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Euripides' Bacchae: Two Boys at Play
26 February 2012 / David Auerbach / 0 Comments
The Bacchae has a reputation as Euripides' greatest play. It's hard for me to say. Even for a wildly eccentric and subversive playwright like Euripides, it is very odd. It was one of his very last plays, written quite late in life (in his 70s possibly), but even the contemporaneous Iphegenia at Aulis is nothing like it. It is concertedly archaic and much more soaked in myth and paganism than most of his other, more "human" dramas like Medea and The Trojan Women, which give voice to tremendous amounts of pain and suffering on behalf of life's losers and victims.
The Bacchae lacks a certain type of immanent universality, though it has plenty of blunt impact. It is still overwhelming and shocking, and ends with one hell of a memorable image: King Pentheus' severed head impaled on a very phallic thyrsus held by his mother, who has disemboweled him in the midst of Bacchic ecstasy. (The thyrsus is a fennel staff with a pine cone or bunch of leaves on top, a Dionysian symbol.)
Agave (center) and part of her son Pentheus (left), from Brad Mays' production
Thematically, however, it deals in more abstract universalities. Since abstract universalities are more prone to change over the millennia than concrete notions of pain and death, it is more difficult to grasp just exactly what is going on with the Dionysian cults and rituals that occur, even if you're familiar with how they operated. Add to that Euripides' inevitable perversions of received values and ideas, and the drama is baffling.
It is quite unusual (even unique?) in surviving Greek drama in making a god not only a spectator and an agent of the action, but the actual protagonist. (Other tragedies with Dionysus as protagonist have been lost.) He is Dionysus returns to Thebes with a group of maenad followers, having returned from the east where he had been establishing his mysteries and rites. His Theban mother Semele was killed by his father Zeus on account of Hera's jealousy (long story), but the rest of her family has been slandering her by saying she lied about Zeus being her lover, and that that is why Zeus killed her. Dionysius' cousin Pentheus, son of Semele's slandering sister Agave, is now king of Thebes and has banned worship of Dionysus.
Dionysus is extremely angry about all of this and eagerly tells the audience, in proto-Richard III style, that he is going to take serious revenge. We follow him as he brings most of Thebes under his spell, Pied Piper-like, causes a major earthquake, and then disguises himself as a human and torments Pentheus at length. Eventually he tempts Pentheus with talk of the maenads' orgies and has Pentheus cross-dress as a maenad so that he can spy on them. (Here Dionysus certainly anticipates Shakespeare's similarly twisted Duke in Measure for Measure, as well as that other puppet-master Prospero.)
As expected, the maenads rip Pentheus to shreds, thinking he's a wild animal—animal dismemberment was part of Bacchic rituals. Agave proudly brings back Pentheus' head, thinking that she's slaughtered a lion for a feast. Dionysus removes the spell from Agave so she can see what he has done to her own son, and Dionysus exiles the remainder of the family. Dionysus prophecies that Semele and Agave's parents, Cadmus and Harmonia, will be turned into serpents.
These grim antics are accompanied by joyless songs from the chorus of maenads, but much of the play is just Dionysus (disguised) and Pentheus onstage in dialogue, occasionally with a visiting messenger, until Dionysus sees Pentheus off to his doom and returns only in the guise of a god in the denouement to pronounce doom. The chorus, as well as some of the other characters, incessantly remind the audience that one does not anger a god and get away with it, ever.
Yet Dionysus' behavior is perplexing. He hardly seems like the good-times god of wine, and certainly not the buffoon of other myths. His Hermes-esque (Hermetic?) trickery and plotting seem calculated and malevolent. In a bit of mythological overlap, Cadmus and Harmonia's transformation into serpents echoes the two serpents of Hermes' symbol, the caduceus. To push that point a little further, Dionysus prophecies their fate simultaneously, emphasizing the pairing, whereas in the traditional account, Harmonia wishes herself to be transformed only after Cadmus transforms (by his own wish).
[The confusion of the diabolical caduceus and the healing staff of Asclepius persists, and Thomas M. Disch had some fun with the confusion in his apocalyptic novel The M.D.]
Even more strangely, Dionysus lets himself be humiliated by Pentheus, who temporarily imprisons him and cuts off his hairlocks. (Dionysus will later cause Pentheus to grow girlish hair.) Yes, it's a setup, but why? Dionysus is already hellbent on revenge and manipulating events, Pentheus has already refused to allow worship, and Pentheus has no need to indict himself further.
None of this is enough to make you ultimately sympathize with Dionysus, who gets very nasty indeed. The sheer vigor of his revenge rhetoric as the play goes on is enough to make him unpalatable, like someone crushing ants for not staying out of his way. But in the facts, he is a victim, not of Pentheus but of other gods, particularly his wicked stepmother Hera. His obsession with revenge is not so different from that of Medea and Hecuba and Electra, Euripides' vengeful women, but they were all more sympathetic than Dionysus. They weren't gods.
Pentheus, for his part, is impetuous, arrogant, and unyielding, but unlike Creon in Antigone, he's just a kid: he's described as beardless and Agave reports she has killed "a lion's cub," not a full-grown lion. He argues with Dionysus and readies for war against the maenads, but is abruptly distracted by the promise of seeing the secret Dionysian rites. (Has he even been with a woman?)
PENTHEUS: Bring my armor, someone! And you stop talking.
(Pentheus strides toward the left, but when he is almost offstage, Dionysus calls imperiously to him.)
DIONYSUS: Wait! Would you like to see their revels on the mountain?
PENTHEUS: I would pay a great sum to see that sight.
E. R. Dodds describes the moment in a Freudian fashion:
What happens is rather the beginning of a psychic invasion, the entry of the god into his victim, who was also in the old belief his vehicle. In the maddening of Pentheus, as in the maddening of Heracles, the poet shows us the supernatural attacking the victim's personality at its weakest point—working upon and through nature, not against it. The god wins because he has an ally in the enemy's camp: the persecutor is betrayed by what he would persecute—the Dionysiac longing in himself.
These Dionysian rites then destroy Pentheus. He has inherited the sins of his ancestors without even the capacity to understand them clearly. Just before sending him off to his doom, Dionysus tells him he will return cradled in his mother's arms, a happy regression to infancy.
Dionysus (left) and Pentheus
The result is a peculiar portrayal of a god very unlike the irritable but invulnerable deities for whom nothing is of lasting consequence. It feels closer to the Old Testament God, with his mysterious contradictions, hurt feelings, and inconsistencies. As Dionysus sets up Pentheus repeatedly, I think of God hardening the Pharaoh's heart against Moses. Greek gods usually aren't so roundabout, not even Hermes. ("My ridiculously circuitous plan is one-quarter complete!")
Aristophanes portrayed Dionysus as an idiotic buffoon in the comedy The Frogs, and he normally stands apart from the other major gods in lacking jealousy and gravitas. Euripides evens the balance in The Bacchae, but the standard account still persists as well. Dionysus is a child with a dead mother, a wicked stepmother, and a disputed and absent father. The Greek gods are irrational and jealous, but they are not children. (Even Hermes is older than Dionysus.)
Here, though, Dionysus is an illegitimate child, even by the standards of Greek gods. Dionysius himself not accepted, not legitimate in Olympus, not even properly born to his mother before she died but incubated in Zeus's thigh. He cannot take out his mourning and rage on other gods, but he can on the humans who ridicule his mother. In the myth, Hera motivates Semele's sisters to slander Semele, but here they do it out of pure pettiness and spite, further stressing the emphasis on the human plane of events. Greek gods normally lash out at humans who are favored by other gods, but Dionysus is the only god in play here. And since the sin against him is that of questioning his very legitimacy, birth, and godhood, that he is defending himself against such accusations puts his status in doubt.
And so Dionysus is a neglected and resentful child, less legitimate than the other gods (much in the way that Dionysiac cults were viewed suspiciously and as illegitimate), punishing his action figures because he has power over them. The story is two boys having tantrums, one of whom happens to be a god.
The nature of Pentheus' final sin is that of a man (or boy) thinking he is punishing another human, not a god. At that single point, Dionysus is humanly sympathetic, before the power shifts. I think that the need for Dionysus' humiliation comes from theme and structure. Dionysus and Pentheus must be put on an equal level for a time, so that Dionysus is not only disguised as a human but is acting as one as well. (This also seems unprecedented in Greek literature, to the best of my knowledge.) That is to say, Dionysus can capture the audience's sympathy only until he exerts his powers–his ability for revenge–at which point he is monstrous. He becomes a god, can only be recognized as a god, by becoming a monster.
What it all means I doubt anyone can say. That we are all children? That we have sympathy not for victims, but for the powerless? That our expressions of sympathy are as irrational and unjust as our expressions of revenge? Because I've tried to speak about the less culturally-bound aspects of the play, I've barely touched the difficulties and confusions around the Bacchic cults and rituals themselves. It is the most complicatedly ambiguous drama I can think of until Shakespeare came on the scene.*
*As with Hamlet, we also lack crucial context as to predecessor plays around the Dionysus myth and exactly which parts of the myth Euripides altered, and consequently don't know precisely what audiences of the time would have been surprised at.
New Articles on Computers and Culture
n+1 has posted roughly the first third of my article The Stupidity of Computers online. It talks about what computers can do easily, and what is near-impossible for them.
The Stupidity of Computers
Computers are near-omnipotent cauldrons of processing power, but they're also stupid. They are the undisputed chess champions of the world, but they can't understand a simple English conversation. IBM's Watson supercomputer defeated two top Jeopardy! players last year, but for the clue "What grasshoppers eat," Watson answered: "Kosher." For all the data he could access within a fraction of a second—one of the greatest corpuses ever assembled—Watson looked awfully dumb….
Some of the towering achievements in computer science have been in the creation of brilliantly clever, efficient, and useful algorithms such as Quicksort, Huffman Compression, the Fast Fourier Transform, and the Monte Carlo method, all reasonably simple (but not obvious) methods of accomplishing precisely specified tasks on potentially huge amounts of precisely specified data. Alongside such computational challenges there has been the dream of artificial intelligence: to get computers to think….
It has a bit of the history of artificial intelligence, which one rather famous AI researcher has called "a history of failure," including SHRDLU, ELIZA, and MGonz. (For more details, see Mark Humphrys' paper "How My Program Passed the Turing Test.")
I also have a long feature on "A-culture" (anonymous internet culture: 4chan, Anonymous, etc.) now up at the online magazine Triple Canopy. It is in two parts, beginning with an essay:
Anonymity as Culture: Treatise
Alienation, irony, autonomy, discourse. On 4chan and Internet masquerade.
Today, the most ubiquitous online communities are social networks where our identities are mostly known and mostly persistent. Each tweet, each status update, is branded with a persistent name or affiliation.
Yet for people who do not want to be known, do not want to be corralled into demographic groups, and do not want the hierarchy of prestige, other spaces persist. These are the sort of spaces that were the progenitors of social networks: newsgroups, chatrooms, online forums, and Internet Relay Chat channels. They offer a lack of accountability for what one says, a way to hide unappealing facts about oneself, and an instant escape hatch if things get unpleasant. They offer anonymity.
The growth of these anonymous spaces marks the first wide-scale collective gathering of those who are alienated, disaffected, voiceless, and just plain unsocialized….
