucified man that many Roman Catholics like Elgar believe to be Jesus Christ.
Variation I (C. A. E.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation I with 28 shared notes between both melody lines., an amount equal to two times plus two of that found with the Enigma theme (13). These melodic conjunctions are present from measures 20 to 39, a span of 19 measures. Variation I is 21 measures in length excluding the two-bar bridge with the Enigma Theme (measures 18 and 19). Further analysis revealed this two-measure bridge is an extension of the Enigma Theme's ending, and that phrase A of Ein feste Burg plays covertly over this section. There are 90 melody notes in Variation I, and 75 melody notes in Ein feste Burg. Therefore, 37.3% of the melody from Ein feste Burg overlaps with 31.1% of the melody of Variation I. Such a high percentage supports the conclusion Variation I is a deliberate counterpoint to Ein feste Burg.
Variation II (H. D. S-P.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation II, generating 45 melodic conjunctions in 31 out of 55 measures, and 65 harmonic conjunctions covering 32 measures. It was determined the covert Theme is dormant in the first ten measures (41-50), and the last fourteen (83-96). These inactive sections are essentially symmetrical because both consist of ten measure segments at the beginning and end of Ein feste Burg with the last dormant section followed by a four-bar codetta. Elgar uses this sandwich technique more than once in the Variations as a sort of camouflage to obscure the start and end points of the covert Theme. Since it is dormant in 24 out of 56 measures, the Covert Theme plays over almost 43% of the movement.
Variation III (R. B. T.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation III, producing 34 melodic conjunctions spread over 24 out of 34 measures, and 72 harmonic conjunctions spanning 27 measures. As it is dormant in 7 out of 34 measures (97, 105, 121-123, and 131-132), the covert Theme plays over approximately 79% of the movement.
Variation IV (W. M. B.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation IV, generating 26 melodic conjunctions dispersed over 28 of 32 measures, and 113 harmonic conjunctions covering 28 measures. Since it is dormant in 4 out of 32 measures (178 through 181), the covert Theme plays over almost 88% of the movement.
Variation V (R. P. A.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation V, producing 68 melodic conjunctions spread over 20 out of 24 measures, and 166 harmonic conjunctions dispersed over 22 measures. Since it is dormant in 2 out of 24 measures (172 and 173), the covert Theme plays over almost 92% of the movement.
Variation VI (Ysobel) with Ein feste Burg
Ein feste Burg plays "through and over" Variation VI, generating 39 melodic conjunctions in 17 and 105 harmonic conjunctions spanning 21 measures. The covert Theme plays above all measures or 100% of this movement. It is remarkable the cover theme plays over the entire variation without any dormant measures in the first two movements dedicated to women (I and VI).
Variation VII (Troyte) with Ein feste Burg
Ein feste Burg plays "through and over" Variation VII, producing 75 melodic conjunctions over 39 measures, and 236 total note conjunctions spread over 64 measures. Since it is dormant in 8 out of 72 measures (210 through 213, 223 through 225, and 252), the covert Theme plays over virtually 89% of the movement.
Variation VIII (W. N.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation VIII, generating 60 melodic conjunctions and 159 harmonic conjunctions in 26 out of 27 measures. Since it is dormant in the final measure (307), the covert Theme plays in just over 96% of the movement. If the final G of Ein feste Burg in measure 307 is tied over to the G major chord in measure 308, the case could be made the covert Theme plays "through and over" the entire movement without any dormant measures. This presents a third instance in which the covert Principal Theme plays over the entire length of a movement dedicated to a woman (I, VI, and VIII).
Variation IX (Nimrod) with Ein feste Burg
Ein feste Burg plays "through and over" Variation IX, generating 27 melodic conjunctions spread over 20 measures and 150 harmonic conjunctions over 36 measures out of a total of 43. Since it is dormant in 13 measures (341, 349-350, 356, 361-364, 368-372), the covert Theme plays over virtually 70% of the movement.
