Rice is basically tridoshic and balancing for all constitutions although in India white rice is considered to have a slight drying quality and can increase vata. White rice may be too light or drying for vata types unless they consume it with oil, ghee or sauce of some kind. Brown rice is more heated than white rice and requires longer cooking to neutralize it; hence it is better for vata types. The longer it is cooked the more it is neutral, thus less heating. In general, the consumption of brown rice is recommended during the colder months and white rice during the summer months. The round rice, or short grained, is slightly sweeter than the long-grain rice; long grain rice tends to be more fragrant.
Preparation of Rice It is advisable to wash the rice before you cook it. Put the quantity of rice necessary in your pot; add water and wash, stirring by hand. Drain the water and repeat several times until the water is clear.
Pour washed and drained rice in a thick-bottomed saucepan and add the water. Cover. Bring to a boil over high heat and reduce heat to a minimum. Covered and cook with low heat for about 10 minutes or until total evaporation of water has occured.
Pour rice into a saucepan to preferably thick bottom. Bring to a boil over high heat and reduce heat to a minimum. Cover. Let Cook on very soft and covered for about 45 minutes or until total evaporation of the water.
Note: Brown basmati cooks faster, about 30 minutes.
Semi-Brown rice Proceed in the same way as for white rice but add 5 minutes of cooking.
Wild rice Proceed as for Brown rice.
Rice Machine or Rice cooker Nowadays with our busy lives the use of a rice machine can be very handy to cook white rice and semi-complete and some grains like quinoa, millet, rice etc. The same proportions of rice and water are shown in the above recipes rice is added. For cereals, add 2 cups of water for at least 1 cup of cereal. The machine turns off by itself and keeps the rice warm once the water evaporated. However, I do not recommend it for cooking brown rice or cereals like barley or wheat, for example, because these grains require a longer and slower cooking. With the rice cooker, you can focus solely on preparing vegetables.
Kichari Balance the three doshas. Helps detoxify and is very easy to digest.
Wash the rice and mung beans together several times. Add the ghee to a saucepan and heat with medium heat. Sauté the cumin seeds in the ghee until they burst or pop. Add the remaining spices and ginger while stirring. Immediately, add the rice and mung beans while stirring constantly for 5 minutes. Add the water and salt after removing from the heat. Cover and bring to a boil for 10 minutes. Then reduce the heat and cook 30 minutes at a low heat until soft; adding water if needed. Kichari is not a dry preparation, it is humid and moist.
Kichari (faster variant) Use the same ingredients, but instead cooking the spices in ghee, put all ingredients directly to in cold water. Bring to a boil and cook for 30 minutes over low heat. Serve with a little bit of ghee.


Aduna has launched a new community initiative around the Sesame project: OpenRDF.org. This new community website features forums, an issue tracker as well as documentation and a live demo of the Sesame system.
The aim of this new site is to actively engage users of Sesame in the development process, by sharing experiences and having people help each other.
A secondary aim is to invite developers to actively contribute to the Sesame codebase. This is facilitated a.o. by publicly advertising feature requests and maintaining a public issue tracker.
OpenRDF.org will be a site for Sesame users, by Sesame users, and will ensure that development of Sesame as a successful platform for metadata management can continue to improve.


Hot Air Circulating Double Door Dry Sterilization Oven Vacuum Drying Oven And High Temperature Furnace Description Digital Display Automatic Vaccum Dry Oven, Drying Chamber is used to dry, brake, dewax, sterilize and preheat various materials or specimen. By means of hot air circulation methods to uniform the temperature distribution. Specifications - - - - Model | GAG-5130-35 | GAG-5130-45 | GAG-5130-55 | GAG-5130-75 | Inner Size (mm) (HWD) | GAG-5130-45 | 450*450*350 | 550*550*450 | 750*600*500 | Temp. Rang () | RT+5~250C | Timer Range | 0~999min | Temp. Accuracy | 0.5 | Temp. Fluctuation(%) | 1 | Power (KW) | 220/110V | Net. Weight (KG) | 36 | 45 | 60 | 93 | - - - - Features 1. Both the internal and external of box/chamber body are made of high-quality steel sheet by welding, the surface is electrostatic power-spraying treated, internal workroom is made of mirror stainless steel or coated with high temperature resistant silver paint, the door with observation window or it's double-door structure, it's novel and elegant in appearance and has advantage of energy saving. 2.Microcomputer-based intelligent digital display temperature controller, it is accurate and reliable in temperature control, it is able to display preset temperature and actual temperature inside box synchronously; it has alarm functions of over-temperature/heat, electric leakage, and sensor error; also has timing function. (intelligent LCD temperature controller is optional) 3. Adoption of low-noise fan and suitable air channel that form the hot air circulating system, the heated dry air flows through the objects directly to dry and sterilize. 4. Besides the above-mentioned function, the upgraded LCD temperature controller also has function of programmable temperature control, it can be equipped with RS-485 interface which is used to connect the recorder and computer for recording the change situation of temperature parameters(Optional). 5. high competitive factory price with high quality and power after-sales service. Applicable industries Electric Dry Oven widely used in paint, resins, plastics, printing and packaging, aluminum, adhesives, auto, cosmetics, metals, electronics, electroplating, medicine, etc.
Posted By: Gaoge-Tech Instrument Co., Ltd.
Business Description: To be the customer of GAOGE-TECH, we will cooperate based on complete trust and comfort. You will find we are a reputable supplier and worth your trust. We understand every customer is valuable. We will value every chance you give to us.


Autodesk University 2006 registration is now open!
Hope to meet you in Las Vegas!
I have recently added a new button at my Blog to allow chat conversations.
The idea is to schedule some chat sessions with users to discuss specific subjects.
You may start to send me your subject suggestions by e-mail so I can start to create a schedule for the chat sessions.
As I always did all information at this Blog is free as any other provided tools. The idea is to keep this site alive with Google ads and now with "Make Donation" button.


When I first created this page back in 1999, it was quite cool to have a little widget on the screen displaying the current time with the image of some old nixie tubes. Today, every OS has plenty of cool widgets and this page is somehow outdated. Still, I like watching at vintage displays, and I like having a little clock on my computer that looks like my old vintage laboratory instrument. So this page is more a nostalgic excuse to think about great components of the past than a useful clock.
All digits are real pictures of the original displays. Only the decimal points have been retouched a little bit to allow more space between the digits and make the clock easier to read. It has to be pointed out that not all displays have a decimal points at all, like the ST12C nixie tube. Some others have two, before and after the digit, like the ITT5870S or the LT303, so I had to cheat a little bit with these dots. Than, the HC1331C is a 3½ digit LCD display: it wouldn't be possible to display 6 digits as done here, but still I like the result.
You can select the display you prefer and your favorite 12h or 24h mode by clicking the corresponding option: they are saved in a cookie for the next time you open this page. The year reported for every display is either the year the component was manufactured or the year I used it in some instrument. In 12h hours mode, the decimal point between hours and minutes indicates PM.
You can also choose to hide all this comments and keep only the clock. This is useful to have the clock in a small browser (pop-up) window. Click here to open this page in a popup without title and menus (but this only works if your browser is configured to allow it), than hide the text in the main window and hit the reload button on the popup.


Pomegranate juice's calcium is necessary for development and strength of bones and teeth building in baby. Benefits and other effects of this mineral can noted to aid blood coagulation and muscle soft. Calcium requirements periods of pregnancy and lactation is almost twice and during the the first 4 months of pregnancy is necessary.In addition, this mineral is a naturally relaxing.
One of the richest sources of calcium is pomegranate juice. Every 100 grams of fresh pomegranate juice, there are 10 grams of pure calcium.


text:
@implementation UIImage (Mask)

- (UIImage*) maskWithImage:(UIImage *)maskImage {

    CGImageRef maskRef = maskImage.CGImage;

    CGImageRef mask = CGImageMaskCreate(CGImageGetWidth(maskRef),
                                        CGImageGetHeight(maskRef),
                                        CGImageGetBitsPerComponent(maskRef),
                                        CGImageGetBitsPerPixel(maskRef),
                                        CGImageGetBytesPerRow(maskRef),
                                        CGImageGetDataProvider(maskRef), NULL, false);

    CGImageRef maskedImageRef = CGImageCreateWithMask([self CGImage], mask);
    UIImage *maskedImage = [UIImage imageWithCGImage:maskedImageRef];

    CGImageRelease(mask);
    CGImageRelease(maskedImageRef);

    // returns new image with mask applied
    return maskedImage;
}

@end

redpajama_set_name: RedPajamaGithub


text:
Luko Zore (Cavtat, 15. siječnja 1846. – Cetinje, 9. prosinca 1906.), poznati dubrovački filolog, književnik i političar, jedan od najuglednijih i najutjecajnijih članova srbokatoličkog pokreta. Posebice je zapažen kao zauzet kulturni radnik.

Bio je među pokretačima časopisa Slovinac (1878. – 1884.) i njegov urednik te glavni pokretač časopisa Srđ (1902. – 1908.). Do 1897., dok je ondje radio, bio je jedan od najomiljenijih profesora u Dubrovačkoj gimnaziji, a potom upravitelj Muške preparandije u Arbanasima pokraj Zadra. Zadnje godine života, nakon umirovljenja 1901. godine, proveo je u službi crnogorskoga kneza Nikole Petrovića na Cetinju. Knez ga je 1902. bio imenovao za odgajatelja svoga najmlađeg sina Petra. Iako tjelesno odsutan, bio je u stalnoj i djelatnoj vezi s Dubrovnikom, posebice je skrbio o Srđu. Pisao je drame, pjesme, kraće prozne sastavke, a najpoznatije mu je djelo opsežan antiklerikalistički, slobodoumni, racionalistički i liberalni spjev Objavljenje. To djelo probudilo je veliko negodovanje u klerikalnim dubrovačkim i dalmatinskim krugovima, osobito onima oko Katoličke Dalmacije koju je uređivao don Ivo Prodan. Neki dijelovi spjeva bili su tijekom svetih misa javno spaljivani na oltarima nekih dubrovačkih crkava. Iako je bio jedan od srbokatoličkih predvodnika, nikad nije stupio u redove Srpske narodne stranke, nego je do kraja života ostao u redovima Narodne stranke, čak i onda kada je 1899. promijenila naziv u Narodna hrvatska stranka. Kao njen kandidat bio je nekoliko puta biran u Dalmatinski sabor. 1903. objavio je djelo Dubrovčani su Srbi. Dopisni član SANU postao je 30. siječnja 1884. godine.

