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Terms and Conditions of Use
This page was last modified on April 4, 2014.
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St. Onge Steward Johnston & Reens LLC ("SSJR") may, without notice and at its sole discretion, revise these terms and conditions at any time. Any updates will be reflected on this page. By using this website after an amendment to this page, you acknowledge and agree to these terms and conditions as modified.
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Do not perform this procedure under the following circumstances:
You installed Solaris 9 software. Solaris Volume Manager software is automatically installed with Solaris 9 software. Instead, go to How to Set the Number of Metadevice or Volume Names and Disk Sets.
You installed Solaris 10 software. Instead, go to How to Create State Database Replicas.
You used SunPlex Installer to install Solstice DiskSuite software. Instead, do one of the following:
If you plan to create additional disk sets, go to How to Set the Number of Metadevice or Volume Names and Disk Sets.
If you do not plan to create additional disk sets, go to Mirroring the Root Disk.
Perform this task on each node in the cluster.
Perform the following tasks:
Make mappings of your storage drives.
Complete the following configuration planning worksheets. See Planning Volume Management for planning guidelines.
Become superuser on the cluster node.
If you install from the CD-ROM, insert the Solaris 8 Software 2 of 2 CD-ROM in the CD-ROM drive on the node.
This step assumes that the Volume Management daemon vold(1M) is running and configured to manage CD-ROM devices.
Install the Solstice DiskSuite software packages.
Install the packages in the order that is shown in the following example.
# cd /cdrom/sol_8_sparc_2/Solaris_8/EA/products/DiskSuite_4.2.1/sparc/Packages # pkgadd -d . SUNWmdr SUNWmdu [SUNWmdx] optional-pkgs
The SUNWmdr and SUNWmdu packages are required for all Solstice DiskSuite installations.
The SUNWmdx package is also required for the 64-bit Solstice DiskSuite installation.
See your Solstice DiskSuite installation documentation for information about optional software packages.
If you have Solstice DiskSuite software patches to install, do not reboot after you install the Solstice DiskSuite software.
If you installed from a CD-ROM, eject the CD-ROM.
Install any Solstice DiskSuite patches.
See Patches and Required Firmware Levels in Sun Cluster 3.1 8/05 Release Notes for Solaris OS for the location of patches and installation instructions.
Repeat Step 1 through Step 5 on each of the other nodes of the cluster.
From one node of the cluster, manually populate the global-device namespace for Solstice DiskSuite.
# scgdevs
If you used SunPlex Installer to install Solstice DiskSuite software, go to Mirroring the Root Disk.
If the cluster runs on the Solaris 10 OS, go to How to Create State Database Replicas.
Otherwise, go to How to Set the Number of Metadevice or Volume Names and Disk Sets.
The scgdevs command might return a message similar to the message Could not open /dev/rdsk/c0t6d0s2 to verify device id, Device busy. If the listed device is a CD-ROM device, you can safely ignore the message.

subset: commoncrawl


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If you have a toddler and if he/she has been having trouble with school work or you feel that he/she may not be grasping things at a normal rate, then you may be rather concerned.Although it is quite common for some children to develop certain learning skills slower than the average rate, it becomes a problem if there are significant difficulties or delays in learning most of the things that are considered to be otherwise normal for growing children.
Learning disability is a condition in which the affected children fail to receive and process information in a normal way. Learning disabilities can be caused by various reasons like heredity, health complications during pregnancy or childbirth, premature birth, alcohol and drug abuse by the mother during pregnancy, head injuries, etc.There are various types of learning disabilities that hamper different learning skills in kids. For example, some children may have difficulty in learning alphabets, while others may have difficulty in understanding a story. Some of the common types of learning disabilities are dyslexia, ADHD, dysgraphia, etc. Children with learning disabilities often have psychological issues like social anxiety, low self-esteem, anger issues, etc, that stem from their inability to learn things the normal way.Here are some signs of learning disabilities in children.
Signs of learning disabilities in children are:
1.If a kid has difficulty in speaking or uttering a few easy words even after he/she has reached a certain age, it could be a sign of a learning disability.
2.If the toddler has extreme difficulty in reading even simple things, which other kids their age find effortless, it could also mean that he/she may have a learning disability.
3.Another sign to look out for is when a kid is having a hard time in concentrating and focussing on one thing, for more than 5 minutes. It could be a sure fire sign of ADHD.
4.If the child is facing difficulties in learning new words or phrases, even after a lot of practice and help, do get him/her tested for learning disabilities.
5.If the kid is having difficulty in writing short sentences and words or if he/she has difficulty in gripping pencils and crayons, it could also mean that he/she is prone to certain learning disabilities.
6.If the toddler has a hard time in following the given directions, for example, failing to respond or act when he/she is given a task at school, then it could be yet another sign of a learning disability.
7.If the child has trouble in telling the difference between two colours, different sounds, tastes, etc, it could be another crucial sign of a learning disability.
These are the signs of learning disability in children.


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« Back to Job List
This job is closed.
System Analyst will work to provide technical and user support for Utilities Department systems in pre-production and production environments. Responsibilities include internal customer support, day-to-day execution of system maintenance and operations, providing troubleshooting support, testing software and configuration changes, managing software releases, maintaining vendor relationships, developing customized reporting, performing process improvement analysis, leading technology projects, and keeping system documentation up to date. Provides any and all services required to maintain daily operations, maximize availability of Utilities systems, and respond to ad hoc user requests for system support.
This is a Regular, full-time, Non Union position.
How To Apply
Click "Apply Now" to complete the application for this position. For further information, please contact Margaret Nolen at 425-452-6131 or via e-mail at email@example.com. Questions regarding the on-line application system should be directed to our IT Help Desk at 425.452.4340
Payroll Title - Systems Analyst Position ID - 1671
The City of Bellevue is situated between Lake Sammamish and Lake Washington with the Cascades mountain range to the east and the Olympic mountains to the west offering breath-taking panoramic vistas. Bellevue is the Eastside's major urban population center, and is the fifth largest city in Washington State. We are proud of our award winning city and the employees who help make it happen! The City of Bellevue is truly a culturally-enriched destination city to live, work and play! Apply online at www.bellevuewa.gov. We are an Equal Opportunity Employer.
The City of Bellevue offers its' employees medical, dental, vision and life insurance coverage; three retirement saving programs; and, a wide variety of benefits from on-site fitness facilities, tuition reimbursement, to flexible spending accounts for healthcare and dependent care. We work in an eco-friendly environment with state of the art technology and equipment. More detail is available on our website at www.bellevuewa.gov.
If this position is identified as a limited term, the following definition applies: Hired for no more than three years. Employment status is exactly the same as regular employees and receives all the same benefits with three exceptions:
*Note: The City of Bellevue does not participate in Social Security, which means employees do not contribute to or earn Social Security credit while employed with the City. Further, the Social Security Administration applies a formula containing an offset to take into account employment with a nonparticipating employer. The Social Security offsets are explained in the Municipal Employee Benefits Trust – City of Bellevue Retirement Benefit Plan Summary Plan Description. They are also described in the Social Security Administration Publications 05-10045 for the Windfall Elimination Provision and 0510007 for the Government pension Offset which can be found on the Social Security website www.ssa.gov/pubs. However, as a City of Bellevue employee, you may be eligible to participate in the Municipal Employee Benefit Trust (MEBT) plan; and depending on eligibility, there is also mandatory participation in the State Retirement Plan (PERS).
The City of Bellevue values diversity in its workforce and is an Equal Opportunity Employer that does not unlawfully discriminate on the basis of race, sex, age, color, sexual orientation, religion, national origin, marital status, genetic information, veteran's status, disability, or any other basis prohibited by federal, state or local laws.


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Separate names with a comma.
Discussion in 'Tennessee Titans and NFL Talk' started by GTFO my pancakz, Oct 16, 2013.
Strongly considering changing my avatar.
So, our interior linemen will be Levitrie, Schwenke and Warmack. Schwenke should be an improvement and Levitrie is solid. Even if Warmack still struggles at least Two Outta Three Ain't Bad:
btw, my friend's fiance wanted to kill me when I suggested they use that song at their wedding.
This was a move that should have happened about 3 weeks ago! Also I would not be opposed to letting warmack sit some plays if he keeps getting blown up like he has the last 2 weeks. We have depth at the o-line lets use it!
How dare you interrupt this Meat Loaf thread with Schwenke talk!!!!!!!!!!!!!!!
That movie features two of the greats: Dio and MeatLoaf. Unfortunately it features Jack Black.
He was so funny in the Tenacious D album and up until around school of rock.. since then, he's just plummeted, and everything he does turns to poop. The TD movie was just a bunch of rehashes of the funny parts of the TV series. But did I go see it, and enjoy it? Absolutely.
haha I really like Jack Black. You just have to understand you are getting a movie from a guy who doesn't take himself very seriously.
Gulliver's Travels? Since 2006, his history has been pretty sparse and depressing. Besides Kung Fu Panda (which I've never seen, but my friend's 3 yr old son loves it.) I'm sure he's made a killing off that.