Variation X (Dorabella) with Ein feste Burg
Ein feste Burg plays "through and over" Variation X, producing 104 melodic conjunctions spread over 35 measures, and 172 harmonic conjunctions over 41 measures out of a total of 74 measures. Since it is dormant in 33 measures (385, 397-404, 415-424, 437-450), the covert Theme plays just under 58% of the movement. It is remarkable that in both instances when the covert Theme concludes one complete cycle it is immediately followed by a carefully placed double bar in the score (measures 414 and 436). The odds of such a coincidence are astronomically low, reinforcing the conclusion that Ein feste Burg must be Elgar's missing melody. More importantly, the pattern of marking off the end of the counterpoint with the covert Principal Theme is not isolated to this movement. Partial quotations of Ein feste Burg's concluding phrase comprised of its first four notes (G, F-sharp, E, D) are performed by the flutes (Martin Luther's personal instrument) six bars before Rehearsal 42 and 45. These are among the most complete and compelling fragments of the covert principal Theme presented anywhere in the Variations. The Mendelssohn fragments in Variation XIII, like the Luther fragments in this movement, consist of four notes.
Variation XI (G. R. S.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation XI, generating 62 melodic conjunctions spread over 28 measures, and 241 harmonic conjunctions over 33 out of a total of 41 measures. The covert Theme is dormant in 5 measures (457, 490 – 493) with four of these five inactive measures consisting of a codetta at the end of the movement. Consequently, there are shared melody notes in 28 out of 35 active measures, or 80% of the movement when Ein feste Burg plays. There are matching notes dispersed over 33 of 35 active measures, or 92% of the movement when Ein feste Burg plays. When factoring in all measures, matching notes occur in 80% of the movement.
Variation XII (B. G. N.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation XII, producing 23 melodic conjunctions spread over 23 measures, and 100 harmonic conjunctions over 23 out of a total of 28 measures. Since it is dormant in five measures (494-495, 515, 520-521), the covert Theme plays in just over 82% of the movement. Inactive sections are symmetrical insofar as they consist of two measure segments at the beginning and end of Ein feste Burg, and the third near the middle at measure 515. This sandwich technique serves to camouflage the start and end points of the covert Principal Theme and is also found in Variation II.
Variation XIII (✡ ✡ ✡) with Ein feste Burg
Ein feste Burg plays "through and over" Variation XIII, generating 46 melodic conjunctions in 85 measures, and 173 harmonic conjunctions over 46 out of a total of 51 measures. The covert Theme is dormant over 21 quarter note beats dispersed over 8 bars (532-534, 548, 564-566, and 572). Consequently, there are matching notes in 46 out of 51 active measures or 90% of the movement when Ein feste Burg plays. When factoring all measures, the covert Theme plays over almost 83 % of this section. Melodic conjunctions begin in measure 522 and continue through the double bar at measure 553 where Ein feste Burg finishes one complete cycle. The conclusion of Ein feste Burg precisely at the double bar is not an isolated coincidence as this pattern also appears in other variations containing double bars such as X.
Variation XIV (E. D. U.) with Ein feste Burg
Ein feste Burg plays "through and over" Variation XIV, generating 204 melodic conjunctions over 85 measures, and 464 harmonic conjunctions over 148 out of a total of 236 measures. Since it is dormant in 77 bars (598-603, 626-634, 647-652, 671-674, 685-687, 702-703, 732-739, and 767-809), the covert Theme plays in slightly over 67 % of the final movement. It is significant that 55 % of dormant measures (41) are found in the extended ending Elgar added shortly after the 1899 premiere. This suggests Elgar tapered his sophisticated counterpoint to permit greater flexibility in his treatment and elaboration of the closing material.