Delve then, if you dare, into the glossary and case studies:
Anonymity as Culture: Case Studies
Homosexuality, suicide, hate, porn. Four episodes and a glossary.
A trap can never be obvious, or else it isn't a trap.
Transgenderism is one of the recurrent obsessions of A-culture—specifically the idea of the trap, i.e., a male who presents himself as a woman and would be taken for a woman except for his genitals. The phrase—taken from Admiral Ackbar's exclamation on being ambushed in Return of the Jedi: "It's a trap!"—is a pejorative indicating that straight men have been tricked into being aroused by one of their own gender. However, it's not unusual for posters to identify themselves as traps, or for posters to declare an interest in traps and even express confusion over their attraction to them. The trap embodies two conflicting impulses of A-culture: the love of deviancy and surprise, and the pervasiveness of suspicion, deception, and ridicule. This paradox is best exemplified by the posting of the technically self-contradictory statement "I'm a trap."
I wrote this article in the spirit of Erving Goffman.
Quantitative Methods in Literary Criticism: Franco Moretti and Brian Vickers
The million-fold increase in computing power over the last few decades has made possible types of quantitative analysis that were previously available only to rulers with access to large amounts of menial but highly precise labor. Because the humanities generally tend to trail the sciences and the social sciences in adopting such new-fangled techniques. Instead, academics have preferred to write about such new technologies using existing frameworks: see the now-forgotten hypertext boomlet of the early-90s led by Stuart Moulthrop.
Here, I want to contrast two scholars who have seriously used quantitative analysis in literary criticism. My negative example is Franco Moretti; my positive example is Brian Vickers.
This piece is something of an appendix to my n+1 piece "The Stupidity of Computers," because I found that the conclusions I presented there held just as true for literary analysis as they did for data mining, search engines, and online dating. Computers are still dumb, so we must be sure to be extra-smart in using them.
Moretti's Materialism
Franco Moretti caused something of a splash in the last fifteen years by advocating a quantitative model for tracking literature's paths. He seeks, in his notorious phrase, a "materialist sociology of literary form." I'm not fond of the phrase, but it gives an idea of the overlapping circles that are at work here: quantitative, materialist (in the Marxist and positivist sense), sociological, taxonomic.
I do not endorse a never-the-twain-shall-meet split between natural sciences and human sciences, the Naturwissenschaften and the Geisteswissenschaften. Many literature departments and continental philosophers cling to the separation as though their jobs depended on it–which indeed they might. But the great inadequacy of quantitative methods applied to artistic and social forms (e.g., economics) still serves as a reminder that the human sciences are vastly more imprecise and variable than the most successful of the natural sciences.
I believe that the reasons for this, as I discussed at some length in my recent n+1 piece, "The Stupidity of Computers," primarily have to do with language and the endlessly fine-grained distinctions and variances it forces upon us. The practical result is that almost any quantitative approach falls down, and I think Moretti's is a particularly good example of such a failure.
Moretti's work has foundered on two main points:
Presuppositions of taxonomies, ontologies, and evidentiary relevance that are then set up to be "confirmed" by the statistical model at work.
Sheer lack of evidence, caused by the vast scope on which Moretti is working.
I have written on the first issue of presuppsitions with regard to political issues: attempts to discern how "liberal" and "conservative" blogs link to one another rely on purely human classification of blogs into the two-category taxonomy selected by the researchers themselves, rendering the results highly dubious.
In the political sphere, complicated charts analyzing networks of links from one political blog to another show clusters of linkages tightly within sets of "conservative" and "liberal" blogs. Another chart from a separate analysis shows clusters using a different taxonomy: progressive, independent, and conservative. Who decided on these categories? Humans. And who assigned individual blogs to each category? Again humans. So the humans decided on the categories and assigned the data to the individual categories—then told the computers to confirm their judgments. Naturally the computers obliged.
"The Stupidity of Computers", n+1 13
The same principle is at work in classifying books and sentences, as Moretti does. This sort of ontological question begging is so ubiquitous it should be the first question anyone asks on seeing a pretty chart or graph purporting to represent some aspect of human society.
The second issue is more particular to Moretti, which is that even with unprecedented processing power at his command, I gather Moretti still doesn't have the resources to do the requisite analysis at the level which would be required.
Cosma Shalizi, expert statistician, has written extensively on these failings with regard to Moretti's two main books, and his articles elaborate the problems sufficiently that I won't go into much detail here. He criticized the statistical methods of Atlas of the European Novel, but his review of Graphs, Maps, Trees, which attempted to make a statistical case that new genres of novel tended to occur in bunche, cuts closer to the theoretical problems at hand:
[Moretti should] give actual causal accounts of how macroscopic patterns emerge from the interaction of many material bodies (notably, people and books), of the sort we know to exist, endowed with the kinds of abilities we know them to have.
This commitment may sound harmless, because contentless, but it does actually have implications. It means that you have to do a lot of work to justify functionalist explanations (though it's not impossible). It should make you very dubious about ideal types. It should make you more interested in exploring variation, and not dismissing it. It should make you very dubious about "practices" and other shared mental objects, at least as ordinarily conceived. And it suggests a lot of productive directions, investigating communication, cognition, and the collective patterns they produce.
Graphs, Trees, Materialism, Fishing
If anything, Shalizi understates the difficulty. There needs to be a huge amount of work, and it must be done with partial, often inaccurate data from biased observers. The hermeneutic circle holds sway here. It's not impossible. But the data analysis is vastly easier than the data collection, which computers still can't do.
Vickers' Wissenschaften
I have a positive example, however. Studies of authorship attribution are nothing new. They have frequently employed quantitative methods, albeit frequently in a haphazard and unsystematic way. In English, at least, the writer who has been subject to more of them than any other is William Shakespeare.
There has not been a good track record. Two attributions of new (and rather poor) works to Shakespeare in the last couple decades, "Shall I die?" and "A Funeral Elegy," seem almost certainly incorrect. In the second case, the original claimant, Don Foster, has retracted the claim. In the first, it appears that no one except the original claimant supports the attribution anymore. Unfortunately, the original claimant, Gary Taylor, is the editor of the Oxford Shakespeare, so you can find "Shall I die?" there. What are you going to do?
Against that, though, there is Brian Vickers and particularly his recent work Shakespeare, A Lover's Complaint, and John Davies of Hereford. (A short overview is available behind the TLS paywall.) This is a distinctive case because it's trying to pull authorship of A Lover's Complaint away from Shakespeare. The long (329 lines) poem was published in the same book as the sonnets in 1609, attributed to Shakespeare, but it has never garnered too much attention. There have been some doubts but, over the last 50 years, general endorsement of Shakespeare's authorship.
Work had already been done to identify Shakespeare's co-authors on Titus Andronicus, Pericles, Timon of Athens, and others, but this is the first instance I know of pulling a poem away from Shakespeare.
Vickers is upfront in his biases: he thinks the poem is lousy, too lousy to be Shakespeare's, uninventive and moralistic. He attributes it instead to a mediocre but prolific poet named John Davies, whom I'd never heard of. But his method is far more solid than most. He recognizes the need for a holistic/hermeneutic understanding of the period and its literature, and so Vickers' book takes both a top-down and a bottom-up approach, deriving general regulative and evaluative guidelines from a comprehensive knowledge of the period, then using atomic, discrete metrics to attempt to make meaningful distinctions. I believe this bi-directional method to be the only one that has a chance of success. (Moretti, in contrast, is entirely top-down, while much philological work is bottom-up.)
Here is a brief sample, taken from the TLS overview:
Davies did so on over 160 occasions. The author of the Complaint used "th'-" elisions frequently, and twice clumsily, not on words beginning with a vowel -as in Shakespeare's "Th'expense of spirit in a waste of shame" -but before a consonant: "th'wel doing", "th'smallest teene". Davies regularly contracted the definite article without any concern for euphony, with such equally clumsy elisions as "th'reversions", "th'reprobates" or "th'Gospel". Critics have judged the contractions in "A Lover's Complaint" to be a sign of Shakespeare's later style, but here is a different explanation. The poet of the "Complaint" ended two lines with the formulaic phrase "forme receive", once an infinitive (using the pleonastic do): "which did no forme receive", and once a present tense: "all straing formes receives", both times rhyming on "leave". In John Davies's poetry there are twenty-one instances of the rhyme word "deceive"; ten of them need a pleonastic do, twice rhyming with "leave". The author of the "Complaint" took liberties with the English language to obtain a rhyme, coining the nonce-words "sawne" and "loverd". In one poem Davies rhymed "wander" and "gander", adding a marginal note justifying "The word . . . Gander for the Rime's necessity".
Brian Vickers, "A rum 'do'"
So while the first section of the book, "Background," is somewhat traditional literary criticism and close reading, the second section, "Foreground," is tabulation across many metrics. Vickers downplays one of the most common (and easiest) forms of analysis, that of uncommon word occurrence, owing to the ambiguity of word placement and meaning. Vickers does use this analysis, but not to the exclusions of others, as some of his predecessors had in making the case for Shakespeare's authorship.
Regardless, A Lover's Complaint is only 329 lines long, so the sample size for any feature is quite small. Because of this, doubt should accompany any supposed distinction established along any one axis. Aware of this, Vickers is definitely trying for a preponderance of evidence, attacking the poem from different levels and angles. Those in favor of the attribution to Shakespeare (John Kerrigan and Katherine Duncan-Jones are the two most vocal, I believe) have not done a comparable study from the other side, which is what would be necessary to counter Vickers' claims.
Similarly, statistical analysis is somewhat down-played, because the margins of error are so great. There are lists and collections, but they are presented in the sense of outlying features that distinguish the poem from other work. They are also presented in the sense of non-outlying features that are actually typical of work in the period against common knowledge. The presence of both types of claims is reassuring.
And it underscores something to bear in mind when reading the work of Moretti and others: beware statistical analysis on incomplete evidence. The challenge is in deciding on the metrics and applying them in the most exacting fashion, something that remains in the human sphere, not the computer. What computers have enabled is the ability to run some of the metrics on a large corpus rather quickly: a significant evidentiary boon, but not a paradigm shift. The most satisfactory uses are considerably less sexy than Moretti's graphs: for example, searching for particular words and variations of a word across all (or most) Elizabethan literature.
(Again, I refer back to my n+1 article, where computers proved themselves most useful in dumb tasks performed in great quantity: lexical analysis rather than semantic analysis.)