Izvori

1. Tolja, N: Dubrovački Srbi katolici - istine i zablude, Dubrovnik, 2011.

Životopisi, Dubrovnik
Dubrovački srbokatolički pokret

redpajama_set_name: RedPajamaWikipedia


text:
GUNDERSON YOUNG INVESTIGATOR AWARD
Description: The North American Society for the Study of Personality Disorders (NASSPD) has established the NASSPD Gunderson Young Investigator Award. This research award was established to encourage young investigators to pursue research to increase our understanding of personality disorders. We, the Board, will award the distinction of the Gunderson Young Investigator Award to the student whose paper has been judged to be the best by a committee of distinguished personality disorder researchers. The winner, who will receive a $1,000 cash award, will be notified on 2/10/20. The award will be announced to our membership at our 2021 Annual Conference. The award includes a framed plaque. In addition, the winner will have the opportunity to have a journal version of the paper published in Personality Disorders: Theory, Research, and Treatment.
Eligibility: "Student" means anyone who is currently enrolled in an undergraduate, graduate, professional degree, residency, fellowship, or postdoctoral program. Proof of eligibility must accompany the submission (e.g., signed statement by professor, lab PI.).
Submissions: Interested students should submit their paper, on which they must be the first author, and a cover letter with confirmation of their eligibility. The paper 1) may not be a previously published paper, 2) must be original research on any topic related to the study of personality disorders, and 3) should be no more than 35 pages double-spaced including tables, figures and references in American Psychological Association format.
Please submit papers and proof of eligibility electronically to:
NASSPD Research Awards Committee
c/o Dr. Donald Black
Email: donald-black@uiowa.edu
Deadline for submissions:
Submissions must be received by: Sunday, January 10, 2021
Announcement of Winner:
The winner will be announced on: Wednesday, February 10, 2020

redpajama_set_name: RedPajamaCommonCrawl


Plot Diagram – Plot Chart – Plot Graph – Plot diagram depicts the plot of a novel or a text through the different stages including exposition, rising action, climax, falling action, resolution. Novel plot chart. Plot graph showing text development. Plot Diagram Diagram - Chart - diagrams and charts with labels. This diagram depicts Plot Diagram and explains the details of Plot Diagram.
This entry was posted in General and tagged novel plot, plot, plot chart, plot charts, plot diagram, plot diagrams, plot explained, plot graph, plot graphs by admin. Bookmark the permalink.


Join a former COSA Chair and honorary "dean" of School Law for an inspirational and thought-provoking session that will be meaningful for new and seasoned school attorneys alike. Mr. Pickett guides you through fundamental principles of successful school law practice that are usually learned only through experience and mentoring. His wisdom will help new school attorneys as they get started and will reinforce some basics for experienced practitioners. This webinar is exclusive to our COSA and State Association Counel members.


Use Color Coat from SEM Products for a perfect finish on your interior restorations. Color Coat flexible coatings can do it all--from vinyl to plastics to carpet, they offer a complete renewal for the inside of your ride! Containing no dyes, SEM permanent interior coatings are formulated to match, restore, or change the color of your existing interior components without fading and maintain the material's texture and feel. Choose from a wide selection of colors to rejuvenate the inside of your ride. Make the right choice in interior restoration--SEM Color Coat!
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text:
Roxanne de Bastion
Tales from the Rails
Posted on March 4, 2019 March 4, 2019 by Roxanne
Canada Tour – the ice wind, the snow and the warmhearted folk
I hadn't quite realised how much I'd missed being tired and singing every night. It had felt like an eternity since I'd been on a proper adventure tour like this. The kind of tour where you have no idea what to expect from day to day, what the venue will be like, what the audience will be like, where you're staying and whether or not there will be cats to cuddle.
FOLK ALLIANCE INTERNATIONAL
The sub-zero Canada tour kicked off with four days of performing at Folk Alliance International, a music industry showcase and networking event for folk, roots and acoustic music. It's quite a challenge to aptly describe the insanity of this event. It all takes place in one hotel (this year it was held in downtown Montreal), which is taken over by 3000 folky delegates. Larger showcases take place in conference rooms throughout the afternoon and smaller ones are held in actual hotel rooms across three different floors from 10pm to 5am. Some rooms have had the bed removed and are equipped with a PA , others simply have chairs crowded around the bed, the performer snug in the corner, performing unplugged. At any given point between those hours, there are about 150 shows going on at once. That's a lot of songs and that's a lot of energy. The corridors become a stream of musicians negotiating upright basses, guitar cases, hats and whisky hidden in coffee cups. There's a definite Fear and Loathing vibe about it, just with fiddles and banjos. I performed seven times across those four days and recorded one live session (which I'm looking forward to sharing with you soon). Highlights were getting everyone to join in with robotic harmonies on my new song 'Molecules' (helps having about five musicians in every room at any given moment) and playing Martha Wainwright's 'Blood Mother Fucking Asshole' in the Momentary Love Management Showcase Room as part of the Canadian songwriter celebration on the final night. Another definite highlight was the Beatles sing-along I hosted on Friday night from 3am – 5am in the Black Oak Artist's room (of course that was something I was going to say yes to when asked). The session featured some amazing impromptu renditions with a harp and an actual string quartet. On all four nights, I loved walking to my hotel in the early hours, beautifully crisp air guiding me down snow-covered streets.
I'm not sure what this Folk Alliance will bring me (after the last FAI, I started working with the wonderful Denis Grabill of Black Oak Artists, who's since booked two US and two Canada tours for me), but I definitely got to meet a lot of amazing musicians and music people and the rest, time will tell. If you want a folky-fix, some of my musical highlights included Jellyman's Daughter, Hayley Reardon, Jake Morley and Teghan Devon. Special thanks to Lou DeMarco, Denis Grabill, British Underground and Candace Shaw for having me showcase in your rooms.
THROUGH THE ICE AND SNOW
On Sunday morning, while the hotel lobby was heaving with hungover musicians scrambling to check out in time, my touring buddy Megan Palmer and I climbed into our little rental car and made our way to the first show. In a way, it felt good not to stop, still in a daze of late night singing and impossible schedules, might as well keep it going for a little while longer. We had one week's worth of shows to play across Ontario and Quebec.
Megan Palmer is a singer songwriter, originally from Ohio, but based in Nashville. We got teamed up for this tour by our US booking agent and hadn't met until Folk Alliance – sort of like a musician blind holiday. After the first hour's drive which took us to our first location, a house show in Russell, I had no doubt that it would be great sharing the week and getting to know each other and our music. It's a funny thing pairing up two people who turn feelings and impressions into songs for a living. We both write music that's quite personal and that tells a story. Emotions were high at the first show and there was a point when we and the audience were all tearing up. A cathartic evening of sharing songs with lovely people after the whirlwind of experience of the last days.
Kitty and Dan were amazing hosts and kindly put us for another day after the show. It was quite something, being part of a warm family for a day in a beautiful house surrounded by snow. It was sweet being called down for dinner along with their kids..
"Owen…dinner!"
"Roxanne…dinner!"
It was -14 degrees centigrade when we left Russell. When we arrived in Wakefield, we couldn't see the house we were staying at for all the snow. Our gig was hosted by Megan's friend and old band mate Luther (of Luther Write and the Wrongs) and was taking place at La Hibou. The show was good, but what I'm taking home from Wakefield are memories of hanging out with a bunch of musicians and excellent humans, playing and listening to music together until the wee hours. And the snow. I've never seen that much snow in my life.
The first two shows were in such rural, snowy places, that when we arrived in Kingston, Ontario I was almost taken aback by high streets, buildings and people. La Musiikki is a music venue that specialises in Whisky and coffee… so really you couldn't have found a better match for me. Kingston is a university town and the audience was great, building from sound technician and two people five mins prior to show time, to a packed room throughout the night. We ended up playing a marathon three hour show. It was fun. I was very ready for sleep when we finally hit the pillow at 4am.
The final shows were at the beautiful Old Church Theater in Trenton and a lovely house concert in Guelph. Audiences throughout were super attentive and kind, but the final house show takes the prize for being the most 'up for it', singing along to our songs unprompted and making this show a super worthy grand finale.
I love dipping in and out of universes and collecting people along the way. That's what touring is really: every day you travel and nose-dive into someone else's life, staying in someone else's home and hanging out with a different cluster of friends and family. Some you leave behind and never see again, treasuring the memory of deep conversations over empty wine glasses with generous hosts. Others you collect and revisit, building an eclectic international tour family made up of musicians and music lovers.
CANADA STEREOTYPE CHECKLIST
Coffee and Donuts from Tim Horton's? Check.
Avril Lavigne blasting out (insert Canadian accent) of the car radio speakers as a 'Car Canada' taxi overtakes us on the snowy streets? Check.
Watch a curling match and drink Canadian pale ale on your day off? Check.
Have people apologies to you lots for no apparent reason? Check.
Friendly, laid back people smoking weed out on the streets? Check
Sitting by a log fire while it's snowing outside? Check.
Moose sightings? Nope. Not a single one.
I left Toronto and its ice winds behind and landed in sun soaked London on the warmest February day in our recorded history. It was nice to come home to see posters for Black Deer Fest up across town.
This is me, pointing at me!
Now it's time to record the new songs and then play some Festivals. My next show is in Liverpool on March 30th at BBC6 Fringe Festival. Thank you to everyone who came along to the shows in Canada, who put us up, hosted a show or helped in any way. I will be back to see a Moose.
CategoriesTales from the Rails TagsBBC6 Festival, Black Deer Festival, Canada, DIY touring, Folk Alliance International, Montreal, Ontario, Toronto
4 Replies to "Canada Tour – the ice wind, the snow and the warmhearted folk"
Stuart O. says:
A truly splendid adventure! X
Richard de Bastion says:
Moose das sein?
Howard Schneider says:
Very sorry I missed your Canada tour…would have loved to watch you perform your music once again…just didn't know you were here. I still enjoy listening to your record.
ah sorry Howard! Are you subscribed to the mailing list? Might be a good idea to make sure you don't miss shows! Greetings from London town!
Previous PostPrevious 2018 and what I did with it
Next PostNext 2019 and what I did with it
I've written a book!
Over that past years, I've spent time on trains writing about my musical travels. I realised that 'Tales From the Rails' now tell a story that starts from my very first open mic in the UK to performing on the acoustic stage at Glastonbury – a good moment to tie a proverbial bow around it and turn 'Tales From the Rails' into an actual book.
Read More / Order Now
© 2017 Roxanne de Bastion | Imprint | Press Downloads
web design by espea.de
/wp-content/themes/roxanne-de-bastion-2017/music/Roxanne%20de%20Bastion_RUN_radio.mp3