The Enigma Variations Ciphers
A comprehensive analysis of the Enigma Variations over a nine-year period uncovered a vast trove of cryptograms. While seemingly extraordinary, such a high number is entirely consistent with a reigning facet of Elgar's psychological profile, an intense fascination for ciphers. More importantly, the decryptions provide definitive answers to the central questions posed by the Variations. What is the secret melody on which the Enigma Theme is a counterpoint and the ensuing movements are based? Answer: Ein feste Burg (A Mighty Fortress) by Martin Luther. What is the 'dark saying' associated with the Enigma Theme? Answer: A Polybius Box Cipher embedded in the opening six measures of the Enigma Theme. Who is the secret friend and inspiration behind Variation XIII? Answer: Jesus Christ, the Lord and Savior of Elgar's Roman Catholic faith. A subset of these ciphers also reveals one of Elgar's sources of inspiration was Secondo Pia's historic photographic negative of the Turin Shroud taken five months before work was begun openly on the Enigma Variations.
The Enigma Variations and the Turin Shroud
An unusual number of parallels between the Enigma Variations and the Turin Shroud are presented. A famous photographic negative of the Turin Shroud taken five months before Elgar began work on the Variations provides a rationale for his unconventional approach. Just as the Turin Shroud contains a secretive image of a famous man in the form of a photographic negative, Elgar devised a contrapuntal "negative" of a famous hymn in the form of the Enigma Theme. The Turin Shroud is the burial cloth of the secret friend portrayed in Variation XIII.
The Turin Shroud Enigma Ciphers
A distinct subset of the Enigma Variations ciphers refers to the Turin Shroud and its first official photographer, Secondo Pia.
Elgar's Enigmas and Longfellow's Elegiac Verse
At the conclusion of the extended Finale to the Enigma Variations, Elgar quotes a paraphrase from the last stanza of Longfellow's Elegiac Verse. In a remarkable confluence, the stanza number from Longfellow's poem matches the Roman numeral assigned to the Finale, XIV. There are other equally fascinating parallels between Longfellow's Elegiac Verse and the Enigma Variations that illustrate Elgar's subtle and informed use of literature.
Rehearsal 66 in the Enigma Variations
Edward Elgar draws special attention to the number six throughout the Enigma Variations. The opus number (36) is the product of six multiplied by six. There are six titles for different movements that are six letters long. The first of these is Enigma. There is an oddly placed double bar at the end of measure 6 within the Enigma Theme. Less obvious but equally relevant is the presence of a six-by-six Polybius Box Cipher embedded within the Enigma Theme. When decoded it reveals Elgar's "dark saying" first mentioned in the 1899 program note for the premiere. The complete title of the unstated principal Theme is six words in length: Ein feste Burg ist unser Gott. There are 24 letters in that title, the sum of four sixes. The lyrics for Luther's most famous hymn come from Psalm 46, a chapter number that ends in six. The names Martin and Luther are both six letters in length. Elgar's use of the German sixth chord in the Enigma Theme alludes to the missing melody's six-word title in German. Even his dedication alludes to the number six, for it is six words long: "Dedicated to my Friends pictured within." These overt and covert references to the number six within the Enigma Variations invite a closer evaluation of the orchestral score at Rehearsal 66.
Elgar's Grand Allusion: Dante's Divine Comedy
There are an array of parallels between the Enigma Variations and Dante's Divine Comedy. These connections revolve around poetry, numerology, symbolism, theology, and music.
Elgar's Literary Clues about his Enigmas
Elgar's first biographical sketch in the October 1900 issue of The Musical Times begins with two poetic excerpts, the first from Piers Plowman by William Langland, and the second from The Lost Bower by Elizabeth Barrett Browning. Both excerpts mention the Malvern Hills, a prominent topographical feature of Elgar's birthplace. These poems are theological allegories making rich use of characters and places to symbolize a distinctly Christian worldview. For the composer of sacred oratorios like The Dream of Gerontius and The Light of Life (Lux Christi), these intensely theological poems capture Elgar's artistic gestalt. They also mirror Jesus' practice of teaching by telling parables. More importantly, these poetic excerpts elegantly hint at the title of the unstated Principal Theme to the Enigma Variations (Ein feste Burg), the hidden friend of Variation XIII (Jesus), and a major source of inspiration, the Turin Shroud.