For any analysis, there is also the ever-present problem of negative evidence. The significance of what words aren't co-occurring is considerably harder to analyze, and so is frequently ignored. The case study Vickers gives is that of neologistic word formation with the prefix un-. Shakespeare indeed did form an awful lot of new words by attaching un- to existing words, a feature of A Lover's Complaint. But Vickers cites Juergen Schaefer's work in showing that the OED overrepresented Shakespeare (for assorted reasons) and that other writers had coined similar un- neologisms at a similar rate. Two of them were Thomas Nashe and…John Davies (133).
And in fact, when it comes to neologisms, A Lover's Complaint introduces 11 Latin neologisms in 329 lines, including wackiness like annexions, fluxive, and Cautills (151). This is hardly sufficient evidence but it is the sort of heuristic metric that gives reason for doubt. Moreover, Vickers uses it to bash those who have claimed that the supposed lexical inventiveness of A Lover's Complaint was unique to Shakespeare, when in fact it seems to have been a common feature among many writers of the period. Context is everything.
Above lexical and grammatical analysis, Vickers performs more complex rhetorical analysis. One striking example is Davies' almost compulsive use of asyndeton (omission of conjunctions), helping to produce what's been called the "cramped, gritty, discontinuous quality" of A Lover's Complaint. Vickers has some fun citing instances of Davies piling on up to ten verbs in a row in his other work.
A high level of elision of other parts of speech and peculiar inversions of word order is also present. Here the qualitative element kicks in, as distinguishing "awkward" and "unnatural" inversions from "good" ones is simply not something that is uncontestable. Here Vickers returns to close reading and attempts to see what purpose inversions serve in the function and rhythm of the poem. This is not a positivistic method, but I'm with him in thinking it is more convincing than attempting to taxonomize inversions on a purely grammatical level as "unnatural" or not.
This alternation between the quantitative and the qualitative continues throughout the rest of Vickers' book, and because Vickers is forceful in his aesthetic judgments, they do not always stand by themselves, but in tandem with the statistical evidence, they do gain a certain amount of force. Because I am not an expert in rhetoric and not an expert on the literature of the period, I cannot say how contestable some of the judgments are. But the work is there to be evaluated. Vickers also shows how metrics have been abused in the past to make other wrongful attributions, and so points out the pitfalls.
For rhetorical devices in particular, it helps a great deal that Vickers is immersed in the rhetorical taxonomy that Shakespeare and Davies themselves would have learned, and so applies metrics that they themselves would have used in constructing their works. This is where historical knowledge is crucial; the ready-made ontological categories that happen to be popular at a given time (structuralist tropes, for example) are less likely to line up as well as taxonomical devices that authors would have knowingly applied to their work at the time of creation.
Let's look at some of the general metrics Vickers applies to A Lover's Complaint, in order to see how that middle-ground is navigated:
A set of six rare words occurring in Davies work and in the Complaint
21 common phrases like "high and low," "wake and sleep," and "gainst plus admirable moral principle" occurring disproportionately in Davies work and present in the Complaint
Six instances of poetic diction unique to A Lover's Complaint and Davies other work
A reflexive fondness for a a handful of rhetorical figures, particularly the overuse of the word "all" (often twice in a line), occurring in the complaint and in Davies' other work (and nowhere else save sometimes John Donne)
A certain overlap in metaphorical vocabulary, such as the "congestion" and "compounding" of individual appetites into desire
Of rhyme-word pairs in the Complaint not used by Shakespeare, 25% of those pairings do occur in Davies' work
The last one gives an example of how inexhaustible the work is, since the analysis is only performed on rhyme-word pairs not occurring in Shakespeare and is not compared to other authors. Similar objections can be made to other metrics, but the thing to remember is that Vickers has still set the bar vastly higher than usual, and since such work is a progressive process, the details are at least there to be rebutted by someone who wants to perform some of the many remaining analyses. To use an apt legal analogy, such matters are always decided by the standard of a preponderance of evidence, not a K.O., and right now it appears that Vickers has presented the preponderance.
Harold Love, in the TLS, in fact criticized Vickers for not using more sophisticated statistical and computational tools, and disputed the certainty of the Davies' attribution. Vickers' response displays, in my opinion, the right attitude to take toward such tools and analyses:
Your readers are told that Vickers uses "an old-fashioned kind of testing", and "lacks real understanding" of modern computational stylistics, such as "John Burrows's Delta algorithm, based on complex statistical probing of lengthy frequency lists".
To reply in brief: I am perfectly familiar with modern stylometry, but the Delta algorithm uses small vocabulary samples, such as the fifty most frequently occurring words, which are then treated as individual counters, deprived of semantic identity and grammatico-syntactical relationships with other words. It has achieved some success, but it is open to suspicion that two or more writers might favour the same fifty words. I am currently working with a team of medical statisticians who are applying to computational stylistics a technique developed for measuring irregular heart beats, which is able to use all the words in a text. It lists shared words in descending frequency and then uses a phylogenetic algorithm to create a tree, grouping similar texts on nearby branches and dissimilar texts on distant branches. (Intertextual distances are measured, applying a weighting function which is the sum of Shannon's entropy–details on request.)
Brian Vickers, 13 July 2007
Love definitely erred in endorsing the Delta algorithm, which is indeed dangerously arbitrary in its metrics. Endorsing any one metric, in fact, is liable to be dangerously arbitrary because of evidentiary limitations. Fancy statistics run the danger of obscuring the anecdotal component of the work.
Vickers impresses, ultimately, because he bears three main points in mind: all such analyses are to be treated as incomplete, no one metric should ever be seen as definitive, and conclusions must be based on a pluralistic methodology utilizing both quantitative and qualitative metrics.
In conclusion: the human sciences are inexact and dismal, much like humans.
Afterword: Duncan-Jones and Kerrigan's rebuttals to Vickers' de-attribution were not sufficiently substantive to need addressing here. Kerrigan's failure should not obscure my esteem of his panoramic study Revenge Tragedy: Aeschylus to Armageddon.)
In addition, I should say that Vickers' critical sympathies are not necessarily my own. While I've learned a great deal from his work on the history of rhetoric, someone who can confidently announce of the sonnets, "These are, to state the obvious again, not homosexual poems"–and then cite Sonnet 20 as evidence–either sees friendship as a wildly fertile ground for manic jealousy, or else is using such a narrow definition of homosexuality as to make the observation tautological. I prefer Samuel Butler's witty (though coy) formulation:
Fresh from the study of the other great work in which the love that passeth the love of women is portrayed as nowhere else save in the Sonnets, I cannot but be struck with the fact that it is in the two greatest of all poets that we find this subject treated with the greatest intensity of feeling. The marvel, however, is this, that whereas the love of Achilles for Patroclus depicted by the Greek poet is purely English,absolutely without taint or alloy of any kind, the love of the English poet for Mr W. H. was, though only for a short time, more Greek than English. I cannot explain this.
S. Yizhar: Khirbet Khizeh
Yizhar was an Israeli soldier in the 1948 Arab-Israeli war, and it is evident that this novella was based heavily on his own experience. It is the story of a soldier expelling Palestinians from the village of Khirbet Khizeh: what he sees, his tremendous ambivalence, the chatter of the soldiers around him, and the expulsion itself.
The story is tied up in politics, but I don't think of the novella itself as primarily political. The heartfelt afterword by David Shulman, a brilliant scholar of Indian language and religion who's also been a peace activist in Israel, feels out of place because it lays down such a definite stance on present-day Israeli matters, talking about conscientious objectors and contemporary Twaneh demonstrations. As Shulman himself says, Khirbet Khizeh is about being stuck in a position where there is no space for conscientious objectors, where moral unease leads to psychical shutdown and thoughtless complicity. That feeling, which Yizhar communicates viscerally, is one to be quietly lived with and absorbed for some time, before going on to a political polemic. Better not to break that spell.
The narrator accompanies a group of mostly unruly and unthinking soldiers. They encounter civilians. They don't treat them well. They enter the village and do the expulsions. The narrator meekly voices his reservations, but he's easily told off. What are they supposed to do? The narrator continues.
The novella doesn't belabor the events, but neither does it withdraw from them. It's a portrait of a very particular mindset, one that is refusing abstract thought because of the anxiety and immediacy of a situation and so absorbing the details of the environment in a nearly dissociated way. The prose flows at different paces depending on how much is going on, spilling over into long serpentine sentences at the beginning and then becoming more jagged as they near the village. The long paragraphs travel in circles at the start, with vague, guilt-ridden phrases like "a humiliating, shameful silence before the action, small devious ruses to deny it." Then "The order to start arrived," and from there the prose starts to pare itself down.
By the time the panicked narrator is helping exile some very helpless and innocent civilians from the village and he says to himself, "Khirbet Khizeh is not ours," the story is very nearly over. It stops there for the reason that going on would mean the obscuring of the event, which is only being resurrected in his memory against his better instincts and will. "A single day of discomfort and then our people would strike root here for many years." To go on is to minimize the discomfort.
Such discomfort does not entail a particular political stance. This obituary of Yizhar suggests that he was a somewhat ambiguous pacifist, but Khirbet Khizeh also put me in mind of Benny Morris, who did huge amounts of archival research to reveal occurrences of Israeli massacre and rape in 1948, but still goes on to say:
There is no justification for acts of rape. There is no justification for acts of massacre. Those are war crimes. But in certain conditions, expulsion is not a war crime. I don't think that the expulsions of 1948 were war crimes. You can't make an omelet without breaking eggs. You have to dirty your hands.
My feeling is that this place would be quieter and know less suffering if the matter had been resolved once and for all. If Ben-Gurion had carried out a large expulsion and cleansed the whole country – the whole Land of Israel, as far as the Jordan River.
If the end of the story turns out to be a gloomy one for the Jews, it will be because Ben-Gurion did not complete the transfer in 1948.
Haaretz interview, 2004
I do not think this was Yizhar's view, yet Morris looked at what Yizhar describes and worse, and Morris came out very far from Shulman's view. It's a mistake to assume that even such a politicized book will instill a particular political point of view, or even that it was written with the intent to do so. Whatever the "meaning" of the story is remains greater than can be presented in a particular political commitment. (Which is why I am not discussing the politics of the situation here and have no wish to do so in this venue.) What the novel asks for is living with and in that day of discomfort a bit longer, whatever that may bring.
Gregor von Rezzori: An Ermine in Czernopol
5 February 2012 / David Auerbach / 8 Comments
Excellent Max Beckmann cover