text:
Official Website of the City of Meridian
Guide for Residents Air Quality
Public Safety Code Enforcement
Transportation Pathways
Utility Services Trash & Recycling
Overview City Code
Development Building
Government City Council
City Hall City Hall Tours
Initial Point Gallery
Meridian History Center
Citizen Access Citizen Access Portal
Public Applications
City News and Meetings City Blog
City Events Community Calendar
Fire Home
Facilities and Apparatus
Comments/Feedback
Firefighters Association
Salmon BBQ
Pipes and Drums
Pipes and Drums Home
Members/Contacts
Pipes and Drums Events
Pipes and Drums History
Rural Fire District
Rural District History
Rural District Commissioners
Rural District Meetings
Rural District Minutes
Meridian Fire Bell - Purchased in 1911
The fire bell is a significant part of the Meridian Fire Department history. The bell was originally purchased 100 years ago and placed in the waterworks station in order to notify the volunteer firemen that there was a fire. The Hello girl would ring the bell directly from the central telephone station.
The bell weighs approximately 550 lbs. The cast steel bell is 36" and was purchased on August 18th, 1911 for $52.50.
As technology advanced the bell was no longer used and for awhile hung above the only fire station within the Meridian Fire District. It was then used for many years at Meridian High School and rung in honor of every touchdown. After a while, it was retired from the football games and sat below their bleachers. Then in the Spring of 2011, Captain Bill Allen contacted Meridian High School and was able to return the bell to the Meridian Fire Department.
The Meridian Fire Department members used their talents and restored the bell to its original condition by soda blasting off the blue and gold Meridian High Warrior paint. On September 11, 2011, just past the bell's 100th birthday, the bell was dedicated in a ceremony held at Station 1. The bell now hangs in its permanent resting place in front of Meridian Fire's Station number 1 on Franklin Road.
Please see below to read the full article from 1913 on the Meridian Fire Bell.
Meridian, Ada County, Idaho, Friday, January 31, 1913
Meridian's Fire Bell
Meridian's big fire bell, in case a fire alarm being sent in, is rung direct by the hello girl at the switchboard in the telephone office here. This is, so far as known, the only place in this state where the fire bell itself is rung direct from the central telephone station, says Capital News.
When the central telephone office in Meridian receives the information of a fire, the telephone girl immediately closes a switch on a private line running from the telephone office to the mechanism that proceeds automatically to ring the fire bell. This bell is 36 inches in diameter and weighs 600 pounds. It is a clear toned bell and is easily heard all over town. The Meridian telephone central has a 24-hour service; therefore, central can be called up at any time of day or night, and the fire bell will be rung immediately to give the general fire alarm.
The mechanism that automatically rings the fire bell is located in the water works station, about 24 blocks from the telephone office. It is a very simple device and is the result of some original thinking by O. Price, the superintendent of the Meridian water works.
When the telephone girl closes the switch on the private line above mentioned, the current starts in motion the little horsepower motor at the water works plant. This motor turns a crank which strikes a lever, which draws the bell hammer away from the bell. Each time the lever is released the strong spring on the hammer causes the hammer to strike the bell.
The crank on the motor makes 41 revolutions to the one revolution of the crank shaft. Each revolution of the crank shaft causes the hammer to strike twice. In other words the hammer strikes the bell 82 times a minute.
Mr. Price used two gears taken from an old cream separator and two gears from an old grain binder. These gears are attached to the motor and to the crank shaft. The bell is hung in the tower of the big water tank. A wire runs from the bell hammer to the lever.
This simple mechanism adds much to the efficiency of Meridian's fire department.
The well which furnishes Meridian with pure water is 256 feet deep. The water is pumped by electricity through a six-inch casing, into the big 30,000 gallon tank. When the well was first tested two years ago it had a flow of 235 gallons of water per minute. A few days ago when a test was made this well's flow was found to have increased to 333 gallons per minute. This increased flow is due to the sand in the well having been pumped away, thus causing the water to flow more freely.
© Copyright , Meridian, Idaho. All Rights Reserved. Privacy Statement Terms of Use
33 E. Broadway Ave., Meridian, Idaho 83642 View on Map | Phone: 208.888.4433


text:
Q: build tools 21.1.1 proguard not recognizing `-keep` and rules Warning:library class org.apache.http.conn.ManagedClientConnection extends or implements program class org.apache.http.HttpClientConnection
despite having -dontwarn org.apache.** in my proguard rules file
Warning:org.joda.time.Weeks: can't find referenced class org.joda.convert.FromString
despite having -dontwarn org.joda.** in my proguard rules file, and -keep class org.** { *; } along with -keep interface org.** { *; }
Warning:there were 140 instances of library classes depending on program classes.
Error:Execution failed for task ':app:proguardRelease'.
> java.io.IOException: Please correct the above warnings first.

so then I look at my app structure
 buildTypes {
    release {

        minifyEnabled true
        proguardFiles getDefaultProguardFile('proguard-project.txt'), 'proguard-rules.pro'
        signingConfig signingConfigs.release
        zipAlignEnabled true
    }
   }

proguard-project.txt is in the same folder as this build.gradle file in this module.
Not sure what is broken now, I guess there is something else that nobody told me about when I was required to update to Build Tools 21.1.1 to make other things work. any insight appreciated.

A: My solution was to copy all of my rules into proguard-rules.pro which the IDE had previously automatically generated for me, and then proguard worked as expected
I still don't know where getDefaultProguardFile('proguard-project.txt') is supposed to be located, but it is not being read, I moved it within my module and in the root folder of the project.

redpajama_set_name: RedPajamaStackExchange


(Ecofin Agency) - The United States of America's decision to postpone the increase of its prime rate was poorly broadcasted by African media yet two African countries are directly affected by this decision. They are namely South Africa and Egypt that are among the relatively important investors in the US bonds.
Data compiled by Ecofin Agency indicate that the two countries invested differently in 2018. During the period under review, South Africa reduced its investment in the US bonds by about $15.1 billion while during the same period, Egypt increased those investments by $7.1 billion despite problems in its external balance.
The FED's decision to keep the same prime rate, with a low prospect for a new hike, clearly indicates that the profit opportunity on these bonds will be significantly reduced. It is hard to say whether South Africa followed a trend within the BRICs but, it is to be noted that Russia (another member of the BRICs) is the leader in this divestiture strategy with an $83.7 billion disinvested from the US bonds. China and India follow suit with $44.7 billion and $7.3 billion disinvested during the period under review. Among the BRICs, only Brazil differentiated itself by investing more than $34 billion in the US bonds during that period.
The Egyptian Central Bank's 2018/2019 report will shed a better light on the various decisions that led to its increased investments in the US bonds in 2018. But, for the meantime, let's note that institutions like Afrexim Bank and the AfDB are now encouraging African countries to invest in their bonds for the development of their continent.
According to Afrexim Bank's 2018 report, African countries' total foreign reserves was $417 billion at end 2017 covering an average of 7.3 months of imports.


Rodrigo Suarez is a guitarist in the Metro Atlanta area with many years of experience including live performances in Rock, Pop, Metal, Jazz, R&B etc. He is also a current Kennesaw State University alumni on track for a Jazz Performance Degree and Entrepreneurship Minor. His goal is to use the skills and knowledge he gathered in order to help hammer through the glass ceiling in his student's techniques and habits, and by keeping things fun and exciting he hopes to inspire and push their highest ambitions.
It is Rodrigo's believe that, "Music has been part of the human element from the birth of our elevated consciousness. As we evolve as a culture, society, etc. so does the intricacy and artistry of our music. Music can tell so much about our culture philosophies and way of life and this is why we must continue to push, enjoy, and learn." With this in mind its is his humble wish to be an important element for your experience of musical growth.


Discarded porch awnings, bird nests, bedding plants, we must be working outside - right? Not so fast.....these make fabulous decor accents in any room.
We brought the outdoors inside in this display during the last Canton show. I purchased the scalloped awning from my close friend and fellow Canton vendor, Debbie Pongetti, aka Funky Junk. This great piece came from an old farmhouse and I laid claim to it the moment she unloaded it. Aaahh......the perks of set-up day!! (Btw, Debbie and I are next door neighbors in the Arbors.) This unique find has been resting in storage for the past few months awaiting a summer show, so I was excited to finally drag it out. It's a funny thing….when we hung this awning in the booth, I had a price tag on it. But, after gazing at it for a couple hours during set up, I casually yanked the tag because I couldn't part with it!! A frequent occurrence for me in this biz!! Whoever coined the phrase "Don't get emotional about business", certainly never dealt in antiques or junk!!
I put cup hooks inside of the awning and dropped 5 chrome pendant lights at alternating heights. It's always fun to mix old farmhouse items with something that has a young edge to it like the shiny chrome lights. Once that was completed, I snagged an old iron army cot from storage and covered it with an antique crocheted bed coverlet. The result was a great vintage look that had a lot of fun energy.
An old white farmhouse table complete with square nails was the resting place for a garden themed table setting. Old silverware is neatly divided in mason jars in a handled toolbox and tall apothecary jars played host to leftover bedding plants – they make great terrariums! In the center of the table is a white ironstone tulip vase – one of the most unique items we've had the pleasure to sell. This vase can take a simple $4.88 bunch of daisies from Wal-Mart and make them look amazing!! Flower arranging made simple for anyone!
I love it!! It's wonderful the way you've mixed things up with the chrome lights. This is just beautiful!
I love your pictures. So cute, and what a great idea.
What a wonderful idea! Very creative repurposing with a lovely result!
I really do like your blog...love that dollhouse! I am adding you to my list so that I can visit often!
Yes, that whole setup excited me to no end...it was spectacular! I'm glad you have posted a photo so I can see it now any time...did you notice that I used a green cloth under my crocheted tablecloth like you did? I need an awning!! lol!
Just wonderful! You are very inspiring!!
I just love that idea with the awning...I have seen them sooo many times, now that I can think of a use for it, I will probably never see another!