But he's fallen from grace in his acting career for some reason. Don't know if people got tired of his act, because from the late 90s-mid '00s, he was on fire.


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Lily carefully tucked a fresh clean dishcloth over the basket-full of freshly baked muffins and headed out the door.
"He had better be there this time…" she grumbled to herself. The last three times she'd casually dropped by the bachelors' home, they'd either been out, or otherwise preoccupied with their royal guest.
"Don't know what business a princess has interfering in the lives of common folk anyways…" she grumbled again. A squirrel chattered at her, and he took it as the chastisement it was. She knew Snow White was in hiding from the evil queen. She knew the young princess wasn't to blame. It was just so… insulting. Seeing all seven of them so discombobulated over her.
Lily was ruminating over how Gil had used to get all tongue-tied and flustered every time Lily smiled at him. But an evil cackle from somewhere ahead of her carried over the wind and through the trees. Furrowing her brow, she came into sight of the secluded cottage just in time to see a hooded figure scurry away down the path that led to the castle.
The cottage door was open. Gil and the others never left the door ajar; the squirrels would eat them out of house and home.
Lily hurried to the cottage, and gasped when she saw the young princess sprawled on the floor, a bitten apple in her hand.
"Oh, no… no! Oh, what has happened?" Lily rushed to the young woman, patting her cheeks and trying to get her to wake up. But it was no use; she was ensorcelled. Two very guilty looking squirrels looked on, glancing from Lily to Snow White. One of them sniffed at the apple, but Lily shooed them away.
"No… don't touch that! It must be poison." She explained. The squirrels managed to look sheepish.
Lily sighed. "Well, she might be Snow White, but she's not so bright." The squirrels nodded agreement.
As carefully as she could, Lily wrapped the apple and hid it in a pot. She wiped the princess' lips clean, but the beautiful young woman still did not wake. It took her twenty minutes to tug the comatose princess fully into the cottage so she could close the door. She did her best to make her comfortable, and went in search of Gil and his friends.
There was nothing they could do. Helpless, they encased her in a glass coffin, and the seven of them took turns standing guard over her.
Lily couldn't help but feel guilty about her jealousy. Each day, when he was done guarding the enchanted princess, Gil sought out Lily. But the attention he paid her seemed like a shallow victory.
"Oh, Gil… if I'd only got there a few minutes earlier, the poor young thing wouldn't be lying in that coffin, cold as death!"
But Gil would have none of it. "No, Lily, no. It's not your fault. If it hadn't been the apple, it would have been something else." He squeezed her, and smiled, but he never tried to kiss her anymore.
She missed fending him off. She missed those few times when she'd let him succeed in stealing a kiss.
"Lily dear…" said her mother. "Why don't you go spend a few weeks with your Aunt Agnes? Her herb garden was quite productive this summer, and the poor dear really could use the help."
Lily knew her mother wasn't suggesting the trip for the sake of "poor old Aunt Agnes." Her mother really wanted her to get out of the house for a while, and stop waiting and wondering when Gil would get tired of mooning over the princess and come back to her.
Aunt Agnes was indeed glad to have Lily come for an extended visit, and soon the two of them were knee deep in lavender, gathering it to dry.
"Tomorrow the apothecary is going to come by and see what we have for him to purchase." Aunt Agnes said with a gleam in her eye. "It's important we look our best. He's a very important client!"
Lily had no idea why she should look her best for their visitor, but she put on a nice, freshly pressed dress and a brand new white apron.
Then she realized the truth.
It wasn't the apothecary who was visiting, it was the apothecary's son. And he was handsome, and charming, and sweet, and flirted shamelessly with her.
Just like Gil used to.
One afternoon, the apothecary's son brought news. "Did you hear that the queen was actually an evil witch? And that Snow White didn't die in a tragic accident after all… the queen tried to kill her!"
Lily turned deep red from head to toe, but only Aunt Agatha noticed. The princess had been a secret of the forest folk. If the city was hearing about it, something huge must have happened.
He went on "Well, the evil queen is gone now. Dead or banished, I'm not sure which story is true. But Snow White and her handsome prince are now ruling over us, righting many of the wrongs that the evil queen has perpetrated over the years."
"Huzzah!" shouted Aunt Agatha. Soon she was chattering with the apothecary and his son, hypothesizing about all that had and might still happen.
All Lily could think of was Gil. How long ago had the prince rescued Snow White? If Gil and his friends no longer had to guard her, then…
There was a soft knock at the door, even though it stood open.
It was Gil.
Aunt Agnes drew herself up to her full height (which wasn't much, but it was imposing nevertheless) and addressed the young man. "Why, hello there Gil. What a nice surprise to see you here! I'd thought perhaps you might come by for a visit sooner, but apparently you've been… preoccupied."
Gil shrank. He was holding a pretty bouquet of lavender, but upon seeing the flower everywhere in Aunt Agnes' cottage, he hid it behind his back and shrank even more.
"Is Lily here?" He asked. His voice was almost too quiet to hear.
"I'm here." Lily said, stepping out from behind the apothecary's son.
Gil's eyebrows raised as he watched the apothecary's son subtly raise his arm and put it around Lily's shoulders. "Who's this?"
"This is Mr. Wagoner, the apothecary, and his son," said Lily, ducking carefully from her new suitor's arm. Really, who did he think he was? Not even two weeks of innocent flirtation, and he thought he could put his arm around her so possessively?
"Hello Gil." Really, she didn't know what to feel. Her heart was leaping to see him there… but her head reminded her that he'd all but abandoned her while the princess was around. Even when Snow White was comatose, Gil couldn't stop talking and worrying about her.
"Why don't you and Gil go take a little walk? See if you can find any more of those mushrooms I need." Aunt Agnes actually gave Lily a little shove towards the door.
She led him off down the path towards the edge of the woods. "I went by your parents' house when I couldn't find you. They told me you'd come here to visit Aunt Agnes for a while."
"Well, yes. I've been here for a couple of weeks now. Did it really take you that long to figure out I was gone?" She tried not to sound petulant, but wasn't sure whether she'd succeeded.
"Aw, Lily, don't be mad!"
"Mad?" Lily gave him the sweetest, most innocent smile she could muster. Yes, she was mad! And hurt. But she didn't want to let him know that. "Why should I be mad? My life doesn't revolve around you. I'm not sitting at home waiting for you to come around."
"No… you're staying with your Aunt Agnes, and flirting with the apothecary's son." Gil's tone was pathetic. The jealousy in his voice made her smile, and she hid it by turning away, supposedly to see if there were any mushrooms in the shade of a great oak.
"Aunt Agnes needed a little help, and I had the time. And what if I do flirt a bit with that nice young man? He's very sweet. And attentive." With that last remark, she made direct eye contact with Gil. His lips drew into a tight line, and he looked down at his feet, shuffling them in the dirt.
"Lily…" he paused, even though she didn't interrupt. She simply regarded him with a patient glare. "I'm sorry I haven't been as… attentive as I used to be. I'm sorry I was so caught up in Snow White's predicament. I'm… sorry. About everything."
She tortured him by not answering. Instead she busied herself with picking the mushrooms she'd found and placing them gently in her basket.
"Um… is there anything I forgot?" asked Gil.
Lily laughed. The poor young man seemed so forlorn, so lost. "Oh, my poor sweet Gil," she turned towards him and closed the distance until only the basket was between them. "I think "everything" covers it nicely." She leaned over the basket and gave him a quick, sweet peck on the lips.
Gil grinned. "I… I… I… ummm…"
Lily took him by the hand. "Come along, sweetheart. I'll let Aunt Agnes know that you're walking me home."
There are two previous stories under "Fairytale Collateral Damage." Sleeping Cutie, and Cutie and the Beast.
The shortlink for this post is http://wp.me/p1rMYd-hr


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Ask a Dog Question, Get an Answer ASAP!
Hi , I'm James DVM MRCVS and would like to help you with your question
What made go and see your vet in the first place ?
What kind of symptoms was baily showing ?
and for how long has it been going on?
he had smelly breath his mouth bled about 2 month
his breath was smelly his mouth bled about 2 month
has he lost any weight ?
was he making any strange sound when breathing?
he lost a little weight breathing was ok
would you be able to tell me more or less where the mass was located in the mouth(jaw, larynix, other)
and lastly, how old is he
sorry for all the questions but trying have as much info as possible
back of lower jaw I thought it looked like an absess he was 10
Thank you
I do agree with you , the correct way to make a diagnoses of a mass if malignant or benign would require a proper biopsy and cytological/histological analysis by an external laboratory which have experts to make it
There are many reasons for bleeding masses in the mouth
1. neoplasia - tumor which most commonly is of a malignant count - most found are melanoma and osteosarcoma of the oral cavity
2. benign polyp like growth which can become infected or ulcerated and would result in bleeding and bad smell
3, secondary abscess due to tooth infection
and the list goes on and on .