I'm coming to believe that Gregor von Rezzori (1914-1998) was one of the greatest postwar German-language writers. His work has a sensitivity and more significantly an intelligence stronger than so many of his contemporaries. His socio-intellectual analysis, in particular, stands respectively close to that of his avowed hero Robert Musil, even though Rezzori implicitly acknowledges that he can't match him. (Rezzori even wrote a long unfinished two-part novel, The Death of My Brother Abel/Cain, just as Musil did. I have yet to read it)
He outdoes many other notables: Heinrich Boll, Wolfgang Koeppen, Peter Weiss, Arno Schmidt, W.G. Sebald, Stefan Heym, Gunter Grass, Christa Wolf, Heimito von Doderer. And I think his work approaches what I consider the upper echelon of postwar Germanic letters: Ingeborg Bachmann, Uwe Johnson, Thomas Bernhard, Adelheid Duvanel, Alexander Kluge. And going back a bit, he leaves Stefan Zweig in the dust and outdoes Hermann Broch's The Sleepwalkers.
I'm listing all these names not to show off but because Rezzori still seems like an odd figure to place in their company. Why? Because from all I've read, he was quite the bon vivant and well-adjusted man who wrote popular trashy books like The Idiot's Guide to German Society and even more bizarrely, hosted a tv show called Jolly Joker, which seems to have been an Austrian version of Lifestyles of the Rich and Famous.
That all apparently damaged his standing with critics a bit, and even I find it difficult to reconcile with the sheer sensitivity in the writing I've read. His memoir The Snows of Yesteryear (inferior to its German title Blumen im Schnee) and his non-memoir Memoirs of an Anti-Semite are both remarkable works, suffused with a great deal of sympathy and very carefully observed. This wonderful passage from Snows, about his childhood maid, captures his talent:
Cassandra's superstitious awe of the reality of letters, and her ultimate and voluntary rejection of their decipherment, originated in a much more archaic insight. The serried rows of books on the shelves of my father's library were truly demonic for her. That certain things had been recorded between the covers of these books which could be grasped mentally and transformed into speech and knowledge by initiates in the shamanic craft of coding and decoding those runic symbols–this could be understood only as a supernatural phenomenon. It irritated her to see that we had lost the sense of its terrifying uncanniness and that reading was an everyday custom, publicly performed, nay, that it could even become a vice, as exemplified by my sister. With the instinctive certainty of the creature being, she felt that such casual handling of the irrational was bound in turn to generate irrationality.
She realized that for those who had acquired it, the ability to read conferred power over those to whom the written or printed word remained a sealed mystery. But she also knew that this was a power pertaining to black magic–that it turns against its own practitioners and transforms them into slaves of the abstract. She saw in it a truly devilish power, since its manipulators, who also were its most immediate victims, were not even aware of its nefarious effects.
Gregor von Rezzori, The Snows of Yesteryear
So now comes An Ermine in Czernopol (1966) in a new translation from New York Review Books, an apparently autobiographical novel set in the 1920s in a fictionalized version of Czernowitz, a cosmopolitan city which belonged to Austria-Hungary until 1918, then to Romania until 1940, when it was captured by the Soviets. Today it is part of the Ukraine and is known as Chernivtsi (it has had other names). The name "Czernopol" may be an attempt to capture the city's essential statelessness.
All this background is somewhat necessary because although the back describes the novel as the story of the anachronistic military officer Tildy, his story only makes up one of many in the novel, which is intentionally fragmented and prodigal. The construction may be the most remarkable aspect. The individual pieces are inconsistent, some characters making a stronger impression than others, but the overall flow is quite unusual and striking. While assembling a portrait of the city in the 1920s, when a pluralistic culture is thriving but dark forces quietly swell in the shadows, the organizing principle is the sense of growing up from child through the teenage years, as seen by a set of siblings.
For much of the novel the siblings are undifferentiated: the narrator is the collective "we." Only in the latter half does the eldest, Tanya, come into her own and separate from them, and "I" begins to assert himself as well. Tanya will die at 20, we are told, just as Rezzori's own sister did; he tells of her death in Snows and how much he has missed her for the past 50 years. That sense of breakup, and the sense of youths diverging in tandem with the fracture of the city, is the true center of the novel, and it is deeply affecting.
In keeping with the strange, disorganized time-flow of childhood, other characters make abrupt entrances and exits and recurrences. Tildy, the haplessly chivalric and obstreperous officer who is far too eager to challenge people to duels, disappears for the bulk of the middle of the novel. Mostly we hear of the tutors and prefects and schoolmasters who provide the siblings with what sounds like a damn fine liberal education. We also begin to hear of the casual anti-semitism of the siblings' parents and extended family, and their aunt's association with a group of proto-fascists who rail against the sarcastic, urbane liberal press (who are friends and fans of Karl Kraus) and of course the Jewish presence in the liberal press and in the city in general. The proto-fascists come off as uncivilized, sinister buffoons rather than violent menaces, but it's fairly clear where the line leads, even as it's also clear why none of the characters are able to anticipate how deadly it will become. For all its idiocies and disasters, urban civilization seems so robust and tolerant, doesn't it?
The children come to gain this perspective from those around them: The Great War happened; it was the folly of the educated, civilized world; as civilized people we have learned from it; such gruesome folly can never happen again. The novel begins just as the Great War is ending:
We were particularly taken by the young noncommissioned officers: slight, gangly figures so completely bloodless they might have sprung from the soil of the trenches and crater-fields instead of a mother. But because we had been assured that they wrote the most beautiful poems, or at least carried the same with them in little volumes—because they fought to purify the soul more than merely to win the war—and hence their rather certain death was not only a casualty of enemy fire but a sanctified sacrifice on the altar of the highest human values, we felt obliged to somehow square this spirit with the horror. (92)
And this sort of romanticism is something that indeed disappears from the rest of the novel. (Tildy remains its sole exponent.) That is not the future threat.
As to that future threat: there are a fair number of Jewish characters, from the sensitive student Blanche Schlesinger to the Brill family, and the children spend a good deal of time attending Madame Fiokla Aritonovich's Institute until their quietly anti-semitic parents pull them out. The children know of the anti-semitism but they never quite comprehend what exactly it is or exactly where these mostly assimilated Jews fit into the picture of society. Even among adults, the sense is that anti-semitism isn't something that was ignored so much as not understood, not even by the anti-semites themselves. This is arguably more depressing, since the implication is that even if we were to look for the dangerous signs of hatred and intolerance, even the intelligent among us would be too stupid to recognize them.
Long after we had left Czernopol, whenever we thought about the Jews in those surroundings, what always came to mind, from all the myriad faces and figures, was the otherness of that gaze. The Jews were many eyes. We told ourselves that for them we were probably also many eyes. Because nothing gives a more painful demonstration of how far apart we humans truly are than eyes peering out at us from the mask of a different race.
Their gaze hits us like that of a prisoner looking through the bars of his cell. We consider ourselves free, and view others as free as long as we can see through their faces, because they have been shaped in the same way that our face, which we cannot see, has been shaped. But where a different world has left its imprint to obstruct our vision, we recognize just how much we are trapped behind our own masks.
In fact, we never truly love the other, but merely the different world he represents. (310)
Rezzori would later refine this message to a sharper point in Memoirs of an Anti-Semite, where the main character remains a stand-in for Rezzori himself and is not spared condemnation.
Rezzori reaches for Musil-esque levels of societal observation with a higher success rate than most. Speaking of the archaic character of Tildy and his hellbent intention on molding his destiny, Rezzori writes:
Destinies have become as rare as people with character, and they are becoming harder and harder to find, the more we insist on replacing the concept of character with that of personality. (33)
Which is a fairly pithy summary of the psychological modernist shift. And indeed many of the more intellectual characters are both more multifaceted and more amorphous. Some still make a strong impression. Tutor Herr Alexianu, who raves about the ideas of his cynical, cod-Nietzschean friend Herr Nastase, is hysterical:
"He talks about all this in front of women without the slightest embarrassment. And they love him. They all love him. But as far as he himself is concerned, he refrains from any kind of reciprocity in love. And he does this consciously and intentionally. He calls it his form of monastic asceticism. It is part of his purity, his chastity, not to love. He despites the idea of si vis amari, ama. He says, and correctly, that it is the expression of a half-intellectual, an amateur poet courting the favor of the masses." (67)
But such humor fades away later on in the novel, when the petty fascism of Herr Adamowski replaces the decadent self-indulgence of Alexianu and the severe skepticism of Herr Tarangolian. Tildy stands somewhat apart from him because he has a story and his story is reasonably self-contained, but his time has passed too, and in fact passed before the novel even began. His miserable fate signals only that old-fashioned Burkean values will not step in where urban liberalism has failed.
Still, all these characters are chiefly part of a background, overshadowed by a very deliberate attempt to portray the process of maturation in a modernist technique that draws heavily on Musil and Proust. (In an interview with Andre Aciman, he cites those two as well as Broch and Joyce as his primary models.) It is an attempt to project their method onto the postwar years, to prove that critical, sensitive, patient portrayals of psychology and civilization still have something to offer despite the increasing noise of industrial and popular culture. I think Rezzori makes his case rather well, but admittedly I'm already in his corner.
Nonetheless, assessing the novel as fundamentally realistic will make it seem like a failure. It was never meant to be; it is fundamentally an internal novel, but the internals are those of children and so are only obtained through retrospection and the jumbling imposition of clumsy, post-hoc systems of narration on them. And depicting this compellingly is a very significant achievement.
Rezzori's work has touches of affectionate sentiment, but it is primarily bleak. Rezzori declared his utter pessimism and despair with humanity in interviews. How to square this with the host of Jolly Joker and the seemingly comfortable life he lived out, even the comfort with which he gave such interviews? It is one thing to be a Franzen or a McEwan and fail completely to live up to the pretense one has taken on of diagnosing the problems of our time: any complacency then seems perfectly in keeping with the pose. But Rezzori's sensitivity to pain seems too much like something that would cause him genuine angst. Perhaps it did and he could only show it in the most refractory way. Perhaps it just didn't.
And what to make of this passage in his author bio—present in every back cover bio I have seen—full of sinister import but not (as far as I can find) something whose details have been publicized:
During World War II, he lived in Berlin, where he worked as a radio broadcaster and published his first novel.
In Memoirs of an Anti-Semite, Rezzori describes his fictionalized self as "the hideous fop who, under the hail of bombs on Berlin in 1943, leads an idler's life, cynically watching a world in flames, millions of people dying." No mention of the radio broadcasting though, as though he purposefully left mention of it in his biography in order to raise suspicion. I call out the detail here not because I have any conclusive assessment of it, but because I think this unease is at the very center of his work.