20 good for YOU snacks!
game day recipes that will ROCK a crowd!
Hi there! I'm Joanne, and I'm glad you're here! A bit about me - My loves include cooking and photography, my furbaby Bubba and those special people in my life. Drop by often to check out my various cooking attempts (good and bad), my DIY projects, and whatever else strikes me as cool at the moment. All of that and more, seasoned with sarcasm and awesomeness. Come on now, grab a coffee and hang out with me for a bit!


text:
Q: How to set '/*' rout in codeigniter 3.x I want to rout all the request to one function
eg : $route['products/*'] = 'catalog/product_lookup';

so if I request
products/abc

or
products/xyz/akj/

or
products/1027/01/12

or
products/.....

all this case I need to trigger "catalog/product_lookup"
inside product_lookup I need to get the routs after products
Any idea ?

A: $route['products/(.*)'] = "products/product_lookup";

Here I assume that you request domain.com/products/product-name and it will map in products which is a controller, product_lookup which is a function and rest all will be parameters
For more details: http://naveedramzan.com/codeigniter-url-rewriting/


Controversial Gatundu South MP Moses Kuria has now shifted his guns to National Assembly Majority Leader Aden Duale, accusing him of persistent sabotage and plot to kick him out of powerful house committees.
On his Facebook page on Monday, Kuria accused Duale of witch-hunt, adding that the Garissa Town MP after all does not have powers to dewhip him.
"So now Aden Duale wants to dewhip me from the two committees that I serve in. First, you are not qualified to do so. This is the work of the party through the Secretary General Raphael Tuju And Chief Whip Ben Washiali, Secondly I have no problem being removed from the Transport and Budget Committees as long as the correct procedure is followed.
"Bring it on! I serve in the committees at the pleasure of the party. If the party decides that my services in the committees are no longer required, I will oblige. Third, all this persecution will come to an end one day," he said.
Mr Kuria's relationship with Duale has diminished lately despite both supporting Deputy President William Ruto's 2022 State House bid. While Kuria plays a vital role in Central Kenya, Duale is the lead campaigner among the pastoralists.
Last year December, a section of Mt Kenya MPs led by Kuria openly threatened to kick out Duale from the powerful house leadership post. The plot was however not realised.
Mr Kuria has also been struggling to win the confidence of President Uhuru Kenyatta, who recently dismissed his discrimination claims on Mt Kenya development agenda.


text:
Teton Trade Beads
Trade Beads were carried by traders and explorers to North America and Africa in the bellies of ships to be used to acquire trade items (primarily hides) from the North American Native population and sent back to Europe. The beads sent to Africa were often the same styles as the ones sent to North America, were used in a significantly more nefarious and heinous trade. Most of the trade beads originated from Venice Italy, where glass and bead making was a secretive and highly prized industry. The manufacturing process of beads were so important to the economy in Italy, that the Venetian Government instated a law, after several bead makers went to France to start bead manufacturing there, that the families of these "traitors" would be imprisoned until they returned to Venice. We are proud to offer both antique and reproduction trade beads. Our reproduction trade beads are made to the highest standard, hand made using old beads as reference to ensure that they match as closely to the original as possible. If you have a trade bead that you want and have not been able to find, send us a photo and we will consider having it reproduced. Some of our trade beads are actual antiques, vintage beads that are offered on an extremely limited basis.
The left is an antique black "French Ambassador" antique trade bead. Individually these beads sell for $50. High quality reproductions (right) are available from Teton Trade Cloth for a fraction of the price.
"Russian Facets" also known as Bohemian Facets were made in Bohemia (now the Czech Republic) and were sold to Russian fur traders who used the beads to trade for furs that were sent back to Russia. These are highly prized and beautiful beads used by Native People all across the United States


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Chorthippus maritimus is a species of slant-faced grasshopper in the family Acrididae. It is found in Asia.

Subspecies
These subspecies belong to the species Chorthippus maritimus:
 Chorthippus maritimus huabeiensis Xia & Jin, 1982
 Chorthippus maritimus insularis (Storozhenko, 2002)
 Chorthippus maritimus jacutus (Storozhenko, 2002)
 Chorthippus maritimus karakalensis Sychev & Woznessenskij, 1995
 Chorthippus maritimus maritimus Mistshenko, 1951
 Chorthippus maritimus saitorum (Ishikawa, 2002)

References

Further reading

External links

maritimus


I'm sure he feels homesick too. But there are ways he could fight the homesickness off. Right now, he needs to focus on the career to give your family a better future. After that, you'll be seeing each other. Who knows, you might even move to Germany!