I can't really tell you without having a look at the mass myself
at times masses do seem very cancerous and vets will pass judgment without doing any extra lab work
There diagnosis might be right , but that would not be the proper way forward in order to make a diagnosis .
I suggest that if you are unhappy with your vets off hand diagnosis , seek second opinion.
look for a different vet or even ask to be referred to a specialist which will make the diagnosis and offer a course of treatment pending the results
You vet is obligated to refer you to a specialist if you so wish
too late now bailys gone so the vet could of got it wrong?
Im sorry , I didnt realize
It could be that your vet felt experienced enough to make this diagnosis
but the only way to be 100% would be to perform a biopsy
I'm sorry to provide such an answer after all has been done
I hoped I have answered your initial question and have supplied you with the information you needed.
if you have any more questions , please do not hesitate to ask


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|Rediff India Abroad Home | All the sections
Maiden honours for Ganguly, Pathan
Harish Kotian in Bangalore | December 09, 2007 11:52 IST
Last Updated: December 09, 2007 18:27 IST
Salman Butt [Images] led a solid reply from Pakistan after Sourav Ganguly's [Images] maiden Test double century carried India to 626 in their first innings on day two of the third and final Test against Pakistan in Bangalore on Sunday.
Pakistan were 86 for one at the end of the day, with Salman Butt continuing his good run of form with an unbeaten 50, which was studded with nine boundaries.
It was, however, Ganguly who stole the show on the day with his vintage batting as he made a magnificent 239, hitting 30 boundaries and two sixes in 361 deliveries.
Irfan Pathan [Images] also enjoyed his outing with the bat as he posted his maiden Test century. Pathan, who made 102, added 178 runs for the seventh wicket as India made the most of batting on a good wicket.
In the absence of Shoaib Akhtar [Images], Pakistan found it really hard to make any sort of impression against the left-hander, who looked in absolute command. Debutant Yasir Arafat was the most successful bowler for Pakistan as he took five for 161 in his 39 overs.
Yuvraj Singh [Images] smashed a magnificent 169 on day one, adding 300 runs for the fifth wicket with Ganguly as India recovered in quite after being reduced to 61 for 4.
India lead the three-match series 1-0. They won the first Test in Delhi by six wickets, while the second Test in Kolkata ended in a draw.
Morning session:
For Dinesh Karthik [Images] this knock was particularly important, having failed in his four previous innings in this series. He enjoyed some luck too when he survived a close leg before wicket appeal on seven against Mohammad Sami [Images] in the 92nd over.
Resuming on 125, Sourav Ganguly continued scoring runs at will and the two boundaries he hit off Yasir Arafat in the 95th over showed how much control he was in.
He unleashed a powerful shot in Arafat's next over to signal his dominance in the middle. This was followed by Karthik's boundary through covers as India crossed the 400-run mark. The Pakistan fielding was once again a let down and some of the mistakes made them look like novices on the field.
Ganguly, meanwhile, completed his 150 with a single on the off-side, hitting 23 boundaries in 241 deliveries as India reached 407 for 5 after 100 overs. It was clear the veteran left-hander was in the best form of his life and he was making the most of it, with two centuries in consecutive Tests.
Just when Karthik seemed to have settled a bit after a nervous start, he edged behind a wide outswinging delivery from Arafat for 24.
At the other end, Ganguly was in supreme touch and once Kaneria was introduced, he was on the lookout for the loft down the ground. On one such occasion he didn't get the desired lift and ended up hitting it straight back at the leg-spinner's foot injuring him in the process.
In the 113th over, however, the left-hander gave himself a bit of room and launched Kaneria deep into the stands over long-off to move to 164.
Ganguly was unbeaten on 169 and Pathan was not out on 18 as India reached a healthy 461 for 6 at lunch.
India added 96 runs in 27 overs in the morning session with Ganguly leading the charge.
Yuvraj Singh smashed a magnificent 169 on day one, adding 300 runs for the fifth wicket with Ganguly to lead India's push for a huge score as they recovered in style after a few early wickets.
Post lunch session:
Pathan made India's intentions clear after lunch when he stepped down and hit Kaneria for a straight boundary through long-on region in the first over after the break.
Ganguly got a lucky boundary, his first after lunch, when an edge off Sami flew past the slips and he then registered his best Test score with a double to move to 175. His previous best score was 173 against Sri Lanka [Images] in Mumbai in 1997-98.
Suddenly it looked as if the match was being played at the Eden Gardens as chants of "Dada, Dada" filled the M Chinnaswamy stadium.
Arafat was welcomed for a new spell with a blistering straight boundary by Ganguly as he moved to 188. The left-hander brought up India's 500 with a single in the covers as the huge Sunday gathering erupted in unison.
The veteran left-hander smashed another boundary in Arafat's next to race to 195. He was stuck on 197 for around 11 deliveries before a single and a double through the covers took him to his maiden Test double century.
The whole stadium gave him a standing ovation, genuinely appreciating the entertainment he had provided in the two days.
Ganguly's double century took 324 deliveries, included 26 boundaries and a six, and was by far one of his better knocks in Test cricket.
Things just could not get better for the Prince of Kolkata or as a banner in the crowd read 'the King of Bengaluroo'.
Just a few days he had scored his first Test century at his home ground, in Kolkata, and now his first double century -- he was gaining from strength to strength.
The 100-run partnership between Ganguly and Pathan came up when the latter got a thick edge off Kaneria that went to the third man boundary. Two balls later Pathan brought up his seventh Test half-century with a single to fine leg in the 133 rd over of the innings.
With part-timer Salman Butt in operation it was proving to be very easy for India. Pathan needed no further invitation as he stepped down the wicket and lofted Butt over mid-wicket for a six as India crossed the 550 mark in the 136th over. Ganguly followed it up with an even better and bigger six in the next over from Kaneria as India started to increase the scoring rate.
Pathan hit Butt over the cover boundary for his second six and also brought up the 150-run partnership with Ganguly in just 190 deliveries.
Ganguly hit two consecutive boundaries off Yasir Hameed [Images] to move to 235 and go past Vinod Kambli's 227 for the highest score by an Indian left-hander. Another Pathan six over mid-wicket in the 143 rd over took India past 600 and the left-hander advanced to 88 in just 113 deliveries.
Ganguly's magnificent knock finally ended when he was bowled by Kaneria for 239. The left-hander tried to play a sweep shot, but missed and ball ended on his stumps in the 145 th over. He walked back to a standing ovation from the crowd after a delightful knock, that saw him dish out a treat of 30 boundaries and two sixes in 361 deliveries in his near eight and half hour stay at the crease.
Pathan also remained on course for his maiden Test century as he was 93 not out at the tea break. India reached a mammoth 611 for 7 in 147 overs at the end of the second session on day two.
Yet another session was dominated by left-handers and Pakistan were once asking running for cover with the hosts scoring 150 runs in 30 overs. It rained fours and sixes in the session and Ganguly's double century was a real delight for his fans here.
It remains to be seen how much long India would carry on batting and if they would continue even after Pathan gets to his hundred. Pakistan are trailing 0-1 in the series and need to make something happen, but for the moment they are just doing the chasing.
Post tea session:
Kumble fell in the second over after the tea break when he was dismissed leg before wicket by Kaneria for four.
Harbhajan Singh [Images] hit the first ball he faced straight down past the bowler for a boundary, but fell four balls later. He was bowled by Arafat for 4 to become the debutant's fifth victim of the innings as India slipped to 620 for nine. The 25-year-old pacer became the fourth Pakistani to take five wickets in an innings in his debut match.
Pathan now needed just four runs for his century and it remained to be seen whether last man Ishant Sharma could hang on. Sharma did manage to play out the five deliveries and quite deservedly got a huge cheer huge from the fans.
Pathan then brought up his maiden Test century in style with a huge six off Kaneria over wide long-on. It took him 113 deliveries to get to the landmark and included 10 boundaries and four huge sixes.
But sadly for the crowd, he fell off the very next delivery attempting another big shot. He tried to loft Kaneria over mid-wicket but holed it high and Akmal completed an easy match.
India were bowled out for a mammoth 626 in 150.2 overs in their first innings with Pathan the last wicket to fall for 102.
Arafat was Pakistan's most successful bowler as he took 5 for 161 in 39 overs, while Kaneria finished with 3 for 168 in 46.2 overs.
But it was India's batting that was the talking point till now as they took full toll of the depleted Pakistan bowling. It was an amazing turnaround by the hosts to reach this huge score and that too after being reduced to 61 for 4 in the morning session on day one.
It would take another Herculean effort by the Pakistani batsman if they are to make a match out of this or atleast save their team. They managed to escape with a draw in Kolkata courtesy of some gritty batting in both the innings and they would hope for a repeat show here.
(Pakistan innings)
Pakistan got off to a good start with both the pacers, Irfan Pathan and Ishant Sharma, unable to generate any assistance from the pitch. The ball was coming on to the bat nicely just like it happened in India's innings as Pakistan raced to 51 for no loss after 13 overs.