Yeah, let's not kid ourselves. Yesterday was a rough one. Enough jibber jabber. You (and we) just want to get to the nitty gritty.
Here's some First Half Lowlights, while I was at an airport en route to SF.
-Didn't take long for the Bucs to get off and running, with DeSean Jackson sprinting untouched on his way to end zone for a 75-yard TD. It would be a precursor of things to come.
*Is it me or re there an inordinate amount of commercials and promos this year? Holy Moses.
*When your punter is your MVP things are not going well and Cameron Johnston is clearly the Eagles MVP at least through a game and a half.
*How in the world was the Foles fumble an actual fumble? He clearly he had possession and his arm was going forward. Did I miss something? How was that not called an incomplete pass?
*Dear Jalen Mills: This just in, you ain't very good. Hey, I like the guy. My son and I met him a few years ago at a Sixers game. Super nice guy. So is my nephew, but I don't want him playing corner for the Eagles, either.
*But in truth, the entire Birds secondary looked average at best during the first half. Missed tackles, blown assignments. They looked like they were still playing in the pre-season.
*Where was Big D? I realize he's a rookie but where was Dallas Goedert? Why was someone named Perkins (Marlon?) playing ahead of him and dropping passes as a bonus?
For me, there were several key moments during this game that stuck out for me.
-DeSean Jackson has had a vendetta against the Eagles ever since they cut him 2014. The moment he scored that opening touchdown, I knew the Birds were in trouble. If his wish is to make the Birds pay for what transpired way back when, he has accomplished his goal beyond his wildest imagination. Is he talented? Without question? Did he have some phenomenal moments for the Eagles? Absolutely. I also remember when he (like other previous Eagles WRs) made his contract issues a distraction back in 2011, and the Eagles narrowly missed the playoffs by a game to the Giants, who promptly won another Super Bowl. Steve discussed it here.
Of course, you can't pin all of that on him, but Jackson's drama and baggage got old. The allegations that he had gang connections didn't help his reputation, either. He's older now, so maybe he's grown up, but I just can't see him being the type of player who would buy into what Doug Pederson is selling. A lot of those players weren't. My only regret in hindsight is that the Eagles got nothing for him. At all. Nice going, Chip.
For the record, and people still think I'm crazy for saying this, but I had no problem letting Jackson go four years ago, and I still stand by that.
Injuries to Jason Peters and Jay Ajayi on the very first drive- It's become a microcosm for what this team is struggling with right now. Peters is a shoe in for the Pro Football Hall of Fame. No question about it. However, it doesn't take a rocket scientist to notice his body breaking down with more regularity. Ajayi returned from a lower back injury, but Mike Wallace, who the Eagles have been trying to get more involved in their offense, limped around with a boot on his foot after the game. The Eagles can't take many more hits like this.
Drive 2- No, it's not Incubus' plan to rival Metallica's Unforgiven trilogy. It will be hard pressed to find a drive with so many crucial penalties. There was the illegal block on Corey Clement's 43-yard return, which was nullified. Before it was over, an illegal block and tripping penalty saw Nick Foles and company at 3rd and 41. That's not a misprint. The game turned out to be a one-possession affair, and that was brutal. Very rarely did the Birds commit stupid penalties in 2017, but it seems every faux pas is consequential so far in this new season.
The 75-Yard Special: Parts 1 and 2 (or The Vindication of Izel Jenkins) - Somewhere, the man they called "Toast" is smiling, because that moniker could be used to describe the entire Birds secondary on Sunday. The Birds eventually tied the game, but the sequel to Tampa Bay's opening drive turned the momentum in their favor and they never really looked back.
Did anybody else feel like nails were digging into a chalkboard whenever Ronde Barber spoke during the broadcast? Maybe it's because I'm having flashbacks of him running down the field at The Vet (if you don't know what I'm talking about, Google it), but it seemed Kenny Albert barely got a word in the whole game. My Lord, I will always hate Tampa Bay.
-Over the last year, Jake Elliott has kicked some of the most memorable field goals ever for the Eagles. That being said, why do I feel so uneasy whenever he is called upon?
-The Eagles miss LeGarrette Blount. Badly. Yes, he got a great deal with the Lions and the Birds couldn't keep everybody. Understood. Corey Clement has great potential and continues to impress. Nobody has a crystal ball, but with Jay Ajayi somewhat of a question mark on any given day and the combined injuries to Alshon Jeffery, Darren Sproles, Mack Hollins and now Wallace, you wish there was some kind of way the team could have tried to keep him.
As it turns out, Blount's teammates on Detroit missed him yesterday afternoon as well. Go figure.
The Return of Doug Reid?
Oddly enough, this game had the same feeling as last year's Week 2 loss against Andy and the Chiefs for several reasons. In both contests, it never seemed the Eagles were in control of the game. Second, Doug Pederson failed to make adjustments that might've changed the outcome of the game. Yes, his offense is limited, and they weren't always executing his plays, but calling a run for Wendell Smallwood on 3rd and 11 near the end of the first half? One of the reasons Pederson was so effective last year was because of his ability to switch things up if something was stagnant—unlike his mentor who is mentioned above. This also falls on the defense as well. Hopefully, these patterns won't repeat themselves in the coming weeks.
A Final Word: Yes, it's a surprise to some—the Eagles lost a game, but it was bound to happen sooner or later. They were outplayed. Plain and simple. Better it happens now and not down the line. The Patriots, Panthers, Falcons and several other teams with high expectations for 2018 are in the same position as the Birds right now. Nick Foles played well enough to win, but by the time the team got into somewhat of an offensive groove, they were down by 20 points. That falls on the defense as a whole. Giving up 7.5 yards per offensive snaps and becoming the only team in Eagles history to give up two 75-yard touchdown receptions in one half? Allowing 35-year old Ryan Fitzpatrick to throw four touchdowns? That's inexcusable. They're better than that.
People not might want to hear this, but the Eagles squad we're currently watching is a different team with different players than your Super Bowl champs. Sometimes, it takes a bit for chemistry to develop. Sometimes, chemistry doesn't develop at all. Moreover, all of this will not be cured by the eventual return of Carson Wentz. With or without him, the team has beaten themselves on numerous occasions so far this year, and that has to change if they want to duplicate last year's success.
It won't get any easier. The Birds probably won't get any team's "B Game" this year. Chances are, the opposition will play them as if it's their own personal Super Bowl. With Tampa Bay and the L.A. Rams both currently undefeated, the Eagles need to stay close to the top of the pack. It's still early, but the goal is to secure home field advantage throughout the playoffs. The difference could very well result in another Super Bowl or a missed opportunity. Frank Reich and the Colts come into town next weekend. As the Birds former offensive coordinator, this could give him a tremendous advantage. The Eagles don't want to start off 1-2.