text:
Chapter Forty-Three
AS SOON AS Lord Oxford was restored to full liberty and able to meet them on their own ground, he saw to it that his and the Queen's traducers were brought to justice.
It is all too evident, since Elizabeth was receiving handsome New Year's presents from Henry Howard and the Earl of Arundel so late as 1583, that she was still permitting herself to be deluded and flattered by these dangerous enemies. But Oxford had had more than enough of her equivocal behavior. Knowing full well that it was the love-affair with Anne Vavasor which had really set her against him and that she was allowing a serious slur to be cast upon his name merely to cloak her jealous pique, he was determined to check her laisser-aller attitude toward the real culprits, no less than to vindicate his honor. And this he succeeded in doing.
Soon, through his exertions, Lord Henry Howard was placed under restraint again, while Charles Arundel, with several frightened companions, ran away to Paris, albeit unlicensed by the Queen, "for their conscience," as they stated, "and for fear, having enemies" in England: Arundel promptly to become a spy in the pay of the King of Spain.
It was not long before Lord Oxford was so completely cleared in the matter of the conspiracy that his enemies at court had no further weapon against him. If the Queen had entertained the slightest doubt as to the justice of his accusations, it would finally have been dissipated; for while Henry Howard was living under restraint by royal command, he wrote a book containing tacit heresies, so suspiciously treasonable that he was sent to the Fleet, where he suffered great hardship.
By now Philip Howard, Earl of Arundel, had come under suspicion. Paying a visit to him in his London house, the Queen informed him on her departure that he was to consider himself a prisoner there. Two years later, suspected of overt disloyalty, he endeavored to escape from England but was apprehended, fined 10,000 pounds, and sent to the Tower, where he died after about ten years.
In 1585, Oxford received a challenge from one Thomas Vavasor, endorsed, "A lewd letter to the Earl of Oxford," (1) which began thus: "If thy body had been as deformed [sic] as thy mind is dishonourable, my house had yet been unspotted." Since this letter was written four years after his house had been spotted by the unfortunate love-affair, as it had doubtless been spotted before and would certainly be again by his wanton cousin's amours, the real cause of his anger must have stemmed from his connection with the Howard-Arundel faction and Oxford's remorseless prosecution of the traitors. The Vavasors were related to the Howards, and just now the Howard star was in complete eclipse. The writer discloses a source of his rancor when he says, "Is not the revenge taken of thy victims sufficient, but wilt thou yet use unworthy instruments to provoke my unwilling mind?"
One can only conclude that the "unworthy instruments" are the plays, and that the irate Vavasor had resented the ridicule in Much Ado About Nothing–as his use of the word "deformed" for Lord Oxford indicates–or seen himself as one of the dramatis personnae in The Tempest. From all we can now know, he may have been included in the unsavory shipwrecked group, for his venomous attitude suggests outraged vanity.
One cannot help noting again and again how consistently all documents derogatory of Oxford have been preserved, while everything in his defense–much of which would have been so eloquent–has been obliterated. This could of course be the result only of a deliberate policy in high places. No wonder he felt constrained to tell his story as fully as possible in the plays!
There is no record of a second duel with the Vavasor faction.
It was during Oxford's banishment from court that Captain Walter Ralegh had made his meteoric rise. He had appeared before Elizabeth for the first time in January 1582, to speak for his Irish plans against the opposition of Lord Grey. One year later he held top place in Her Majesty's favor. It may have been that, with this new and brilliant favorite to flatter her and pamper her vanity, the Queen could more easily be brought to condone her Turk's amorous defection. The time would come when Ralegh would suffer condign punishment for loving another woman; but just now he was young, dashing, persona grata to an indulgent Mistress.
In the Osborne Memoirs, published in 1658, the author records that "a most modest expression [was] uttered in my hearing by Sir Walter Rawley, none of her [the Queen's] least respected servants, who upon some discourse with the Duke of Buckingham, said to this purpose, That Minions were not so happy as vulgar judgments thought them, being frequently commanded to uncomely and sometimes unnaturall imployments." (2)
In 1583, Elizabeth granted Ralegh "the use of Durham House in the Strand, conveniently near to Whitehall, and one of the largest of the riverside palaces, which for many years had been used as a royal guest-house. Here he lived in splendour . . . [with] a retinue of forty persons and as many horses always maintained there. . . . In April 1583, the Queen induced All Soul's College, to grant him two beneficial leases. . . . In the following month he received a patent to licence vintners, by which he was entitled to half of all fines [imposed and] . . . a fee of £1 per annum from every wine-dealer in England. . . . In March 1584, a licence was given him to export a certain number of woolen cloths, a privilege extended in subsequent years." (3)
It will be recalled that Ralegh had, at Burghley's intercession, been the man most influential in securing Oxford's return to favor. Fortunate himself at this time, he could afford to be generous; besides, it was to everyone's advantage to win Burghley's good will; and Ralegh admitted, in his letter informing the Lord Treasurer of his success on the Earl's behalf, that this feature of the business had been the chief spur to his efforts.
The year 1583, despite his reinstatement, was a sad one in Lord Oxford's life. It marked not only the death of his and his wife's infant son, but also the death, after a lingering illness, of his devoted friend and ally, the Earl of Sussex, whom he had made the prototype of John of Gaunt in Richard II.
One of the first things Oxford did after his restoration to favor was to bespeak his father-in-law's intercession for his friend and kinsman, Lord Lumley. Once a member of the Privy Council, Lumley had wrecked his fortunes and almost sacrificed his life by participating in the Ridolfi plot of 1571. Turning to the pursuits of scholarship, he became High Steward of Oxford University, an office he held for fifty years, assembling there the fine collection of books and manuscripts which constitutes the famous "Royal Library" of the British Museum. Lord Oxford was trying to re-establish a spontaneous and cordial relationship with his father-in-law at this time, and was apparently willing to wipe the slate clean and do his part. His letter to Burghley shows 'his friendly and appreciative spirit. But it was obviously written before he had read the correspondence concerning his reinstatement.
I have been an earnest suitor unto your Lordship [he writes, June 20, 1583] for my Lord Lumley; that it would please you for my sake to stand his good Lord and friend, which I perceive your Lordship hath already very honourably performed; the which I am in a number of things more than I can reckon bound unto your Lordship, so am I in this likewise especially. For he hath matched with a near kinswoman of mine, to whose father I was always beholden. . . for his assured and kind disposition unto me. Further, among all the rest of my blood, this only remains. . . as your Lordship doth know very well, the rest having embraced further alliances to leave their nearer consanguinity.
And as I hope your Lordship doth account me now–on[e] whom you have so much bound–as I am; so be you before any else in the world, both through match–whereby I count my greatest stay,–and by your Lordship's friendly usage and sticking by me in this time wherein I am hedged with so many enemies. So likewise I hope your Lordship will take all them for your followers and most at command which are inclined and affected to me. Wherefore I say once again–being thus bound with your Lordship–to be so importunate in the matter, I crave your Lordship's favour in easing my Lord Lumley's payment to Her Majesty, wherein we will all give your Lordship thanks, and you shall do me as great an honour therein as a profit of it had been to myself. In this, through your Lordship's favour, I shall be able to pleasure my friend and stand needless of others who have forsaken me. Thus, for that your Lordship is troubled with many matters where you are, I crave pardon for troubling you.
Your Lordship's to command,
EDWARD OXEFORD (4)
The Earl seems really to have seen Lord Burghley in a double aspect, quite as he had recently depicted him in the two characters, Antonio and Gonzalo. It is as if he separated the older man's craft and relentless acquisitiveness from his human, hospitable, even kindly side; and while he could not forget, and was impelled to portray, the former, because it was a powerful force in his world and explained many things, including much of his own misfortune, he could still appreciate and feel affection for the latter qualities. If Burghley robs Peter, he nevertheless pays Paul, though in a different coin; and Oxford, as the dual Peter and Paul, can fairly evaluate the dual Burghley. It is curious, but one can find no other explanation for the paradox.
With the Lord Treasurer, the situation was less subtle, more concrete. He was proud of the alliance, he still hoped for a grandson who would be heir to the great Vere name. He really loved–although he craftily used–his daughter and wished her to be happy. But he could not keep his fingers in his own pockets; and never would he be able to forgive his son-in-law for seeing through him, to say nothing of dramatizing what he saw.
Of course, we should not overlook the fact that it was altogether to Oxford's advantage–it was even a necessity–to keep in his Lordship's good books, for in Elizabeth's time everything was obtained by favor. The Earl had learned at the expense of bitterness and disillusion that even a great peer needed friends at court. But it is easily seen that his attitude in this case was not entirely one of policy: he had a naturally warm and sanguine disposition, and after he had paid his respects to Burghley's meanness and deceit, he could sincerely take comfort from his better traits and his good offices.
When he writes, in the letter quoted above, of Burghley's "friendly usage and sticking by me in this time wherein I am hedged with so many enemies," he is simply Prospero speaking gratefully of the "honest old Counsellor," Gonzalo, who had befriended him.
However, he was not allowed for long to trust the old sinner. Four months after he had written the letter, he found himself again having to take a stand against the Lord Treasurer's inveterate trickery. This time, although he was obviously indignant, he was more temperate, and gave vent to his resentment only in the postscript of a letter he had written on business–something to do with an important suit in the attainment of which he needed Burghley's support.
The Earl seems to have been hard-pressed financially at this time. In fact, between 1580 and 1585, he was obliged to sell thirty-two estates. If this were partially for the sake of maintaining his theatrical enterprises, as it must have been, Burghley would have been incensed. He not only abominated the theatre and everything connected with it, he believed with all his soul that property was the sign and adjunct of gentility and must be guarded and enhanced. To Oxford, on the other hand, virtue, honor, and brave deeds were the attributes of nobility, money only a means to an end, and property something for stewards to supervise and maintain; he makes this clear in his plays. Another tenet of his code was personal privacy and dignity. Nothing so outraged him as having busybody tactics applied to himself and his affairs. This he also makes clear in the plays, signally in Hamlet. He sustains a courteous attitude in the formal business part of the letter, but he takes a stern position in the postscript:
My Lord, This other day your man, Stainner, told me that you sent for Amis, my man, and if he were absent that Lyly should come unto you. And I sent Amis, for he was in the way. And I think very strange that your Lordship should enter into this course towards me; whereby I must learn that which I knew not before, both of your opinion and good will towards me. But I pray you, my Lord, leave that course, for 1 mean not to be your ward nor your child. I serve Her Majesty, and 1 am that 1 am; and by alliance near to your Lordship but free, and scorn to be offered that injury to think I am so weak of government as to be ruled by servants, or not able to govern myself. If your Lordship take and follow this course, you deceive yourself and make me take another course that 1 have not yet thought of. (5)
Wherefore these shall be to desire your Lordship, if that I may make account of your friendship, that you will leave that course, as hateful to us both. (6)
He wished to be friends, but on honorable terms: he would stand for. no meddling, for no underhand methods. "I serve Her Majesty, and I am that I am; and. . . free."
The service he was performing for Her Majesty was concerned with his theatrical ventures, not only as lessee of the Blackfriars, where he was producing court comedies, and as patron of two companies of actors who toured the provinces, but as a prolific dramatist giving, through the medium of the plays, "abstracts and brief chronicles of the time" to a public which had no newspapers, forums, or other means of acquiring a general view of things or of obtaining respectable and stimulating diversion; and not only this, he was providing the elect with the truth of events in speeches and parables which, though "caviare to the general," held the mirror up to their more intimate or esoteric activities, showing "virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure." He might well say that "after your death you were better have a bad epitaph than [the players'] ill report while you live." For the cognoscenti recognized the characters who moved so significantly through the plays, wincing when they themselves felt the screws, smiling when others did, while quick to apprehend ,the subtle commentaries and symbolical meanings implicit in the action.
As for the phrase, "I am that I am," that came austerely from Lord Oxford's pen. From the bottom of his heart he meant these words. The more Burghley's meddlesome ways galled him, the more he felt goaded to give definite statement to his position. He did so now in Sonnet 121:
'Tis better to be vile than vile esteem'd,
When not to be receives reproach of being,
And the just pleasure lost, which is so deem'd
Not by our feeling, but by others' seeing;
For why should others' false adulterate eyes
Give salutation to my sportive blood,
Or on my frailties why are frailer spies,
Which in their wills count bad what I think good?
No; I am that I am, and they that level
At my abuses reckon up their own:
I may be straight, though they themselves be bevel,
By their rank thoughts my deeds must not be shown.
Unless this general evil they maintain,
All men are bad, and in their badness reign.
"I am that I am." It is the same expression he had used in his indignant protest to Burghley, who had been setting "spies" upon the work his "sportive blood" constrained him to engage in, men whose "false adulterate eyes" could not wisely judge his activities any more than Burghley himself could. The use of the word "level" is of special interest, if Amis was, indeed, pronounced Aims, as we have been told it was; for it was his man Amis whom Oxford had sent to Burghley to be, as he knew, questioned. And he who "aims" his eyes at abuses "levels" his eyes at them.
The Earl refused to be judged by the old Philistine's standards. Those men whom Burghley called his "lewd friends" were his companions and proteges in the literary field which he loved; the work Burghley condemned and undertook to spy into, Oxford was doing to "serve her Majesty," as well as to fulfill his own genius. The Philistine's "rank thoughts" could not make these deeds rank in the poet's eyes. We should not be surprised if it 'was as a result of this incident that he went so far as he did in characterizing Polonius, whom, in the early versions of Hamlet, he called Corambis, from the Lord Treasurer's motto, Cor unum, via una, indicating that, instead of having one heart, one way–or instead of being single-hearted and direct–he was double-hearted and devious: Corambis; precisely as Oxford had shown him to be in The Tempest and elsewhere, "Old Double." It may have been because Burghley had got wind of such a character in process of creation that he had put out a feeler. Some of Oxford's men were employed by Burghley in espionage for the government.
During his two years' banishment from court, so corrosive to his proud spirit, Lord Oxford had many compensations besides the fruitfulness of his own invention. The Euphuists were working together with enthusiasm, and intelligent, energetic men were joining with them under the Earl's patronage and support. Among the number, was the talented Robert Greene, of whom his biographer, Courthope, says that his most characteristic excellence "is the poetry of his pastoral landscape and his representation of the characters of women; in both these respects he exercised an unmistakable influence on the genius of Shakespeare."
Greene graduated from Cambridge in 1578, travelled, and then took his M.A. degree in 1581. By this time Oxford was a mature dramatist with pastoral plays, as well as a number of lovely women characters, to his account. (7) Green lived eleven years after he is said to have come to London; he was a friend and admirer of the Earl of Oxford, and he did not call him "Shake-scene" in his Groatsworth of Wit. In 1584, Green dedicated his Card of Fancy as follows:
To the Right Honourable Edward de Vere, Earl of Oxen ford, Viscount Bulbeck, Lord Escales and Badlesmere, and Lord Great Chamberlain of England: Robert Greene wisheth long life with increase of honour.
That poor little Castilian Erontino (Right Honourable) being a very unskilful painter, presented Alphonsus, the Prince of Aragon, with a most imperfect picture, which the King thankfully accepted; not that he liked the work but that he loved the art. The paltering poet Cherillus dedicated his dancing poems to that mighty monarch Alexander, saying that he knew assuredly that if Alexander would not accept them that they were not pithy, yet he could not utterly reject them in that they had a show of poetry. Caesar ofttimes praised his soldiers for their will, although they wanted skill. . . .
The classical parallels are too numerous to quote, but the author finishes thus:
And your Honour being a worthy favourer and fosterer of learning hath forced many through your excellent virtue to offer the first-fruits of their study at the shrine of your Lordship's courtesy. . . yet this I assure myself, that they never presented unto your Honour their treasure with a more willing mind than I do this simple trash, which I hope your Lordship will so accept. Resting therefore upon your Honour's wonted clemency, I commit your Lordship to the Almighty.