Even Anil Kumble [Images] was not spared as Salman Butt carted him for two boundaries off the first two deliveries he bowled in the match.
Ishant, playing in just his second Test, got the ball to beat the batsmen a few times but struggled mostly with no-balls in his first spell. Pathan, realizing nothing much happening even with the new ball kept it tight in his first spell.
It was Kumble, though, who struck the first blow much to the delight of his home fans. He trapped Hameed leg before wicket with a full delivery that struck him right in front of the stumps for 19 in the 17 th over.
Ishant came back for his second spell but was smashed for four boundaries in a single over. Left-hander Butt hit him for three boundaries through the leg-side as Ishant kept bowling on the batsman's pads, while Younis cracked a short delivery through point.
In the next over, Butt brought up his half-century when he swept Kumble through square leg for a boundary.
At close on day two, Pakistan reached 86 for 1 in 27 overs, still trailing India's first innings score by 540 runs.
Butt was unbeaten on a brisk 50, having hit nine boundaries in 85 deliveries, while Younis was not out on 7.
The pitch is still good for batting and even Indian bowlers toiled in the final session of play to make any impression at all on the batsmen. They are no doubt banking on the spin duo of Kumble and Harbhajan Singh and are hoping that they can get some assistance on day three. Pakistan , meanwhile, would be quite content to keep batting as long as they can for that is their best chance of survival in this match.


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Cummings, E(dward) E(stlin) (Vol. 8)
(Contemporary Literary Criticism)
Cummings, E(dward) E(stlin) 1894–1962
Cummings, an American poet, playwright, essayist, and novelist, was one of the most innovative poets of his time. Avoiding highly intellectual concerns, Cummings's poems were often deliberately simplistic. A sensual poet, Cummings experimented with grammar, punctuation, and typography in order to better present his attempts to fully realize himself through his senses. Some of Cummings's best known works are The Enormous Room, The Balloon Man, and Fifty Poems. (See also CLC, Vols. 1, 3.)
Mr. Cummings' poems depend entirely upon what they create in process, only incidentally upon what their preliminary materials or intentions may have been. Thus, above all, there is a prevalent quality of uncertainty, of uncompleted possibility, both in the items and in the fusion of the items which make up the poems; but there is also the persistent elementary eloquence of intension—of things struggling, as one says crying, to be together, and to make something of their togetherness which they could never exhibit separately or in mere series. The words, the meanings in the words, and also the nebula of meaning and sound and pun around the words, are all put into an enlivening relation to each other. There is, to employ a word which appealed to Hart Crane in similar contexts, a sense of synergy in all the successful poems of Mr. Cummings: synergy is the condition of working together with an emphasis on the notion of energy in the working, and energy in the positive sense, so that one might say here that Mr. Cummings' words were energetic. The poems are, therefore, eminently beyond paraphrase, not because they have no logical content—for they do, usually very simple—but because so much of the activity is apart from that of logical relationships, is indeed in associations free of, though not alien to, logical associations. In short, they create their objects. (p. 75)
There is, for the poet, no discipline like the justified reservations of his admirers, and this should be especially the case with a poet so deliberately idiosyncratic as Mr. Cummings. I have been one of his admirers for twenty-one years since I first saw his poetry in the Dial; and it may be that my admiration has gone up and down so many hills that it is a little fagged and comes up to judgment with entirely too many reservations. Yet I must make them, and hope only that the admiration comes through.
First, there is the big reservation that, contrary to the general belief and contrary to what apparently he thinks himself, Mr. Cummings is not—in his meters, in the shapes of his lines, in the typographical cast of his poems on the page—an experimental poet at all. In his "peculiar" poetry he does one of two things. He either reports a speech rhythm and the fragments of meaning punctuated by the rhythm so as to heighten and make it permanent in the reader's ear—as famously in "Buffalo Bill" …, but just as accurately elsewhere as, for example, in poem 27 [in 50 POEMS] or in trying to do so he makes such a hash of it that the reader's ear is left conclusively deaf to the poem. I assume he is attempting to heighten sound in the failures as well as the successes; if he is not, if he is trying to write a poetry in symbols which have no audible equivalents—a mere eye poetry—then he is committing the sin against the Holy Ghost. My belief is that the high percentage of failures comes from his lack of a standard from which to conduct experiments, and without which experiment in any true sense is impossible; so that in fact many of his oddities are merely the oddities of spontaneous play, nonsense of the casual, self-defeating order, not nonsense of the rash, intensive order. There is no reason he should not play, but it is too bad that he should print the products, for print sheds a serenity of value, or at least of "authority" upon the most miserable productions which are very deceptive to the innocent.
It should be emphasized in connection with this that Mr. Cummings is an abler experimenter than most poets with rhythm and cadence and epithet; and that these experiments come off best when he is not engaged in false experiments with meter—when he is writing either heightened prose as in "Buffalo Bill," or when he is writing straight-way meter of four or five iambic feet. Which is what one would expect.
My second reservation … has to do with his vocabulary, which seems to me at many crucial points so vastly over-generalized as to prevent any effective mastery over the connotations they are meant to set up as the substance of his poems. I do not mean it is just hard to say, which is of little importance, but that it is hard to know, which is very important, where you are at in poems which juggle fifty to a hundred words so many times and oft together that they lose all their edges, corners, and boundary lines till they cannot lie otherwise than in a heap. But this reservation … applies to no more than half the new poems; for Mr. Cummings' practice has improved with his increasing interest, as it seems, in persuading his readers of the accuracy of the relationships which his words divulge.
My third reservation is minor, and has to do with the small boy writing privy inscriptions on the wall…. My complaint is meant to be technical; most of the dirt is not well enough managed to reach the level of either gesture or disgust, but remains, let us say, coprophiliac which is not a technical quality. (pp. 76-7)
Special attention should be called to the development of fresh conventions in the use of prepositions, pronouns, and the auxiliary verbs in the guise of substances, and in general the rich use of words ordinarily rhetorical—mere connectives or means of transition in their ordinary usage—for the things of actual experience. There are questions which may be asked of which the answers will only come later when the familiarity of a generation or so will have put the data in an intimately understandable order. How much of the richness depends on mere novelty of usage, the gagline quality? How much depends on the close relationship to the everyday vernacular, the tongue in which Who and Why and How and No and Yes and Am, for example, are of supreme resort, and are capable of infinite diversity of shading? How much depends perhaps on Mr. Cummings' sense of the directional nubs, and the nubs of agency and of being, in his chosen words; a sense that resembles, say, the dative and ablative inflections in Latin? How much, finally, depends on the infinite proliferating multiplicity of available meanings in his absolute commonplaces made suddenly to do precise work? The questions would not be worth asking did not each furnish a possible suggestion as to the capacity for meaning and flavor of his usage; nor would they be worth asking if there were not a major residue of his verse, as standard as death, which his oddities only illuminate without damaging. (pp. 77-8)
R. P. Blackmur, "Review of '50 POEMS'," in The Southern Review (copyright, 1941 by Louisiana State University Press), Vol. 7, No. 3, Summer, 1941 (and reprinted in E. E. Cummings: A Collection of Critical Essays, edited by Norman Friedman, Prentice-Hall, Inc., 1972, pp. 75-8).
A lifelong addict of the circus, vaudeville, and burlesque, Cummings loves to puncture words so that he can fling their stale rhetoric like straw all over the floor of his circus tent, to take a pompous stance that collapses under him, to come out with an ad-lib that seems positively to stagger him. But the very point of all this is that it occurs within a vocabulary that is essentially abstract and romantic, and that the performance is by a man who remains always aloof, whose invocation of love, spring, roses, balloons, and the free human heart stems from a permanent mistrust of any audience.
This duality of the traditionalist and the clown, of the self-consciously arrogant individualist and the slapstick artist, makes up Cummings' world, and it is this that gives special interest to the autobiographical sections of [i: Six Non-lectures,] a book that otherwise, though as delightful as anything he has ever written, tends to lapse into defensive quotations from his own writings and opinions. For in coming to Harvard he came back to his own—to the town he was born in, to the university whose intellectual inheritance he so particularly represents, to the memory of his father, a Boston minister and onetime Harvard instructor, whose influence is so dominant in his best work. The remarkably exalted memories Cummings gives us of his Cambridge boyhood … is the background of his familiar opposition between the idyllic past and the New York world in which he has to live. Cummings is not merely a traditionalist in the mold of so many American poets, a mold that recalls those other American inventors and originals, such as Ford and Edison and Lindbergh, who are forever trying to reclaim the past their own feats have changed; he is the personification of the old transcendentalist passion for abstract ideals. In his knowingness with words, in his passion for Greek and Latin, he takes one back to Emerson and Thoreau, who were perpetually pulling words apart to illustrate their lost spiritual meaning. Underneath the slapstick and the typographical squiggles, Cummings likes to play with words so that he can show the ideals they once referred to—and this always with the same admonitory, didactic intent and much of Thoreau's shrewd emphasis on his own singularity.