text:
//$Id$
package org.hibernate.test.annotations.manytoone;
import javax.persistence.Entity;
import javax.persistence.GeneratedValue;
import javax.persistence.Id;
import javax.persistence.OneToOne;

/**
 * @author Emmanuel Bernard
 */
@Entity
public class BiggestForest {
	private Integer id;
	private ForestType type;

	@Id @GeneratedValue
	public Integer getId() {
		return id;
	}

	public void setId(Integer id) {
		this.id = id;
	}

	@OneToOne(mappedBy = "biggestRepresentative")
	public ForestType getType() {
		return type;
	}

	public void setType(ForestType type) {
		this.type = type;
	}
}

redpajama_set_name: RedPajamaGithub


With all the public holidays around this time of year, this is the perfect time to take a road trip. And, fortunately for us, we live in one of the most beautiful countries in the world where you don't have to break the bank to enjoy the most awe-inspiring scenery.
Wondering where some of the best places to visit are? Well you're spoilt for choice. Here are our top selections, compliments of Avis Fleet.
There is the Eastern Cape with it's rolling hills and rugged cliffs. And the rough seas and the dense green bush of the the Wild Coast.
The Ukhahlamba Drakensberg Mountains, with breathtaking views of the "barrier of spears" and the "dragon's back" rock formations where it gets its name from. You will be able to enjoy towering cliffs, unspoilt forests, soaring peaks and rich animal life.
The famous Garden Route in the Western Cape, named after the beautiful and diverse vegetation found along the coast. There are lagoons, lakes and ancient forests. Stop along the way to experience the hospitality of the small artistic communities.
The Karoo is another kind of experience altogether. Vast open spaces that lead onto distant horizons. There are rocky mountain ranges and hills, and, at night, a massive sky with stars brighter than you thought possible.
Visit the Kruger National Park for the authentic bushveld safari experience, drive through Limpopo's primeval indigenous forests and unspoilt wilderness with patchworks of farmland, or see Mpumalanga the "place of the rising sun" with its scenic and wildlife diversity.
To make sure your holiday is as stress-free as possible; use our checklist to ensure that you are completely prepared for your road trip.
Once you've made sure your car is "road trip ready", check that you have everything you might need in your boot for any mishaps that might happen on your road trip.
For more information on our fleet solutions and what to do if you have an accident on your road trip, check out our Fleet Accident Management Guide.


The Birdsville Races are calling on volunteers across Australia to help deliver the 136h edition of the iconic outback event this 31 August – 1 September 2018.
Billed 'The Melbourne Cup of the Outback', the Races provide a unique opportunity to tick off a bucket list experience while giving back to the community at the same time.
Every year, the event raises much-needed funds for the Royal Flying Doctor Service of Australia – a vital charity that provides help to remote areas often cut off from medical services, as well as inter-hospital transfer services between metropolitan areas.
Volunteer registrations are live now on our volunteer page, with all volunteers required to be 18 years-of-age or over.
Volunteers can nominate to complete their shift with friends and family, and in line with a particular skill-set or area of interest. Depending on the team, volunteer time-commitments start from as little as nine hours.
In return, volunteers receive an exclusive souvenir volunteer polo shirt and complementary two-day racing pass, granting them access to all of the exhilarating action at Birdsville's iconic dirt race track – from punting and partying to Fashions on the Field.
Before and after shifts, volunteers can participate in all of the one-of-a-kind experiences the Races have to offer, as Birdsville transforms into a buzzing hive of activity with film, live music, cocktail parties and travelling boxing tents.
"In terms of something that allows you to experience every facet of the Birdsville Races, you can't go past volunteering at the event. You get to go behind-the-scenes and really soak up the history and heritage of the Races – as well as the community and spirit behind it," said Gary Brook, Vice President, Birdsville Race Club.
"Every year, we have volunteers who return because they love helping out so much – and you see the friendships and sense of comradery between the volunteers grow.
Along with 7,000 visitors, volunteers of all ages flock hundreds-of-thousands of kilometres to Birdsville every year to help deliver a two-day, 13-race program, and a jam-packed schedule of outback entertainment and activities.
Many volunteers travel by car and bus from metropolitan towns and centres in Queensland, Sydney, Melbourne, Adelaide and Perth, with some even chartering private jets to cut down on travel-time and catch a bird's-eye view of Australia's spectacular outback terrain in the process.
Many volunteers begin their journey from the beginning of August – travelling with friends, family and partners – and setting up camp early to enjoy the region's yabby races, street parties and various other events that lead into the big Friday and Saturday race days.
Others choose to take a more direct route, exploring and detouring via the Simpson Desert and Lake Eyre on their way home once the Races have finished.


Ling Zhi is a fungus also referred to as Ganoderma Lucidum or Reishi. There is a vast literature examining its use in the treatment of a wide variety of ailments. For this review searches were conducted in PubMed, Science Direct, Cochrane, Embase, BiomedCentral, Google, Mendeley, Amed, as well as in books. The main focus was on literature that might be useful for a Chinese herbal medicine practitioner, with special attention paid to human randomised controlled trials, with the relevant literature summarised into disease categories. Particular issues concerning cultivation, preparation and dosage will also be highlighted.