Your Lordship's most dutifully to command,
ROBERT GREENE(8)
Discounting the conventional flattery, we contend that the sincere admiration and respect expressed by such men of letters is more to be trusted than the vilifications of traitors unmasked, even if this were the sole testimony available to us. Greene hardly sounds like a man writing to one who has learned from him; quite the contrary!
Angel Day, in dedicating his first book, The English Sectorie, 1586, says, after many protestations of respect:
My honourable Lord, the exceeding bounty wherewith your good Lordship hath ever wonted to entertain the deserts of all men, and very appearance of nobility herself. . . in the worthiness of your stately mind, warrenteth me . . . to recommend unto your courteous view the first-fruits of these my foremost labours, and to honour this present discourse with the memory of your everlasting worthiness. And albeit, by the learned view and insight of your Lordship, whose infancy from the beginning was ever sacred to the Muses, the whole course hereof may be found nothing much. . . [as to appear] in any sort answerable to so great and forward excellence.
It was in this year that William Webbe paid tribute, in A Discourse of English Poetry, to the Earl of Oxford's pre-eminence "in the rare devices of poetry."
Yet, in the face of such testimony as all this, the fiat of the Philistines has been accepted. The good that his enemies knew of him they unscrupulously erased from the record. And so successful have they been that minor writers who owed everything to Edward de Vere and could often have developed only in the glow of his genius and generous encouragement, are more famous than he is himself, while–as a final blistering irony–being credited even with furnishing the inspiration, if not the tuition and often the material, for his own transcendent art.
Not only did Lord Oxford continue writing plays throughout the period of his banishment from court, he also took an active part in their production.
There had been many complications attendant upon the lease, in 1580, of the Blackfriars Theatre, and these had increased until 1583, when it was transferred from William Hunnis to Henry Evans, who sold it to the Earl of Oxford. Mrs. Clark explains the situation as follows:
To the twelve children of the Chapel Oxford added the Children of St. Paul's Cathedral, retained Hunnis as one of the trainers of the boys, and kept Evans as manager of the troupe. Soon afterwards the Earl made a gift of the lease to his secretary, John Lyly, author of Euphues, who was associated with Hunnis and Evans in the management of the organization, of which Oxford was the patron. [But Sir William More, the original owner, who still occupied part of the building] continued to be displeased at . . . having a theatrical company constantly within sight and hearing. (9)
After a certain amount of litigation, the enterprise was abandoned, the performances thenceforth being held in a building called the "singing-school" of the Cathedral, near St. Paul's.
In 1583 was organized the Queen's own company of actors, who seem to have performed exclusively at court, giving Oxford's plays under Lyly's (which meant Oxford's) direction. Ward states:
Not one of Lyly's biographers has hitherto succeeded in explaining how he could have been Her Majesty's servant and Lord Oxford's private secretary at one and the same time. The simplest solution is . . . that when the Queen's Company absorbed some of Oxford's leading actors Lyly was lent unofficially as stage-manager and coach. (10)
The patronage of the Queen did much to elevate the theatrical profession from its low, actually its vile, position, its Caliban-vulgarity. She allowed the actors wages and livery as Grooms of the Chamber. Twelve players were chosen for the Queen's Company and were licensed by the City, on November 28, 1583, to play at the Bull in Bishopsgate Street and at the Bell in Gratious Street–a little less than six months, it will be noted, after Oxford's return to favor and to activity at court. Two of Lord Oxford's actors joined this company, John and Lawrence Dutton; probably others of his company were also taken on by the Queen's, for from 1583 until 1591 his troupe became a road company.
Coventry, where religious and mystery plays had been given for a hundred years, was one of the best towns for road companies, as is proved by the Wardens' or Chamberlains' accounts for this period:
Earl of Oxford . . . . . . .1581. . . . . . . . . .1582 . . . . . . . . .1583 . . . . . .. . . . 1584. . . . . . . . .1585
Earl of Essex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1584. . . . . . . .
Lord Sheffield. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .1583 . . . . . . . . . . 1584. . . . . . . .1585
Earl of Worcester. . . . . . . … . . . . . . . . . .1582. . . . . . . . . . . . . . . . . . . . . .. . 1584. . . . . . . .
Lord Berkeley . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . .. . . 1583. . . . . . . . . . .1584. .. . .. . . .
Sir Thomas Lucy. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1584 . . . . . . .(11)
From the time the Duttons had first joined his company in 1580, until 1590,
coincidental with the dissolving of the company known as the Paul's Boys, the Earl of Oxford's players made regular provincial rounds each year. Their first performance at Court, given at Whitehall on January 31, 1584, was Campaspe, "Played before the Queenes Maiestie on newe-yeares day at night, by her Maiesties Children of Paules." (12)
The warrant for payment states that the performance was by the Earl of Oxford's players. Again on March 3, Lyly's Sapho and Phao was produced at court, "Played before the Queenes Maiestie on Shrouestewsday, by her Maiestie's Children, and the Boyes of Paules." On November 25, ten pounds was paid on the same warrant as that of the New Year's performance, for a play before the Queen "on shrovestuesdaie at nighte" by the Earl of Oxford's Company. (13)
After a meticulous study of the records, Mrs. Clark concluded that this company, composed of Her Majesty's Children and the Paul's Boys, continued to present plays at court under the name of the Paul's Boys, later a rival of the Queen's Company, "the two appearing alternately at Court through the late 1580's." In the country, however, it was called the Oxford Boys, and sometimes "a second Queen's Company," because Her Majesty's Children were included in it. Mrs. Clark was convinced that "from 1583, when the combination of the Children of Her Majesty's Chapel and the Paul's Boys was made, being sometimes called the Oxford Boys, until the dissolution in 1590 of . . . the Paul's Boys, the company was one and the same."
For a reason which will be presently explained, Lord Oxford's name was not used in connection with his players after 1586. William Honing became Clerk Comptroller of the Records in 1584; and since, after 1585, the titles of the plays produced were never given, he may, either through indolence and inefficiency, though more likely in obedience to private orders, have omitted other details as well.
What could be more appropriate or more natural than the collaboration of the Queen and her chief courtier-and-dramatist in establishing the great Elizabethan theatre? The Elizabethan stage could never have become what it so brilliantly was without the sanction and sponsorship of the Queen or the genius of the Earl of Oxford–without, we might say in his own phrase, the "sportive blood" of this extraordinary pair. For they were Titans, these two. Their lives, for all their transitory resentments and seeming breaches of faith, were inextricably joined; and so was their great contribution to the life of the English nation. Each depended upon the other in the fundamentals, both intellectual and emotional, and each probably understood the other in ways that no one else ever quite understood either of them. It was partly for this reason that Edward de Vere's name has been almost completely erased from the history of the age which he did so much to make a great and illustrious one. For it suited certain powerful Englishmen to maintain the legend of the Virgin Queen, which she herself did everything but the one thing which was essential to foster, and in order to maintain it, they strove to obliterate the memory and even denigrate the honor of this flower of the English tradition and of the English race.
In the matter of the court-production of Lyly's plays, it is important to bear in mind that only during the period when he was employed by Lord Oxford did Lyly ever write plays at all, and also that, without the backing of a bold and influential patron, such a writer could never have dared make the obvious allusions to exalted personages and their affairs which he made in these productions. Gabriel Harvey said of Lyly that "young Euphues [sic] hatched the eggs that his elder friends laid." (12) No outsider would have known better than Harvey the source and substance of "young" Euphues's success.
Another pregnant statement of Harvey's, which was not deleted from the record by the authorities, as many admittedly were, because it could be assumed that he was speaking of Lyly ("Pap-hatchet") as a popular dramatist, when, of course, he was speaking of Lyly's master, is quoted by a student of Lyly, who in fact made this very assumption:
You were best to please Pap-hatchet, and see Euphues betimes [i.e., Lyly and Oxford], for fear lest he be mooved, or some of his apes hired, to make a Playe of you; and then is your Credit quite undone for ever and ever: such is the publique reputation of their plays. (15)
Ward suggests that when, in 1593, Gabriel Harvey referred to Lyly as "the fiddle-stick of Oxford," he evidently meant that he had at one time been the "passive instrument employed by Lord Oxford to play his tunes." (That he did mean this appears from his statement that Lyly "hatched the eggs that his elder friends laid.") "Nevertheless," Ward adds, "in the article on Lyly which occuPies (mer two pages in the Encyclopaedia Britannica, Lord Oxford is not mentioned." (16)
Interesting testimony regarding the relationship between Lord Oxford and John Lyly is found in a letter Lyly wrote Burghley in July 1582, requesting him to intercede with Lord Oxford after some misunderstanding. The letter, too long to quote in full, begins:
My dutie (right honourable) in most humble manner remembered. It hath pleased my Lord upon what colour I cannot tell, certaine I am vpon no cause, to be displeased with me, ye grief whereof is more then the losse can be.
He wishes Burghley to speak for him, and he continues:
It may be manie things will be objected, but yf any thing can be proved I doubt, I know your L. will soone smel deuices from simplicity, trueth from trecherie, factions from iust seruis. And god is my witness . . . yat all my thoughtes concerning my L haue byne ever reuerent, and almost religious. (17)
Whether through the Lord Treasurer's intervention or not, things were apparently soon straightened out, and Lyly returned to the Earl's service to remain for more than ten years.
Of Sapho and Phao several critics have observed that it is a "scarcely veiled allegory in which the two lovers. . . represent Queen Elizabeth and Alençon." To this we object that not only was the play presented after the Alençon affair was a dead issue and the Duke deceased, but it bears unmistakable marks of having been an early masque written by the young Oxford about himself and the Queen, which Lyly had been allowed to elaborate into a long (and tedious) play. This fact provides the answer to Feuillerat's query:
Comment peut-on admettre qu'un dramatiste ait été assez audacieux pour mettre à la scene les sentiments les plus intimes les plus sécrets de la reine? (18)
Ward makes the following astute observation:
All the quartos of Lyly's plays were published anonymously. This is most odd if we are to understand that Lyly himself was the sole author and had connived at the publication. It is well-nigh impossible to believe that a professional playwright, who was hoping to be appointed to the Mastership of the Revels, should have objected to having his name printed on the title-pages of his own plays. But if he could not claim them as entirely his own the matter became quite different. Equally incomprehensible is the hypothesis that the quartos were "pirated" and published against Lyly's wishes. As Lord Oxford's private secretary he would not lack the means of bringing influence to bear against the action of piratical publishers.
In any case, the Stationers' Register shows this entry:
6to Aprillis 1584. Thomas cadman Lyllye it is granted unto him yat yf he gett ye commedie of Sapho laufully alowed vnto him. Then none of this companie shall Interrupt him to enjoye it. (19)
It is our opinion that Ward's analysis of Lyly's case furnishes the clue for the mystery attached to the authorship of the so-called Apocryphal plays, as well as of Edward II, Edward III, The Two Noble Kinsmen, The Spanish Tragedy (which was, as we have said, too dangerously revealing for Oxford to be suspected of any connection with it), and of another play of Lyly's, which is not only partly by Oxford but also about him, Endymion, The Man in the Moon. Other writers may have contributed to them, and doubtless did, but they were fundamentally Oxford's work.
In Campaspe, which was presented at court at the same time The Tempest was written, the following verse occurs:
Cupid and my Campaspe played
At cards for kisses. Cupid paid.
He stakes his quiver, bow, and arrows,
His mother's doves, and team of sparrows;
Loses them too;
while in The Tempest, during the Masque which Ariel puts on at Prospero's direction, Iris says, of Cupid (IV.l.99-101):
Her waspish-headed son has broke his arrows,
Swears he will shoot no more, but play with sparrows,
And be a boy right out.
Here we have the rather abrupt phrasing, as well as certain words in common. And in A Midsummer-Night's Dream, which immediately follows The Tempest, we find:
I swear to thee by Cupid's strongest bow,
By his best arrow with the golden head,
By the simplicity of Venus' doves. (I.1.169-71.)
In Venus and Adonis, Venus "yokes her silver doves," as this poem comes to a close.
In Sapho and Phao we encounter the same imagery. Vulcan, forging new arrows for Cupid at Venus's demand, sings:
My shag-haire Cyclops, come, let's ply
Our Lemnion hammers lustily;
By my wife's sparrowes,
I sweare these arrowes
Shall singing fly
Through many a wanton's Eye.
And it is significant that these arrows are designed by Venus, Cupid's "mother," to be shot at Sapho so that she "will despise where now she doates"; thus showing Sapho and Phao the forerunners of Titania and Bottom.
The Song of Trico from Lyly's Campaspe has the lines,
None but the lark so shrill and clear;
Now at heaven's gate she claps her wings.
In The Tempest (III.3) Ariel enters "like a harpy, claps his wings upon the table," etc. And there are other analogies:
It was the lark, the herald of the morn (R. and J.: III.5.6);
Hark! hark! the lark at heaven's gate sings (Cym.: II.3);
Like to the lark at break of day arising,
From sullen earth sings hymns at heaven's gate. (Sonnet 29.)
In our judgment, it is only too obvious that Oxford wrote the verses in the plays attributed to Lyly and at least supervised much of the text besides.
There are further similarities we might cite, but we shall confine ourselves to one more, this from The Merry Wives and Endymion, both belonging, ostensibly, to 1585, though we place the original versions some fifteen years earlier.
Pinch him, fairies, mutually;
Pinch him for his villany;
Pinch him, and burn him, and turn him about,
Till candles and star-light and moon-shine be out. (M. W.: V.5, song.)
Pinch him, pinch him, black and blue,
Saucy mortals must not view
What the Queen of Stars is doing,
Nor pry into our fairy wooing.
Pinch him blue
And pinch him black,
Let him not lack
Sharp nails to pinch him blue and red,
Till sleep has rock'd his addle head. (Endymion: IV.3.40.8.)
The correspondence here is rendered all the more striking by the fact that in one of his earliest plays, The Comedy of Errors, Oxford had written:
This is the fairy land: O! spite of spites,
We talk of goblins, owls, and elvish sprites:
If we obey them not, this will ensue,
They'll suck our breath, or pinch us black and blue. (II.2.198-201.)
(Incidentally, all these early allusions to fairyland seem to add weight to our belief that the first version of The Dream was a masque, the work of Lord Oxford's youth.)
The play, Endymion–the version which has survived–appeared in 1585, but the song was not published until I632. And that, curiously enough, was, as we have said, the case with all the lyrics in Lyly's plays, the position of the songs being merely indicated in the text and not published until nearly fifty years later.
We have already gone briefly into the matter of Lyly's association with his great patron, (20) but we should like to add a comment here. Lyly's biographer, Bond, quotes Mézières as follows:
Ceux qui ont été les prédecesseurs des grands esprits ont contribué en quelque façon à leur éducation, leur doivent d'être sauves de l'oubli. Dante fait vivre Brunetto Latini, Milton du Bartas; Shakespeare fait vivre Lyly.
The irony of this is like the thrust of a blade. Lord Oxford created Lyly, made him live, as well as saved him from oblivion. But Lyly could not perform any part of this service for the Earl; far from it. And Bond, who produced a weighty and scholarly study of John Lyly and his works, although he admits his dramatist's serious limitations, including artificiality, poverty of invention, deficiency of characterization and pathos, as well as of action, pronounces him "the chief master of Shakespeare"!
Such is the "tangled web" woven by those who first, in the matter of England's greatest genius, practiced to deceive.
1 Ward; p. 229; cit. Lansdowne MSS., 99.93.
2 Historical Memoirs on the Reigns of Q. Eliz. and K. James; 1683 ed.; p. 37.
3 Hume: Sir Walter Ralegh; p. 26.
4 Ward; pp. 245-6; cit. Lansdowne MSS., 38-62. Evidently dictated.
5 One day the humiliated Lear will say:
I will do such things,–
What they are yet I know not,–but they shall be
The terrors of the earth. (II.4.280-2.)
6 Ward; pp. 247-8; cit. Lansdowne MSS., 42-39. October 30, 1583.
7 An early version of The Dream had patently appeared eight or nine years before.
8 Ward; p. 198. From the 1603 ed. in the British Museum; but the first ed. was 1584. (Cf. Courthope: A Hist. ot Eng. Poetry; II, 385-95,)
9 Hidd. All.; p. 429.
10 p. 273.
11 E.T.C.: Hidd. All.; quat. Murray: English Dramatic Companies; II, 238.
12 E.T.C.; op. cit.; quat. Steele: Plays and Masques at Court; p. 89.
13 Op. cit.; quot. Steele: ibid.
14 The Coll. Works of G. Harvey; vol. II, p. 124. Pierce's Supererogation.
15 F. W. Fairbolt, F.S.A.: The Dramatic Works of John Lyly; Intro.; p. xxii.
16 p. 279. We do not know to which ed. of the Enc. Brit. he refers.
17 E.T.C.: The Man Who Was Sh.; p. 133; cit. E. Arber, ed. Euphues and his Eng.; p. 5.
18 Feuillerat: John Lyly; p. 148.
19 Ward; p. 278. On the title-page the publisher's name is given as Thomas Cadman.
20 Chap. Sixteen.
Contents | Chapter Forty-Four