It is these old traits that give such delightfulness, and occasionally something of his hoped-for disagreeableness, to Cummings' "egocentricity," which he pretends in these lectures to apologize for yet which is actually, of course, not a subjective or narcissistic quality at all but the very heart of his Protestant and fiercely individualistic tradition. (pp. 169-70)
In the new American scriptures, fathers don't count. But Cummings' cult of his father is, precisely because it will strike many Americans as wholly unreal, the clue to all that makes Cummings so elusive and uncharacteristic a figure today. For just as the occasional frivolousness of his poetry is irritating because it is not gay, because it is snobbish and querulous and self-consciously forlorn in its distance from the great urban mob he dislikes, so the nobility and elevation of his poetry—which has become steadily more solid, more experimental and moving—is unreal to many people because of the positive way in which he flings the true tradition in our faces with an air that betrays his confidence that he will not be understood.
Cummings' wit always starts from the same tone in which Thoreau said that "I should not talk so much about myself if there were anybody else whom I knew as well." It is both a conscious insulation of his "eccentricity" and an exploitation of his role. But Emerson and Thoreau, even in the rosy haze of transcendentalism, were resolute thinkers, provokers of disorder, revolutionaries who were always working on the minds of their contemporaries; Cummings' recourse is not to the present, to the opportunities of the age, but to the past. And that past has now become so ideal, and the mildly bawdy satires he used to write against the Cambridge ladies of yesteryear have yielded to such an ecstasy of provincial self-approval, that we find him in these lectures openly pitying his audience because it did not have the good sense to be born in his father's house. (pp. 170-71)
Cummings' poetry has ripened amazingly of recent years, but it has not grown. And charming and touching as he is in this little autobiography, he remains incurably sentimental. This sentimentality, I hasten to add, is not in his values, in his dislike of collectivism, in his rousing sense of human freedom; it is in his failure to clothe the abstractions of his fathers with the flesh of actuality, with love for the living. The greatness of the New England transcendentalists was their ability to reclaim, from the commonsensical despairs of a dying religion, faith in the visionary powers of the mind. More and more, in Cummings' recent books, one sees how this belief in imagination, this ability to see life from within, has enabled him to develop, out of the provocative mannerisms of his early work, a verse that is like lyric shorthand—extraordinarily elastic, light, fresh, and resonant of feeling. At a time when a good deal of "advanced" poetry has begun to wear under its convention of anxiety, Cummings' verse has seemed particularly felt, astringent, and musical. But it is precisely because Cummings is a poet one always encounters with excitement and delight, precisely because it is his gift to make the world seem more joyful, that one reads a book like this with disappointment at hearing so many familiar jokes told over again, while the poet escapes into a fairyland of his fathers and points with a shudder to all who are not, equally with him, his father's son. (p. 171)
Alfred Kazin, "E. E. Cummings and His Fathers," in The New Yorker (© 1954 by The New Yorker Magazine, Inc.), January 2, 1954 (and reprinted in E. E. Cummings: A Collection of Critical Essays, edited by Norman Friedman, Prentice-Hall, Inc., 1972, pp. 168-71).
[Cummings] has used language with no concession to conventional recognition; he has always wanted his reader to drop all the accoutrements of the grammarian and the rhetorician that he may be wearing as protective clothing and to approach his poems, as it were, naked and unafraid. The reader should be free of preconceptions about English poetry, unafraid to "reconsider his standards of acceptance."
This is not to say, however, that Cummings does not know rules and tradition. He is instead a prime example of the old adage that an artist must know all the rules before he can break them. Cummings is no primitive, though he sometimes uses words as a child does; he is no Walt Whitman with a barbaric yawp, no untutored child of the prairie working in what is essentially an alien medium…. His first book of poems, Tulips and Chimneys (1923), revealed the fact that he had had a classical education, although the poems in it that looked forward to his later writing were much more noteworthy than those which were traditionalist. And although he continues to work in the sonnet—perhaps his most memorable poetry is in this form—he long ago abandoned the language of Rossetti and Keats for one which fits his highly personal insight into experience. At its most highly developed state, in his later books, Cummings' language becomes almost a foreign one, usually possible to figure out for a reader who knows English, it is true; but he will get its full meaning only if he has read a great deal of Cummings and if he "knows the language."
It is unfortunate that most of the critical appraisals of Cummings' poetry were made early, shortly after his first books were published. Since those days—the twenties—were full of literary and artistic ferment, and a new poetic talent was to many people at least as exciting as a new baseball player, it is natural that he should have received a great deal of attention then; it is perhaps also natural that as the first shock caused by his poetry died down into acceptance of what seemed a fixed technique of an established poet, the critics should have turned their eyes elsewhere. Cummings, too, was somewhat out of the mainstream in the thirties. He was not popular with the New Critics because he was too personal and unintellectual; he did not think or write in their groove. Nor was he popular with the critics of the left who demanded their own variety of social consciousness in a writer. His "immorality" was too blunt for the Humanists, and his verse was too uncommunicative for the attackers of the cult of unintelligibility. When his last three volumes of verse came out, no one took the trouble to give Cummings the reappraisal that his poetry needed and deserved; very few people noticed the fundamental change of attitude which manifested itself in his growing reverence and dedication to lasting love; even fewer noted the development in his use of language. Thus in 1955 an essay, "Notes on E. E. Cummings' Language," by Richard P. Blackmur, written in 1930, remains the only extensive treatment of the subject; and too many people think of his language, as they think of the subject matter of his poetry, as if it were all of a piece, which it most emphatically is not. (pp. 80-2)
Many of the things that Mr. Blackmur said are still accurate descriptions of some of the phenomena of Cummings' language; the trouble is that his remarks are incomplete. They do not consider Cummings' later practices of using one part of speech as another, of leaving out words so that the resulting condensation is so dense as to be almost impenetrable, of thoroughly scrambling English word order with the same effect. Mr. Blackmur was instead occupied with such things as Cummings' tough-guy attitude and his romantic egoism, with his overuse of certain favorite words to which he seemed to assign private meanings, and with the question of whether such diction did not make his poetry impenetrable. Mr. Blackmur concluded unequivocally that it did; and, if in 1952 he saw no need for modification of his note [in his Language As Gesture], one assumes that he still thinks so. (pp. 82-3)
Although his language, especially in the later books, is intricate and difficult, what [Cummings] asks of his reader is, as always, the frank approach of a child; and it is this attitude which he himself takes to his mother tongue and to its tenets and rules. Of course, such an approach is consistent with that most salient feature of his viewpoint, his glorification of the child (or the "maturely childish" adult); he is, when he fashions language as a child would, merely practicing what he preaches. It is doubtful whether he ever said to himself, "I shall form and use words as if I have not completely mastered the idiom of the English language, although I know its rules"; but this is precisely what, in his first ventures into unusual language, he began to do. He divested himself of the literate adult's prejudices against such things as double negatives, redundant superlatives and comparatives, and non-dictionary words. (p. 83)
[In] Tulips and Chimneys, although the greater part of his language is conventional and sometimes even banally "poetic," one finds such unusual usages as unstrength, purpled, Just-spring, eddieandbill, puddle-wonderful, almost-ness, greentwittering, quiveringgold, flowerterrible, starlessness, fearruining, timeshaped, sayingly. Except for sayingly and almostness, which are among the first examples of his changing one part of speech into another, and unstrength, there is nothing very startling about most of these words. The mere printing of two words together, as in greentwittering, might be considered more a typographical technique than a linguistic one, although it is apparent that when Cummings combines two words to form one adjective he usually creates a new concept by the juxtaposition of two unlike descriptives: flowerterrible, timeshaped. (It is such language as this that Mr. Blackmur objects to; he would say that it is impossible to determine the exact meaning of such words as flowerterrible and timeshaped, and undoubtedly he is right.) Tulips and Chimneys abounds with such words and with phrases that are made up of conventional words in unconventional juxtapositions….
These phrases that (one must agree with Mr. Blackmur) convey a thrill but not a precise impression swarm through the book but are not able to occupy it exclusively. In contrast to them are many images which depend for their power upon the unexpected but which manage to convey an accurate reproduction of the poet's thought, which show, indeed, that the poet had a thought and not merely a rush of words. (p. 86)
The language of Tulips and Chimneys,… like the imagery, the verse forms, the subject matter, and the thought, is sometimes good, sometimes bad. But the book is so obviously the work of a talented young man who is striking off in new directions, groping for original and yet precise expression, experimenting in public, that it seems uncharitable to dwell too long on its shortcomings. (p. 88)
Cummings' linguistic usages in Tulips and Chimneys and in the two books which soon followed it & [AND] and XLI POEMS [are similar]. These books were published within three years and are fairly much alike (although the typographical distortions that reach extremes in & [AND] were barely hinted at in the first book), in style and in subject matter the three books are the work of the same youthful poet. (p. 89)
Although … the early books are punctuated with favorite words (thrilling, flowers, utter, skillful, groping, crisp, keen, actual, stars, etc.) almost as copiously as another author would use commas, an awareness of these words is not unrewarding if one wishes to understand Cummings. The words flower and stars are, as he uses them, not mere substantives representing a thing in nature but are metaphorical shorthand for concepts which Cummings finds admirable: the flowers, for example, representing growth, being, aliveness; the stars standing for the steadfastness of beauty in nature.