God and Elgar at Yale
In early 1905 Sir Edward Elgar received an invitation to visit America from his friend Samuel Sanford, Professor of Applied Music at Yale University. Following his acceptance (and at Sanford's urging), Yale officially invited Elgar to receive an Honorary Doctor of Music. On June 28 Elgar attended the commencement at Woolsey Hall to receive his honorary degree. Incredibly, Elgar's conferment was immediately followed by a performance of Ein feste Burg.
Top Twelve Enigma Solutions Refuted
Twelve of the most prevalent melodic "solutions" to the Enigma Variations are analyzed and refuted.
Pop goes the Weasel
For He's a Jolly Good Fellow
Twinkle, Twinkle Little Star
Beethoven's Pathétique Piano Sonata
Mozart's Prague Symphony
God Save the King
Rule Britannia
Tallis Canon
Pergolesi's Stabat Mater
How Elgar Channels Wagner Via Mendelssohn
There is a subtle melodic thread that runs through the works of Mendelssohn, Wagner, and Elgar. A fragment from Mendelssohn's concert overture Calm Sea and Prosperous Voyage is quoted by Elgar in Variation XIII. A careful analysis of this four-note incipit confirms it is an exact restatement of the apotheosis of Senta's redemption motive from Wagner's opera The Flying Dutchman. Elgar's handling of the Mendelssohn fragments reveals some striking similarities to Wagner's treatment of quotations from Ein feste Burg in his Kaisermarsch.
Why scholars failed to solve Elgar's Enigma Variations
Secular academics failed to unravel the puzzles of the Enigma Variations because they proudly gazed inward for answers when they should have humbly looked upwards. They callously disregarded the proverb, "The fear of the Lord is the beginning of wisdom, and knowledge of the Holy One is understanding." Wedded to their worldly assumptions, secular scholars reasoned themselves into intellectual cul-de-sacs devoid of any spiritual insight consistent with Elgar's faith. The privilege of penetrating the many mysteries of Elgar's Enigma Variations was an answer to prayer granted by divine providence.
Jesus, Elgar and the Violin . . . . .
There are a variety of extraordinary links between Jesus and the violin that undoubtedly fueled Elgar's identification with the "King of the orchestra." A survey of these uncanny parallels helps unmask the secret friend and inspiration behind Elgar's Violin Concerto.
Photographic negatives of the Turin Shroud
Labels: Cipher, code, Counterpoint, Cryptogram, Dark Saying, Dorabella, Edward Elgar, Enigma Theme, Enigma Variations, hidden theme, music cipher, Nimrod, Polybius cipher, Secret friend, secret melody
Misfitmuse said...
Interesting article--thanks for writing it. As for the dedication of variation IX to Elgar's friend August Jaegar, the fact that his last name, "Jaegar" means "hunter" in German, might have something to do with it.
The only snag with your theory (interesting though it is) is that Elgar himself professed the solution to be a simple one to fathom. In other words, one that a person of no particular scientific or mathematical background might stumble upon.
Robert Padgett said...
@Anonymous: When and where did Elgar ever profess that the solution to his Enigma Variations was simple or straightforward? Have you ever looked up the definition for the term enigma?
@Anonymous: Merriam-Webster's simple definition for "enigma" is "someone or something that is difficult to understand or explain." The simple definition for "difficult" is "not easy, requiring much work or skill to do or make." The title Elgar gave to the Theme succinctly coveys the severe complexity of the puzzle, not its purported simplicity imagined by simpletons masquerading as academics.
Harold Boswell said...
@Anonymous I'd suggest that if an under-qualified psychology graduate like Mr Padgett can figure it out it was probably a simple solution.
Harold Boswell is correct in describing me as "under-qualified" for tackling such a momentous puzzle as Elgar's Enigma Variations. The only explanation that I may proffer regrding my lack of qualifications is to invoke the following passage from 1 Corinthians 27-29:
But God chose what is foolish in the world to shame the wise; God chose what is weak in the world to shame the strong; God chose what is low and despised in the world, even things that are not, to bring to nothing things that are, so that no human being might boast in the presence of God.