text:
El municipio de Weymouth (en inglés: Weymouth Township) es un municipio ubicado en el condado de Atlantic en el estado estadounidense de Nueva Jersey. En el año 2010 tenía una población de 2.715 habitantes y una densidad poblacional de 71.4 personas por km².

Geografía
El municipio de Weymouth se encuentra ubicado en las coordenadas .

Demografía
Según la Oficina del Censo en 2000 los ingresos medios por hogar en la localidad eran de $45,882 y los ingresos medios por familia eran $49,800. Los hombres tenían unos ingresos medios de $41,842 frente a los $29,464 para las mujeres. La renta per cápita para la localidad era de $18,987. Alrededor del 5,1% de la población estaba por debajo del umbral de pobreza.

Referencias

Enlaces externos

Municipios de Nueva Jersey
Localidades del condado de Atlantic


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It hasn't actually got that cold yet. Correct me if I'm wrong, but isn't it meant to be a lot chillier by now? I haven't got my big scarfs out. I'm in no need of gloves and I haven't even swung my full coat collection into action. My real, big, winter coats are still safely in storage and I haven't come anywhere near close to pulling them out yet.
I'm finding myself craving hot chocolate more and more these days. I love chocolate (who doesn't…) – I'd happily give up sweets, crisps, cake etc etc but I could never let go of chocolate. So hot chocolates feel like the ultimate treat, especially as the days are getting darker (if not colder).
It turns out that making your own is ridiculously easy and it tastes so much better. Yes, stirring powder into hot milk is hardly strenuous in the first place, but just put in a little extra effort and it's entirely worth it. Melted chocolate is better than powder any day.
I got the original recipe from here, but really you can add or take away anything you want (that's part of the fun!) and the measurements don't need to be precise. And the method is essentially chuck it in a saucepan and stir.
You will need – 100g of your favourite chocolate (I mixed milk and dark), 2 cups of water, 2 cups of milk and 2 cinnamon sticks. Put everything but the milk in the saucepan. When the chocolate has entirely melted, add the milk and keep stirring until it's warm and ready to drink (this takes a little longer than you'd expect). Add whipped cream, cocoa powder, marshmallows, an extra cinnamon stick and whatever else takes your fancy and enjoy! Easy.
Thanks, now I need to go make hot chocolate!
Where did you get that mug?!


text:
Леонтій Феофанович Костур-Шаргородський ( 16 червня 1947, Теклівка) — художник і скульптор (кераміст, живописець).