Such adjectives as he continually uses …, though they are admittedly overworked in the early books to the point of tiresomeness, are nevertheless indicative of his viewpoint: he admires phenomena that can be described as crisp, keen, actual, gay, young, strong, or strenuous, and dislikes the groping, the dim, the slow, the dull. In reading the early poetry, it is often necessary to know which of Cummings' words are, in Hayakawa's terms, "purr words" and which are "snarl words" in order to get any meaning from the poem. As Cummings progressed, he outgrew his penchant for such expressions as "thy whitest feet crisply are straying" … and grew into his mature style, which is something infinitely more precise, often more concrete, and which relies more on such straight-forward words as nouns and verbs than on piled-up adjectives for its effects.
To refer, however, to Cummings' words as nouns and verbs is to make things sound much simpler than they are, for the one outstanding characteristic of his mature style is his disrespect for the part of speech. It would be more accurate instead to say that he uses words as nouns, for instance, which are not normally so; it would be hard to find any one of his later poems which does not utilize a word in a sense other than its usual one. Yes is used as a noun to represent all that is positive and therefore admirable, if to stand for all that is hesitating, uncertain, incomplete. The style thus becomes spare; the later books contain many poems written in extremely short lines, lines which, utilizing the simplest words, say a great deal. (pp. 89-90)
[By] accepting the fact that the poet may be saying something worthwhile and may be seriously trying to convey both truth and beauty as he sees it, one will try to look through the poet's eyes. To understand Cummings fully, more so than in understanding most other poets, it is necessary for one to have read much of Cummings. To a reader familiar with his techniques such a statement as "yes is a pleasant country" is as penetrable as a deep, clear pool; it might, however, seem more opaque to one reading him for the first time. Such words as yes and if take on a historical meaning within the body of his poetry, a meaning not divorced from their traditional ones but infinitely larger: yes, for instance, conventionally is used in a particular situation; as Cummings uses it, yes represents the sum of all the situations in which it might be used. And such a technique as "who younger than / begin / are" is not too complicated to be used by some practitioners of the art of writing for mass consumption, as witness the first line of a very popular song from South Pacific: "Younger than springtime, you are." (pp. 90-1)
Babette Deutsch has described Cummings' use of these words as follows [see CLC, Vol. 3]:
His later poems make words as abstract as "am," "if," "because," do duty for seemingly more solid nouns. By this very process, however, he restores life to dying concepts. "Am" implies being at its most responsive, "if" generally means the creeping timidity that kills responsiveness, and "because" the logic of the categorizing mind that destroys what it dissects. Here is a new vocabulary, a kind of imageless metaphor.
Why, Miss Deutsch might further have explained, generally means to Cummings a state of uncertainty, a searching for direction from sources outside oneself, an unspontaneous demanding of reasons and causes in the face of life. A person who is a why is generally a subject for ridicule, being, like an if, a timid creature who thinks, fears, denies, follows, unlike an all-alive is. (p. 92)
Right though she is in assigning meanings to Cummings' am's, if's, and because's, Miss Deutsch does not get to the root of the technique used in these words when she describes them as examples of "imageless metaphor." Metaphor has as its base the use of comparison and analogy, of the verisimilitude within dissimilitude that exists between two images, actions, or concepts. Actually, a closer insight into the real nature of these words is found in Mr. Blackmur's study, though, in contrast to Miss Deutsch's commitment to the technique, his definition of the process comes within a general attack on Cummings' language. He says at the end of his essay that all of Cummings' "thought" (the quotes are Mr. Blackmur's) is metonymy, and that the substance of the metonymy is never assigned to anything. "In the end," he concludes, "we have only the thrill of substance." Metonymy is based on reduction rather than comparison: an object associated with a thing is substituted for the thing itself (as crown for king), or a corporeal object is used to represent an abstract concept or idea (as heavy thumb for dishonesty). When Mr. Blackmur says that Cummings' metonymy contains only the "thrill of substance," he means that in the case of such a word as flower, one of Cummings' favorite metonymical vehicles, the substance—flower—is there but the idea of which it is a reduction is neither present nor ascertainable. If the reader receives a "thrill" from such a word as flower, well and good; but Mr. Blackmur asserts that a thrill is all he will receive.
It must be remembered that Mr. Blackmur's essay was written after only the earliest of Cummings' books had appeared; none of them exemplify his mature style—in those days flower and star were about as far as he had gone in the direction of metonymy. In his use of why, however, he has extended not only the uses to which a particular word can be put but also the accepted limits of metonymy: he has taken an abstract word and made it stand for a host of ideas, the negative characteristics mentioned above. Mr. Blackmur's "thrill of substance" is therefore not applicable to Cummings' present use of metonymy, for such words as why do not represent a substance and certainly, if they are isolated, convey no thrill. That it is possible for why to induce a thrill is seen in the lines quoted above, but the thrill comes not from the "substance" of why but from the uniqueness of its use; perhaps also there is a thrill of comprehension which comes when the implication of the metonymy strikes the reader.
Again, if one accepts Mr. Blackmur's argument it is unanswerable; he would say that to derive an implication from a metonymical concept is not enough, that the idea or object which the "substance" represents must be precisely known. However, there must perhaps have been a day when heavy thumb was not a universally accepted reduction for dishonesty; the person who created this particular metonymy must have been doing a rather original thing, and his created expression must have had to go through a process of recognition into acceptance before it came to be unquestioned. That Cummings' metonymical usages are unlikely to go through this particular process is immaterial; such metonymies as why and yes are a little too subtle, too closely based on a poet's private convictions, to find a place in ordinary language. It should not be concluded, however, that their meaning cannot be understood…. (pp. 92-3)
To understand a Cummings metonymy, one can bring his plain common sense to bear first, and, in the case of such expressions as "who younger than / begin / are" or "and should some why completely weep," common sense is often enough to establish a correct meaning. (p. 93)
[His] technique in creating new uses for such words as if, why, because, which, how, must, same, have, and they on the one hand and now, am, yes, is, we, give, and here on the other is to accumulate meanings for each of them that total up to the same kind of positive and negative oppositions that are set against each other throughout his work…. (pp. 94-5)
[He] makes each of these words self-subsistent in terms of the context in which they appear, and, by varying the meanings in each usage, makes the words metonymical reductions for a whole set of concepts. In a way he is creating an easy cipher of meaning, penetrable but not completely so at first sight. And is this not also the case of any author who utilizes a few dominant symbols in order to express his special insight into experience, who must make each use of a symbol function in its context and yet adds to its meaning with each repeated use? (Hawthorne's repeated use of light and shadow in his works might be cited as an example of this method.) The success of a metonymous or symbolic system of this sort depends partly upon the degree to which the poet objectifies and clarifies his conception of the world, partly upon the effects of freshness and vitality his language produces; when one comes across such lines as the following there can be no doubt that Cummings is successful in both respects:
she laughed his joy she cried his grief
bird by snow and stir by still
anyone's any was all to her
Using a traditional rhetorical pattern in the second line (little by little serves as a model for it), he superimposes a metonymous structure: bird and snow are reductions of summer and winter; stir and still, of all manner of activities. The net result of such a line is a new and delightful sense of linguistic invention, precise and vigorous.
To say that Cummings is successful in objectifying his conception of the world and in achieving a freshness and vitality of language is not to diminish the difficulty of many of his poems. Nor is it meant to say that his metonymical usages are not overworked, just as were his favorite adjectives in Tulips and Chimneys. What was originally a fresh idea, and what still has great power if used with discrimination—his utilizing abstract words to be the "substance" of a metonymy—can become boring, tiresome, and even meaningless if called upon constantly to carry the whole weight of a poem. Just as the word flower, which obviously was a symbol for something, when used in every poem became a mere word, to be accepted and passed over, so a constant succession of which's and who's and why's and they's begins to roll off the tongue too quickly for the mind to make the transference from the "substance" to the idea for which it stands; and the force of the metonymy is lost. A poem written almost exclusively in these words loses, too, its beauty and grace; one-syllable abstract words are not particularly melodious, and a poem in which they are not frequently interspersed with words which are more interesting in themselves, or more concrete, is likely to plod along (like Pope's "And ten low words oft creep in one dull line"), one metonymy after another, never skipping or dancing or singing.