Dell said...
Couple of mysteries remain which will probably be censored:
1) If Elgar was a devout Roman Catholic, why would he use a popular hymn of the reformation and a leader of Lutheranism (Martin Luther)?
2) If it was a religious theme, why didn't he reveal the enigma after he allegedly lost his faith? https://ffrf.org/news/day/dayitems/item/14396-edward-elgar
Dell:
Elgar cites the music of Felix Mendelssohn in Variation XIII. Mendelssohn was baptized a Lutheran and composed the Reformation Symphony that cites "Ein feste Burg" followed by a set of variations. Elgar was perfectly comfortable quoting the music of a Lutheran in the Enigma Variations, a fact that invites consideration of Lutheran themes. It is truly astonishing that academics failed to probe the Mendelssohn quotations more thoughtfully by connecting these data points and following where they lead. Academics like Julian Rushton missed the proverbial boat in regards to the significance of the Mendelssohn fragments.
"Ein feste Burg" was a battle hymn for the German military in World War I. Assuming that Elgar lost his faith after 1914, there was no possible way for him to admit that the secret melody to the Enigma Variations was a paeon for the German army that slaughtered millions of British soldiers on the battlefields of Europe. Anyone with perceived German sympathies was ostracized or run out of the country. It would have been artistic and social suicide for Elgar to divulge the secret melody to the Enigma Variations.


Most people who go to Nevada to gamble, head straight to the bright lights of Vegas, but there is actually another option. Reno, branded the 'The Biggest Little Town in the World', is home to over 20 superb casinos and was the traditional home of gambling until the mid-20th century when Vegas fully came to the fore. The city's proximity to California also guarantees busy tables of locals and tourists alike. Caesars Entertainment, the biggest casino company in the US, was even born in Reno: this truly is the birthplace of the casino.
Circus Circus is a casino like no other. This 65,000 sq ft playground has free circus acts performing on a regular basis as customers settle down on the slots and tables that decorate this huge space. The Topsy the Clown statue outside is an attraction in its own right but it is the slots that are the stars here. The casino is home to the infamous Wheel of Fortune slot that has made over 1000 millionaires since being introduced in 1996. Before you visit, try the Wheel of Fortune online slot at Grosvenor Casino and see if lady luck is on your side.
This place never stops with Blackjack and Roulette available 24 hours a day, seven days a week. Harrah's prides itself on its array of Baccarat games and the casino has some of the most informative and friendly staff in town. What's more, this is the only casino to have paid out its largest jackpot an incredible three times, so a trip to Harrah's could certainly prove profitable. To polish up those Baccarat skills, head to Ladbrokes Casino today.
She may be the newest addition to the Reno Strip but the Silver Legacy can more than hold her own against the elder statesman. The casino has over 80 tables and 2300 slots, but the real attraction here is their huge sportsbook video wall that allows visitors to sandwich sports betting between games of Caribbean Stud Poker. The Legacy is a modern casino for the modern gambler where variety is the name of the game. To make the most of the sports betting options when you get to Reno, see what odds are on offer at Winner Sports today.
The Nugget is one for those visiting Reno wanting to experience casino glamour but with their family. You will find all the regular slots and table games you would expect across the casino's 75,000 square feet, but there is also an extensive collection of video games and simulators to keep both big and little kids entertained. ComeOn Casino also has a wide range of video slots for all to enjoy.
This casino is known for having some of the loosest slots in Reno while the Craps tables here are a constant hive of excitement. However, it is the video poker games that are the star at the Atlantis. Their Exclusive Premier Games and Radical Royals offer the only 50,000 dollar video poker bonus in Reno as well as a wealth of variety for the interactive gambler. To get a taste of video poker, head over to William Hill Live Casino to play with a real-life dealer from the comfort of your home.