Життєпис

Ранні роки
Народився у сільській родині. Батько - Феофан Савич Костур, мати Тетяна Архипівна (у дівоцтві Кояківська).

До школи пішов у рідному селі де навчався до 5 класу, потім 3 класи вчився за 5 км у сусідньому селі, навчався на відмінно, окрім фізкультури. Після закінчення 8 класів поїхав до Київа вступати до художньої школи, але через проблеми з документами не поступив, не було київської прописки.

Навчання

1963  — поїхав поступати до Луганського художнього училища. Здав на три трійки - непрохідний бал. Після чого поїхав додому. Але перед навчальним роком прийшов лист, що його зачислено до училища. Справа у тому що Леонтій не здавав іспити по загальній освіті, а там у нього були п'ятірки. Лише нещодавно він дізнався, що прийняли його через указ приймати талановиту молодь. Саме у Луганську навчився говорити російською мовою, до цього володів лише графічно. Закінчити не вдалося через конфлікт із завучом по політичній підготовці. На військовій приписній комісії потрапляє до лікарні, через ніби то психічні відхилення. Його відправляють в академічну відпустку на лікування. Із цієї відпустки Леонтій до училища не повернувся.

Поїхав до Москви, аби дізнатися чи можна куди поступити. Один із приятелів привів до майстерні скульптора, де його вразила творчість, пізніше дізнався, що це був Ернст Неізвєстний. Але у Москві теж виявилося проблемно кудись поступити без прописки і без 10-річної освіти.

Повертається до Шаргороду, здає екстерном на повну середню освіту.

Поїхав до Одеси де працював на будівництві високовольтних ліній, роботу невдовзі залишив через малу зарплатню - 80 рублів.

Вирушив до Красноярську. Там із геолого-розвідувальною експедицією шукав уран. Незабаром захворів на енцефаліт, бо не зробив щеплення, від чого ледь не помер.

Пів року пропрацював художником у красноярському театрі.

1968  — Приїхав поступати до Ленінградського інститут театру, музики та кінематографії. Але приїхав зарано для здачі документів, тому деякий час доводилося жити на даху одного із будинків. Леонтій із теплотою відгукуєть про заступницю завідувача архівом Манєфу Миколаївну, яка на той час, доки не було гуртожитку і засобів до існування дуже йому допомагала.

Вступив до інституту.

Саме із цим навчальним закладом пов'язаний найважчий період життя Леонтія. Іспити склав добре, одна із членів комісії Марина Азізян, відома російська художниця ленфільму, згадувала:

Саме у цей період деякі викладачі радять Леонтію виїхати до Європи, бо, мовляв, "тут йому не місце", малося на увазі, що в СССР просто не помітять його величезний потенціал, у нього немає шансів для розвитку. Викладачка з історії КПСС Нінель Іванівна навіть ходила разом з ним до КГБ, готуючи документи на виїзд. Однак після смерті Нінель Іванівни спроби виїхати за кордон припинилися.

Марина Азізян порівнювала творчість Костура з Піросмані, захоплювалася його вмінням на курсах композиції, називала "селянським самородком".

 (ця робота потім була викрадена).

Однак приводом для виключення, за свідченням тієї ж Азізян, стало не бажання Леонтія освоювати такі "важливі" предмети як уроки марксизму-лєнінізму.

Леонтій намагався ходити на курси, як вільний слухач:

У цей період, за свідченнями Леонтія, йому жилося вельми скрутно, не було засобів до існування, почали гнити руки. Його врятував лікар, відомий у Ленінграді колекціонер Левітін Григорій Іванович.

1969  — Намагався вступити до Інституту ім. Рєпіна. На вступних екзаменах не прийняли ті роботи, за які у Інституті театру отримав відмінні оцінки. Відвідував уроки на факультеті графіки як вільний слухач.

За його словами не закінчив жодний заклад де навчався, через неприйняття комуністичної влади. За політичними переконаннями — антикомуніст.

Певний період мешкав у монастирях України та Росії.

Робота, творчість

1985  — перебуваючи у Кірішах став засновником місцевої організації об'єднання художників, яке діє і дотепер. Та не обійшлося без конфліктів. До XXVII з'їзду КПСС відбулося відкриття виставки із якої зняли деякі роботи, зокрема Віктора Бабуркіна плакати "Проти ядерного озброєння Америки" та Леонтія Костура - "Юр'єв день", "Чортополох", "Блаженний", "Ностальгія".

З 1990 р. мешкає в місті Суми, від першої дружини отримав у спадщину земельну ділянку з поганенькою хатиною. Вирішив продати, вже знайшов покупця, та тут дізнався що у Сумському драмтеатрі немає художника, тому залишився жити і працювати.

Та монотонна робота у кабінеті стала нудною і Леонтій зайнявся бізнесом, потім працював на фарфоровому заводі, де працював до його закриття, але там серйозно почав займатися скульптурою.

2001  — 2013 рр. створив більше 250 авторських скульптур із кераміки та дерева, які відтворюють світ українських народних звичаїв, обрядів і побуту. Кожна із робіт Леонтія Костура ніби закодоване послання, багато акценту на дохристиянський побут і образ життя українців.

2006  — у власному будинку створив музей «костурів».

Музей
у 2006 році  при обласному управлінні культури зареєстрований музей-майстерня Л. Костура, на вуличці біля стадіону "Ювілейний". Цей будинок Леонтій колись отримав у спадок майже у напівзруйнованому стані. Згодом будинок відновив і удосконалив. За словами Леонтія будівельні матеріали знаходив де-інде, буквально на смітниках. Будинок має три поверхи з баштою, широкий підвал, де Леонтій облаштував слюсарню, де виготовляє рамки для картин. Відомо, що колись будинок належав Всеволоду Пінку, повному Георгієвському кавалеру, родичка цього Пінка передала у спадщину будинок.

Експонати музею картини і т.зв. "костури" - глиняні фігури, результат створення його власного і неповторного стилю в мистецтві.

На земельній ділянці Леонтій також веде дрібне господарство, тримає гусей та вулик.

Виставки
2006  — персональна виставка в Сумському художньому музеї.

2008  — персональна виставка у Харківському художньому музеї.

2009  — персональна виставка у Путивльському краєзнавчому музеї.

2009 (січень)  — персональна виставка у Сумській муніципальній галереї. Загалом муніципальна галерея тричі надавала йому приміщення для персональних виставок.

2010  — персональна виставка в проекті Національного музею-заповідника «Скарби музеїв України на святій землі Софії Київської» під назвою "Костури — із музею Леонтія Костура.

Був учасником 3 Національних виставок спілки художників України.

Про Леонтія Костура
 Своєріді полотна Л.Ф.Костура. Нарочитий злам малюнка надає його персонажам якусь гротескність. Наприклад "Чортополох" (назва, вірогідно, підказана тим, що вирощує цей селянський отрок без особливого нагляду з боку дорослих). Красива блакитна гама, що змушує згадати французького художника Сезана. Та й сам персонаж доволі колоритний. І все ж, думається, праве вухо його, що стирчинь ніби лопух, усупереч усім правилам і перспективам, на скроні, - абсолютно зайве в картині. Воно надає картині анекдотичності, і робота програє. Взагалі автор - це видно із нестійкості його живописної манери - перебуває у творчому пошуку. І це добре.
(Бондарєв, В. Тільки початок [Текст]. // КФ. - 1986. - №4. - 11 січня.)

 Л.Ф. Костура цікавить сьогоднішнє життя, мирне, трудове. Дві роботи із серії "Робочі ліпромгоспу". Його герої далекі від плакатної бадьорості, що господарювало у мистецтві "застійного" періоду. Це незграбні (і виконані роботи у ледь грубуватій утрированій манері), у чомусь навіть сором'язливі трудяги - скажімо, без всілякого негативного відтінку цього слова. Труд, - хоче висловити свою думку автор, - це не гучні промови зі зведенням рук до небокраю. Це звичайна, толкова робота.
(Ігнатьєва,Н. Любуясь и тревожась [Текст]. // КФ. - 1987. - квітень.)

Цікаві факти
 16 липня 2014 на своїй сторінці у фейсбуці прокоментував світлину літака Боінг 777 "Мішень для Стрелкова", і вже наступного дня стало відомо про збиття Боінгу Малазійських авіаліній над Донецьком.

Література
 Н. С. Юрченко "Типы и архетипы Леонтия Костура-Шаргородского" / "Позиция", 2007. - № 44. - 29 нояб.;
 Н. Серебрякова "Иллюзия духовности" / "Киевская Русь", 2007. - Кн. 10. - С. 139-147;
 А. К. Федорук  "Где та синяя птица?" / "Изобразительное искусство", 2008. - № 3. - С. 138-139; Л.
 Самойленко "Что мир бы построил, но…" / "Молодежь Украины", 2008. - № 23. - 27-31 бэр.

Галерея

Посилання

Джерела
 Сумчанин Леонтій Костур створив приватний музей керамічних скульптур, вартість яких — $0,5 млн
 Сумчанин, член СПУ Леонтій Костур взяв участь у міжнародному симпозіумі дерев'яної скульптури
  «Перевертні» – актуальна виставка Леонтія Костура в Сумській галереї
 (рос.) Костур Леонтий Феофанович. Иллюзия духовности?
 Енциклопедія сучасної України, Леонтій Костур
 10 художників сучасної Сумщини, яких варто знати

Уродженці Шаргородського району
Українські художники
Персоналії:Суми
Українські художники-керамісти


In Astrology, now Venus enters Capricorn! Women of esteem, authority, and dignity will enter our lives to assist our rise in the world.
They will come bearing fortunes and graces that enhance security, status, wealth, and influence. These women will manifest with seniority, whether in age or social position, and their deeds and effects will ripple with respect. Venus will make her trek 'til the solstice day when she will retrograde in this House of legends.
Expect to see the following while Venus transits through Capricorn: feminine empowerment, transfers of power facilitated by women, favorable domestic re-ordering, fortunate feminine endorsements, opportunities for social advancement, esteemed working engagements, high-profile networking, undertakings of responsibility, enhancement of integrity and discipline, legendary inspiration, the appointment of patrons, the fulfillment of traditions, the creation and commitment to legacy, and mystical endowments of worldly authority.