However, at the same time that Cummings developed the metonymy to its ultimate use he was growing in another direction: many of his poems became much more, not less, musical than his earlier ones. In the earlier books he had placed his dependence upon the sonnet form, often upon a grand manner, and sometimes upon free verse; but he very seldom wrote a poem which cried out to be sung, which could be read only with a joyous, pronounced rhythm. Such poems as these occur frequently in the last three books. Cummings has given up being grand and derivative and become simple and himself. If he utilizes old verse forms, they are more likely to be of the nursery rhyme than of the Spenserian stanza. His lines, as has been mentioned, are often short; his meter is usually iambic; his words—when they are not metonymies—are colloquial. As a result, one can read these poems with a sense of the child's pure delight in poetry; Cummings himself has become more maturely childish as he has grown.
The rhythmical poems do utilize the typical abstract word metonymies—it is a rare poem in his later books which does not; even his satires make use of them to some extent—but the metonymies are likely to be placed in the context of concrete words and lively happenings. (pp. 95-6)
[A] progression from the external to the personal, from the outer world of "mostpeople" to the inner world of "us," finds its expression, sometimes quietly, sometimes with childish innocence, sometimes with a dauntless courage, in poem after poem in the volume 1 × 1…. And, as he begins one of the most beautiful of his sonnets: "one's not half two. It's two are halves of one:"…. This whole conception of i-you-we (or my-your-our) becomes one of Cummings' most frequently used metonymies. Its impact, to anyone who knows that "two are halves of one," is immediate…. In the i-you-we metonymy the whole is greater than the sum of its parts, and the metonymy itself becomes a prime example of Cummings' ability to use the simplest words as a shorthand for concepts which represent his own convictions. It is fitting that his most musical poems should be the ones … in celebration of i-you-we; for to Cummings love is still the most joyous of all things. Mature love to him becomes not more sober and settled but more intensely lyrical, less tortured, more a thing for singing and dancing and child-like delight. We takes its place along with yes and now and is as the metonymies for all that is best in this "really unreal world." (pp. 98-9)
Robert E. Maurer, "Latter-Day Notes on E. E. Cummings' Language," in The Bucknell Review (© 1955 by The Bucknell Review), May, 1955 (and reprinted in E. E. Cummings: A Collection of Critical Essays, edited by Norman Friedman, Prentice-Hall, Inc., 1972, pp. 79-99).
E. E. Cummings probably used Bunyan's Pilgrim Progress as an organizing principle of The Enormous Room because he suspected that for most people in his generation its spiritual power and moral lessons were either forgotten or misunderstood. The Enormous Room is surely an intentional Pilgrim's Progress…. (p. 121)
A retrospective reading of the contemporary notices dramatizes the general response of reviewers that The Enormous Room was pretty strong meat. Readers felt compelled to take sides on the crucial issue of the book's "gratuitous filthiness." Yet it was not apart from its crudities, we feel today, that the book was "quite worthwhile," but because of them. Like a number of his younger contemporaries, Cummings had intuitively divined the efficiency of filth as metaphor, and like Swift before him, succeeded in conveying an excremental vision of life with unmistakable power. In addition, by ringing changes upon the allegorical structure of conventional pilgrimages, he evolved a Paradise within an Inferno, a Celestial City upon the ruins of the City of Destruction. In short, if Christian could no longer journey to the Delectable Mountains, Cummings would bring the Delectable Mountains to Christian….
The parallel journey is spiritual, not literal, yet the identification of the narrator with Christian is illuminated at crucial instances in such a way as to reflect a fundamental dependence upon the earlier allegory. (p. 122)
The Enormous Room manipulates the images of the erotic, urinary, and excremental to symbolize the most precious mysteries of Christian brotherhood. In not perceiving Cummings' extraordinary use of the "excremental," earlier critics of The Enormous Room have misunderstood its intention.
Cleanliness is next to ungodliness in Cummings' ludicrously inverted scheme of things. The only physically clean beings are the non-prisoners. The "very definite fiend," Apollyon, who is the director of the prison, is an impeccable dresser, a terrifying little monster whose most disgusting feature is his inhuman fetish for personal cleanliness…. It is a perfectly obvious irony that, behind his puppetlike facade of cleanliness, Apollyon is responsible for the filthiest of prisons. (pp. 124-25)
The theme is at once revolting and transcendent: human excrement, normally the object of universal disgust, symbolizes human brotherhood and, eventually, Christian Salvation. The most prominent feature of The Enormous Room is its odor…. (p. 125)
Cummings' violent dismissal of the ordinary forms of things does not imply that he has rejected the ultimate spiritual meanings which the forms should symbolize. Civilization itself is unspeakably corrupt; it is reflected in the injustices of governments, the ironies of power-struggles between nations, and the horrors of a chaotic and meaningless war. In the microcosm of The Enormous Room it is represented by Le Directeur, by the Black Holster (brutal chief of the plantons), and by the "Three Wise Men" and their Inquisition. Above all, civilization's least satisfactory product is the unthinking and insensitive American, the incommunicative, middle-class, self-satisfied average-man, represented here as "Mr. A."…. Cummings' "war-time" Mr. A.—section-chief of an Ambulance Service subsidized with Morgan money—reappears in the post-war poems in civilian clothes as the prototype unthinking-American immortalized, in all of his fastidiousness, in the cynically-portrayed subject of "POEM, OR BEAUTY HURTS MR. VINAL," defecating (with a hun-dred-mil-lion-oth-ers) on a "sternly allotted sandpile," emitting a "tiny violetflavored nuisance: Odor?/ono." (pp. 126-27)
What most disturbed Cummings in the immediate post-war years was a mass insensitivity to the distressing and, relevantly, stinking conditions of war (and, by extension, of civilization). Those who refused to use their noses except to avoid the actual smell of life became, like the Cambridge ladies of the sonnet, possessed of furnished souls and comfortable minds merely; their daughters, like their lives, were "unscented" and "shapeless."… The Enormous Room was addressed to this unscented majority in the hope that it would be not merely shocked but would somehow sense … that Christian brotherhood existed among human odors, not beyond them. (p. 127)
In choosing for his prototype fool an overcivilized, anal American with a supersensitive nose, Cummings discovered an essential symbol. Inevitably, therefore, his own pilgrim would need to be able to smell his fellow-human beings in order to progress with them toward the Delectable Mountains. In contrast, the impostor Count Bragard, who cannot tolerate the stink of his fellow-prisoners, is clearly identifiable with the worst excesses of modern civilization: he prostitutes his art; his real god is not Cezanne, but Vanderbilt. (pp. 127-28)
"In the course of the next ten thousand years," wrote Cummings after his return to New York, "it may be possible to find Delectable Mountains without going to prison."… While he was in captivity, however, he found that communication was only possible with those "common scum" who had not been hopelessly indoctrinated by civilization. Bunyan's Worldly Wise-men, for Cummings, constituted the majority of the "monster manunkind."… "The Great American Public," he wrote, had a "handicap which my friends at La Ferté did not as a rule have—education…". Communication, then, in The Enormous Room, if it were to exist among the prisoners at all, had to be established upon some deeper principle than spoken language. The principle was that of a communion of the Elect. Words were inadequate…. Cummings is careful to make the point that The Zulu spoke no conventionally communicable language, and yet "I have never in my life so perfectly understood (even to the most exquisite nuances) whatever idea another human being desired at any moment to communicate to me, as I have in the case of The Zulu." (pp. 128-29)
The emphasis, as in any rite of passage, is upon what the initiate has learned from his journey. In this instance, the maimed hero can never again regard the outer world (i.e., "civilization") without irony. But the spiritual lesson he learned from his sojourn with a community of brothers will be repeated in his subsequent writings both as an ironical dismissal of the values of his contemporary world, and as a sensitive, almost mystical celebration of the quality of Christian love.
Even if we admit the ingenuity of Cummings' device in The Enormous Room, we may still ask if the enormity of the conceit, developed so fully as it is, succeeds. Until one returns directly to Bunyan's allegory, he may forget just how scummy the Slough of Despond actually was. Bunyan implies that a virtually inescapable condition of man's spiritual salvation is that he "wallow for a time," and become "grievously bedaubed."… [The Slough of Despond] is a necessary part of the journey. Similarly, Cummings implies that The Enormous Room is "necessary," although he hopes that "In the course of the next ten thousand years it may be possible to find the Delectable Mountains without going to prison." (pp. 130-31)
There remains the question of obscenity in The Enormous Room. Could Cummings have succeeded, as reviewer D. K. Lamb put it, "without being so gratuitously filthy"? Had William Thackeray lived to read The Enormous Room, he would unquestionably have called it "filthy in word, filthy in thought, furious, raging, obscene," as he described Gulliver's Travels to a group of nineteenth-century ladies. But happily, such a view of "filthiness" has been demonstrated to be superficial, and despite the persistence of a few critics in reading Swift as personal history,… [we have learned] that to regard Travels into Several Remote Nations of the World as evidence of coprophilia in Swift is itself madness. Thus, while it is important to comprehend the meaning of the excrement in Houyhnhnmland, it is trivial to be offended by its odor.
Without insisting upon the parallel between the pilgrimages of Bunyan's Christian and Swift's ironic Gulliver [although this point has been critically discussed], I would nevertheless agree with [Samuel Holt Monk], who sees a "grim joke" in Gulliver himself being "the supreme instance of a creature smitten with pride."