Illustrates my multidisciplinary media staging approach. Years of experience in professional lighting design, visual programing, plus both professional analog and digital illustration comprise skill sets to stage Body Mapping. In addition to projection other devices like black-light, LED, body painting and lasers have been integrated previously with success.


"NATO's Next Act" [against Russia] by General Philip M. Breadlove, Strangelove-ian War Hawk, Secretary of Defense in a Hillary Clinton Administration?
Jonas E. Alexis & Mark Dankof provide their vision of the Russian-Turkish relations. Originally appeared at VT Putin was too smart for Erdogan….


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text:
Donato Fuejo Lago (Vigo, 27 de octubre de 1926) es un médico y político español.

Biografía
Cursó los estudios de Medicina en la Universidad de Cádiz y la de Sevilla, licenciándose con Premio Extraordinario y doctorándose como especialista en pulmón y corazón. Su padre fue uno de los primeros médicos españoles que estudiaron en la Universidad de Harvard con una beca de la Fundación Rockefeller.

Fue Jefe clínico del Hospital Universitario de La Paz y participó en el primer trasplante de corazón que se realizó en España junto a Cristóbal Martínez Bordiú y Vital Aza formando parte de este  equipo.

Tuvo sus primeros contactos con la actividad política durante la década de 1950 al conocer a Enrique Tierno Galván, integrándose en el Partido Socialista Popular (PSP) (denominado entonces Partido Socialista del Interior) y siendo uno de los fundadores de la Junta Democrática. Precisamente, la convocatoria de una rueda de prensa de la Plataforma lo llevó a Carabanchel  durante un tiempo.

En las primeras elecciones democráticas celebradas en 1977 fue uno de los tres diputados elegidos por la circunscripción electoral de Madrid en la candidatura del PSP-Unidad Socialista, junto a Tierno Galván y Raúl Morodo. Miembro del Grupo Mixto del Congreso, participó de forma muy activa en las reuniones y negociaciones para la elaboración de la Constitución Española de 1978. Después de la fusión entre el PSP y el Partido Socialista Obrero Español, volvió a ser elegido diputado, ahora en las listas del PSOE por la circunscripción de Madrid en la primera y II legislatura. Fue miembro de la   Ejecutiva Federal del PSOE. Fue nombrado Vicepresidente de la OMS, Organización Mundial de la Salud, cargo del que dimitió poco tiempo después. Ocupó la presidencia de la Comisión del Defensor del Pueblo en el Congreso de los Diputados y fue elegido vocal del Consejo de Seguridad Nuclear, donde pasó a ser su presidente desde 1987 a 1994.

Referencias

Donato Fujoe:"Tengo la garantía de que me controla el Parlamento", Diario ABC, 21 de mayo de 1988, pp. 22.
Entrevista con Donato Fuejo, El País, 18 de enero de 2008.
Ficha en el Congreso de los Diputados.
Ficha en el Consejo de Seguridad Nuclear.

Médicos de España del siglo XX
Médicos de España del siglo XXI
Médicos de Galicia
Diputados de la Legislatura Constituyente de España
Diputados de la I Legislatura de España
Diputados de la II Legislatura de España
Políticos del Partido Socialista Obrero Español
Políticos de España opositores al franquismo
Políticos del Partido Socialista Popular
Nacidos en Vigo
Alumnado de la Universidad de Cádiz
Alumnado de la Universidad de Sevilla

redpajama_set_name: RedPajamaWikipedia


text:
Q: Python Gui Automation I've been looking around for a few weeks trying to find a library to help fit my needs.
I'm looking for a way to create what would be as a secondary virtual keyboard / mouse cursor. It doesn't necessarily have to be visible per se, but the idea behind it is that I want to be able to have my normal cursor and keyboard free to be used, while the secondary virtual keyboard and mouse are used for automation in another window.
I'm not entirely sure where to begin on this journey... Any ideas, stackoverflow community?

redpajama_set_name: RedPajamaStackExchange


The Fine Arts Club of the college is the platform upon which the artistic as well as the aesthetic talents of our students are brought out. The function of the club is to enable the students to prove their mettle in the world of art and literature. The multifarious talents of the students are showcased through various programmes.
The club functions under the guidance of a committee of faculty members which is headed by a convenor. A Fine Arts secretary is elected by the entire student body, who co-ordinates the activities of the club. The college offers many opportunities to the students to exhibit their talents right from the beginning of every academic year. A Talent Seeking programme is conducted to spot out the intrinsic talents of the freshers. The College Fine Arts Festival is conducted on an annual basis and competitions are held to trace out artists to represent the college in various arts festivals outside the campus. The selected students are professionally trained by competent masters, to represent the college in the competitions held at the D-Zone and the Inter-Zone University Arts competitions. The functions of the club culminate with the cultural fiesta during the Annual College Day celebrations.


text talk? you mean bcuz and idk?
Cxidanni, please learn to respect seniors in this forum like Finn, Fantagerox etc. We don't like your attitude very much.
And by troll, I mean someone who acts stupid on purpose to annoy other people or harass them idek the definition..but not the kind of mythical troll you're thinking of.
I think this topic should be locked now... We're gone off-topic and there's no point in it anymore, in my opinion .w.
By the way guys, next time someone types like that, even as a joke, don't get up on their grammar! It's annoying how like 10 people are like "LOL YOU SPELLED ____ WRONG" or "LOL THATS NOT THE RIGHT FORM OF _____" Like, jeez. I know their typing is annoying too, don't get me wrong, but there's no actual rule that says to type right..


I am so excited to share my new fetishes from mac cosmetics.
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I recently picked up Mac's Dark Deep Natural Mineralize skin finish. It's the dark powder in the above picture on the right.
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text:
'It's time the established fast-car makers gave us all something to look forward to.'
Dickie questions whether the established manufacturers are doing enough to adapt to the future of sports cars...
by: Dickie Meaden
In these increasingly 'connected' times, the notion of filling a big metal shed with new cars and expecting the world to come seems bewilderingly out of step. Thankfully, actually being able to touch, smell, sit in and step back to admire hundreds of new cars ensures reality remains infinitely preferable to vicarious virtual viewing.
And so the 88th Geneva motor show. Of course, by the time you read this column it will be a distant memory, those glossy show stand images scattered across forgotten areas of Twitter and Instagram like windblown confetti the day after a wedding.
Motor shows always remind me I'm not a proper journalist. That's to say, I've never been a worker bee gathering news, or the publishing grandee who spends their show striding from stand to stand to talk knowingly about market share and platforms with a car boss in a suit.
On the infrequent occasions I attend a motor show it's the vibe I feel when I walk in the huge show hall that's the more telling barometer. This year's show was confident. Not brimming with the swagger of some years, but focused and impressive. Inevitably, electrification was front and centre, with a smattering of hybrids for good measure. It felt like the big players had committed to a coherent next-gen plan. We've been right to be sceptical about electric cars, but now that battery technology has become fit for purpose, automotive engineers and designers are able to do what they do best: creating advanced, credible, capable and desirable cars that move the game on.
> Click here for our look ahead at 2018's most exiting new performance cars
Jaguar Land Rover's colossal PR and marketing effort propelled the I-Pace into our consciousness well before the Geneva show. I've yet to drive it, but from what I saw at Geneva, it deserves to be the model that finally gives Jaguar a true identity and sense of purpose. It's head and shoulders above the rest of the range looks-wise, and the technology pushes it to the forefront, rather than perennially being two steps behind Ze Germans. This is Jaguar's Big Opportunity. I hope it manages to run with it.
Continuing the electric theme, an undoubted star was the Lagonda Vision Concept. Yes, it's wild in the best tradition of show cars, but it's far more than a fantastical dream. Settling into the Lagonda, I was childishly excited at the idea of travelling in it rather than actually driving it, and never gave the lack of a piston engine a second thought. Given its objective and target customer, you'd have to say AML absolutely nailed it. It's ironic that the pace of technological change seems slowest in the fastest echelon of all: the supercar. It's a breed Geneva has always championed, and true to form, this year's exhibition floors were littered with gratuitously quick, powerful, explicit-looking machines.
Park a Ferrari 488 Pista or Porsche's Gen 2 991 GT3 RS outside my house and I'd be all over either of them. But in an environment where there was a very obvious revolution going on in the wider industry, cars that I have long held dear as my own pinnacles of piston-engined performance suddenly seemed predictable, fractional and possibly somewhat pointless evolutions.
And the hypercars? At one end of the scale you had the Bugatti Chiron Sport – a lighter (though still lardy), firmer, sharper and more expensive manifestation of the billionaire's favourite behemoth. At the other you had Aston Martin's Valkyrie AMR Pro – the limited-edition-of-25, 1000kg/1100bhp/1000+kg of downforce, track-only version of Aston and Adrian Newey's insane road car. The colour scheme did it no favours, but the elegance of its extraordinary aerodynamics made a certain other high-downforce British hypercar look like it was built by bricklayers.
The Valkyrie will surely be the zenith of petrol-engined hypercars, but Rimac's C Two made the rest look like dinosaurs: 1888bhp, 0-62mph in sub-1.9sec, 0-100 in just over 4sec, 258mph top speed, 400-mile range and claimed Level 4 (essentially driverless) autonomy. That Rimac is a highly credible, cutting-edge doer, makes this car not just mind-blowing, but believable.
My love of the internal combustion engine is instinctive and, I suspect, eternal, but even I'm becoming frustrated at the time it's taking for cars like 911s, M4s and even hot hatchbacks to have their Rimac moment. We passed the beginning of the end for petrol-powered performance cars years ago. Geneva 2018 gave us the first concrete signs electric cars have progressed beyond the end of the beginning, but the incumbent high performance marques seem stubbornly behind the curve. We know the boffins in Stuttgart, Maranello, Gaydon, Woking, Munich and Tokyo are working on solutions, but the pace of change is dizzying. I'm tired of feeling disengaged from the future. Time the established fast-car makers gave us all something to look forward to.