The significance of such a view for readers of Cummings is this: Gulliver, in his rationalistic pride, is no longer able to smell his fellow human beings without experiencing a wave of nauseating disgust. Having lived in the super-rational "civilization" of the horses, he finds the odor of human beings altogether repugnant. Cummings' twentieth-century pilgrim provides us with an alternative. In a world of rationalistic, super-scientific, deodorized, Nujolneeding Gullivers, he found it necessary for his salvation to escape into a community of odorous human beings. He discovered them by being imprisoned among them in The Enormous Room. (pp. 131-32)
David E. Smith, "'The Enormous Room' and 'The Pilgrim's Progress'," in Twentieth Century Literature (© 1965 by IHC Press), July, 1965 (and reprinted in E. E. Cumming: A Collection of Critical Essays, edited by Norman Friedman, Prentice-Hall, Inc., 1972, pp. 121-32).
Although he is not generally accorded any attention as a religious poet, E. E. Cummings did, on occasion, produce poems which can only be classified as "divine." Most of these poems were published during the last decade of his career when, according to Norman Friedman [in e. e. cummings: The Growth of a Writer], "the image of the actual world faded in favor of the visionary core." Although the poems which may be termed religious without qualification are not numerous, it seems inevitable that a poet who devotes so much of his career to depicting the transcendence of the mundane by human lovers should in time turn to transcendence with the active assistance of a loving God….
Cummings's approach to God is of a tentive nature, in keeping with his view that anything or anyone either measurable or completely definable is of little value. This approach is evident in a number of Cummings's poems, such as "no time ago," "to start, to hesitate; to stop," Number 42 of 95 Poems, and Numbers 51, 53, and 55 of 73 Poems.
The sonnet "when you are silent, shining host by guest" serves as a celebration of the love of an essentially unknowable God for the individual, for "every" man and for nature. (p. 70)
[For] all its heartfelt humility and tentativeness, this sonnet presents an essentially optimistic celebration of God's love and its effects in the awakening of the one, of the "every," and of nature. In the all-inclusiveness of the transcendence it depicts, the poem mounts a cogent counterargument to the view enunciated by [some critics] that Cummings is capable of finding joy only in the self. (p. 75)
G. J. Weinberger, "E. E. Cummings' Benevolent God: A Reading of 'when you are silent, shining host by guest'," in Papers on Language and Literature (copyright © 1974 by the Board of Trustees, Southern Illinois University at Edwardsville), Winter, 1974, pp. 70-5.
As cummings makes clear, there are apparently two plays in [him]. One is a markedly personal play and another, seemingly less personal, consists of a series of vaudevillesque skits embodying the environment or moral climate in which the writer (the central character) dwells. This person may be taken to be cummings himself in painful dismay amid the jungle of our civilization, especially as it manifested itself during the 1920s. He was inspired by feelings of utmost tenderness and tormented by the horrendous tumult and fatuity of the time. If his "hero" talks crazy, with a touch of the adolescent and certain intimations of Pirandello it is pretty much as the inebriate cummings himself talked, as if he were trying to thread his way through the impediments of inner disturbance and overstrained nerves without descending to platitude.
This emotional confusion leads to both stylistic and structural discrepancies. The play begins (and in large part continues) as a series of feverish images of a girl undergoing anaesthesia during an abortion. She is "me," who thinks of her lover as "him": they have no other names in the play. But the play constantly shifts its focus; many of the scenes are inconceivable as emanations of "me's" spirit.
The play's purest element is contained in duos of love. They are the most sensitive and touching in American playwriting. Their intimacy and passion, conveyed in an odd exquisiteness of writing, are implied rather than declared. We realize that no matter how much "him" wishes to express his closeness to "me," he is frustrated not only by the fullness of his feeling but by his inability to credit his emotion in a world as obscenely chaotic as the one in which he is lost.
That world is fantastically reflected in comic spiels of commercial publicity in the second and longest act of the "other play." There is, too, an extraordinarily grotesque travesty of Americans in Gay Paree, the paradise of tourists in the 1920s. In another scene, Fascist bombast is lampooned; in still another, evangelical hot air as a solace to the impoverished and hungry—the depression was just around the corner—is scathingly mocked.
But in the end we return to the "unfinished" play which "him" is trying so desperately to write, the play with heartbreak at its core, in which "him" proclaims, "I am an Artist, I am a Man, I am a Failure." In this manner, the play's dichotomy achieves unity. Just so, the play, disjointed and flawed, still breathes with imagination and lyric life. (pp. 604-05)
Harold Clurman, in The Nation (copyright 1974 by the Nation Associates, Inc.), May 11, 1974.
Cummings' early poetry and art [bore] affinities with that of the Decadents: sensuality abounded, often gratuitously, and the will to shock the complacency of bourgeois arts and letters went hand in hand with an art-for-art's-sake undercurrent. But as the self-conscious lushness of his early poems dropped away, a new firmness took its place: the impulse towards economy replaced the temptation towards prolixity. It is no accident that long poems disappeared from his later volumes. Neither is it an accident that as Cummings progressed he became more representational in his painting and drawing. The immediacy of the outer world impinged more and more upon the inner fantasies; satire replaced luxurious sensuality, and the artist who began with the interests of a Beardsley drew closer to the viewpoints of a Daumier.
Yet throughout this period of growth and development there remain constant similarities between poems and drawings. In each, he is seeking to convey the delight and humor which his own quick wit found in the world around him. And in each, he is seeking the most economical means to convey ideas and feelings about ideas. In each, too, he is seeking precision. At times that precision comes (as in sonnets and early drawings) from a synthesis that incorporates rhyme and meter or weighs each stroke of the pencil and calculates its effect on the whole. At other times the precision is more intuitive—the quick accurate sketch of a walking man or seated girl, or the swift description of a character aided by an arrangement of words that is less reasoned than felt. Above all, in both poetry and drawing, he seeks movement and life. His word of supreme praise—applied, for example, to Eliot's poetry and Lachaise's art—is "alive." Perhaps his own early work in The Dial is best summarized by a comment he made on the work of the latter man: it is "the absolutely authentic expression of a man very strangely alive." (p. 504)
Rushworth M. Kidder, "'Author of Pictures': A Study of Cummings' Line Drawings in 'The Dial'," in Contemporary Literature (© 1976 by the Board of Regents of the University of Wisconsin System), Vol. 17, No. 4, Autumn, 1976, pp. 470-505.


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What does maul mean?
Definitions for maulmɔl
Here are all the possible meanings and translations of the word maul.
Princeton's WordNet
maul, sledge, sledgehammer(verb)
a heavy long-handled hammer used to drive stakes or wedges
split (wood) with a maul and wedges
maul, mangle(verb)
injure badly by beating
A heavy long-handled hammer, used for splitting logs by driving a wedge into it, or in combat.
A situation where the player carrying the ball, who must be on his feet, is held by one or more opponents, and one or more of the ball carrier's team mates bind onto the ball carrier.
To handle someone or something in a rough way.
To savage; to cause serious physical wounds (usually by an animal).
The bear mauled him in a terrible way.
To criticise harshly.
Origin: malle, from mail, from mail, from malleus
Webster Dictionary
a heavy wooden hammer or beetle
to beat and bruise with a heavy stick or cudgel; to wound in a coarse manner
to injure greatly; to do much harm to
Origin: [See Mall a hammer.]
Chambers 20th Century Dictionary
mawl, v.t. to beat with a mall or a heavy stick: to injure greatly by beating.—n. a heavy wooden hammer: a struggle for the ball in football, when it has been carried across the goal-line, but has not yet been touched down. [Mall.]
Anagrams for maul »
Chaldean Numerology
The numerical value of maul in Chaldean Numerology is: 5
Pythagorean Numerology
The numerical value of maul in Pythagorean Numerology is: 2
Sample Sentences & Example Usage
Heather Hrutkay posted. The grandmother can be seen swinging her Jedi weapon this way and that as she screams and dances with joy. Star Wars baddie Maul is going to get me for sure. Ahhh !
Images & Illustrations of maul
Translations for maul
From our Multilingual Translation Dictionary
- балға, сүкешBashkir
- molCatalan, Valencian
- hrubě, ztrhat, zacházet, potrhatCzech
- Spalthammer, misshandelnGerman
- mandarria, maltratarSpanish
- nuija, pahoinpidellä, murjoa, leka, raadella, moukariFinnish
- maltraiter, merlinFrench
- crágIrish
- slacScottish Gaelic
- strapazzare, maglio, sbranare, mazzaItalian
- מַפֵּץHebrew
- kovos kūjisLithuanian
- veserisLatvian
- kloofbijl, toetakelenDutch
- malhar, maltratarPortuguese
- истяза́ть, искале́чить, схва́тка, кале́чить, покале́чить, кува́лда, му́чить, терза́тьRussian
- släggyxa, mörbultaSwedish
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