redpajama_set_name: RedPajamaCommonCrawl


A man in the full house at Take Five Coffee + Bar on Saturday wore makeshift earplugs. The music performed by Eddie Moore and the Outer Circle merited the high volume.
I've been impressed every time I've watched Eddie Moore and the Outer Circle perform at the Blue Room and the Green Lady Lounge in the past couple years. The ensemble continues to expand on the sound documented on the 2013 album The Freedom of Expression. (Plastic Sax review).
During Saturday's gig the band played with even more focus and assurance. Moore alternated between piano and a Yamaha MO8 as he and the current lineup- guitarist Adam Schlozman, bassist D'Andre Manning and drummer Pat Adams- evoked the classic work of the Crusaders and Head Hunters-era Herbie Hancock.
Schlozman's subtle playing was particularly impressive. He may become the most significant jazz guitarist to emerge from Kansas City since Steve Cardenas.
Material from a forthcoming album titled Kings and Queens struck the right balance between artful ambition and jubilant grooves. The Outer Circle may be stylistically rooted in the 1970s, but its exceptional musicianship and astonishing rapport imbues the band with unwavering relevance.


The School of Arts and Social Sciences (SASS) provides quality and innovative educational environment for nurturing knowledge, skills and attitudes in humanities and social sciences. Students admitted to the school of Arts and Social Sciences are prepared to pursue career paths in Communications, Media, Publication, Public Relations, Translation, Literature and Languages, Specialists in Religion and Theology, Governance and Public administration, Social work and Community Development as well as in Physical, Human and Environmental Geography. The Schools emphasizes interdisciplinary approach and practical/field/industrial attachment to knowledge and training.
Mean grade of at least C+ (Plus) at KCSE OR Two Principal passes and one Subsidiary pass at "A" level OR a diploma in a related discipline from a recognized institution.
Mean grade of at least C (Plain) at KCSE. With at least C in English or Division II at KCE – "O" Level or One Principal pass at KACE – "A" Level.


FIS Walkin Interviews For Freshers/Exp. Further details For this Job is Total no of Vacancies, Education Qualification, Experience Details, Location of Job and Detailed Description etc,. FIS Walkin Jobs apply for All graduates as soon as possible and given details as below.
FIS is the world's largest global provider dedicated to banking and payments technologies. With a long history deeply rooted in the financial services sector, Headquartered in Jacksonville, Fla., FIS serves more than 14,000 institutions in over 100 countries. FIS delivers the most comprehensive range of solutions for the broadest range of financial markets and holds leadership positions in payment processing and banking solutions, providing software, services and outsourcing of the technology that drives financial institutions. Every FIS solution has the strength you need for profitability today, and the power to help you manage whatever comes next. First in financial technology, FIS is ranked 425 on the Fortune 500 and is a member of Standard & Poor's 500® Index. FIS has also been named the number one overall financial technology provider in the annual FinTech 100 rankings.
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I cannot even tell you how thrilled I am with this box. I think it is the best one that I have ever received from Birchbox. Every single item is perfect and will be used. The OPI polish is beautiful it is liquid sand which I have already worn as an accent colour. The lipstick is a gorgeous coral colour and not some weird shade of brown that I usually expect in subscription boxes. I have wanted to try Beautyblender forever and Caudalie Divine Oil looks and smells amazing. Coola looks great and has been popped into my travel bag for Greece later this summer!
You can subscribe to Birchbox here and receive £5 worth of points which you can later use towards a purchase in their online shop. If you subscribe quickly you may still be able to get this amazing box! Subscriptions cost from £10 per month.
Did you get Birchbox this month?
Amazing box! You were very lucky as I've seen people complaining they didn't get beauty blender nor the Caudalie Oil.
I know I was so lucky this month but I do sympathise though, it is normally me complaining. I am thrilled with what I got and would go so far as to say it's my best BB yet!


Yasmin and Richard booked me to be their Longstowe Hall wedding photographer for their big day on 19 May 2018. Longstowe Hall is a spectacular wedding venue just outside Cambridge, with an Elizabethan ballroom and long lawns sweeping down to the lake. Any couple would be delighted to be married there and for me, being a Longstowe Hall wedding photographer is always a pleasure, too.
The day began with hair styling and make-up for Yasmin and her bridesmaids. I love capturing the emotions as the bride and bridesmaids prepare for the day. I also caught my first glimpse of her dress and bouquet – the guests would have to wait until later to see them, of course.
The weather could not have been more perfect, the sky was clear blue and there was not a cloud in the sky. The lake at Longstowe Hall has an island with a pavilion and a wrought iron bridge. It was a charming feature for the happy couple and one that made this photographer happy, too!
Yasmin walked with her father down the lawn in glorious sunshine, a bouquet of red and white roses in her hand and wore an elegant gown with delicate lace across the shoulders, the maid of honour wore crimson and the little bridesmaids were in white with a matching crimson sash. The couple were all smiles as they met at the bridge then walked across, hand in hand.
In contrast to the hot sunny day, the wedding cake was decorated with 'his and hers' penguins. This is just one of the little personal touches Yasmin and Richard chose for their wedding, I especially liked the little hand-written name tags on the chairs.
As evening came the guests stayed outdoors, with live music followed by a disco. The perfect setting to end a beautiful day. Wishing you many happy years together, Yasmin and Richard! If you were thinking of getting married at Longstowe Hall, I would love to be a Longstowe Hall wedding photographer again.


text:
Lankford Applauds 2022 USCIRF Report to Spotlight Worldwide Religious Liberty Concerns
WASHINGTON, DC – Senator James Lankford (R-OK) offered the following statement in response to the release of the US Commission on International Religious Freedom's (USCIRF) 2022 Annual Report, which includes the Commission's recommendations to the State Department for the designation of Countries of Particular Concern and recommendations for its Special Watch List:
"Religious liberty abuse is human rights abuse," said Lankford. "We have constitutional protections for every American so that they can have a faith, live that faith or change their faith. I believe we should work with our partners in the US and abroad to make sure that important value extends to people everywhere. The US Commission on International Religious Freedom's Annual Report is one way we are able to shine light on religious liberty abuses and hold other nations accountable. Recommending the State Department designate Nigeria and Afghanistan as Countries of Particular Concern is a big step forward to hold their governments accountable for their persecution of people of faith. We must continue to call out persecution where we see it."
The USCIRF Annual Report recommends the designation of Burma, China, Eritrea, Iran, North Korea, Pakistan, Russia, Saudi Arabia, Tajikistan, Turkmenistan, Afghanistan, India, Nigeria, Syria, and Vietnam as Countries of Particular Concern and Algeria, Cuba, Nicaragua, Azerbaijan, Egypt, Indonesia, Iraq, Kazakhstan, Malaysia, Turkey, and Uzbekistan for the Special Watch List.
Lankford remains a leader in advancing religious liberty and human rights around the world. Lankford joined Senators Marco Rubio (R-FL) and their colleagues to introduce legislation to reauthorize the independent US Commission on International Religious Freedom (USCIRF) through 2024. Lankford introduced legislation to reauthorize the Global Magnitsky Human Rights Accountability Act. Lankford recently received the Hero on the Hill award from Jeff King, President of the International Christian Concern (ICC), for his work to bring to light the persecution of people of faith around the world and his work to advance religious freedom.
This summer, Lankford received the inaugural International Religious Freedom (IRF) Champion Award, presented by Ambassador-at-Large for International Religious Freedom Sam Brownback under the Trump Administration. Lankford introduced a resolution to call for the global repeal of blasphemy, heresy, and apostasy laws around the world, which passed the Senate unanimously.


"Kibbey gave a fresh face to the familiar music, and the result was extraordinary."
From preludes and fugues of the Well-Tempered Clavier, to duo sonatas, to harpsichord concerti, to their own adaptation of the Goldberg Variations – the program escalates from the intimacy of solo harp, to duo, to counterpoint between all five forces in opulent concerti. The performance event offers varied instrumentation for continued energy and nuance – and the unique resonance of the harp lends a beautiful glow and virtuosity to these works – never before heard in a concert hall.
Bridget is touring this project in 2019/20 and 2020/21 with the Dover Quartet.
Please contact Frank Salomon and Associates for booking inquiries.


to you I just told him I would tend to that; he said you did not pay for them but he owed you ten cts. in change for the dygaritipes [daguerreotypes] so I settled the matter so now it stands between you & myself.
Description Letter to Sue Smith (later Mrs. David Minto) from Orren Sadler.