text:
Select Search
World Factbook
Roget's Int'l Thesaurus
Bartlett's Quotations
Respectfully Quoted
Fowler's King's English
Strunk's Style
Mencken's Language
Cambridge History
The King James Bible
Oxford Shakespeare
Gray's Anatomy
Farmer's Cookbook
Post's Etiquette
Brewer's Phrase & Fable
Bulfinch's Mythology
Frazer's Golden Bough
All Verse
Dickinson, E.
Eliot, T.S.
Frost, R.
Hopkins, G.M.
Keats, J.
Lawrence, D.H.
Masters, E.L.
Sandburg, C.
Sassoon, S.
Whitman, W.
Wordsworth, W.
Yeats, W.B.
All Nonfiction
Harvard Classics
American Essays
Einstein's Relativity
Grant, U.S.
Roosevelt, T.
Wells's History
Presidential Inaugurals
All Fiction
Shelf of Fiction
Ghost Stories
Short Stories
Shaw, G.B.
Stein, G.
Stevenson, R.L.
Wells, H.G.
> St. John Lucas, comp. >
The Oxford Book of French Verse
St. John Lucas, comp.
The Oxford Book of French Verse.
poem in this book was written in France some time in the twelfth century; it dates, therefore, from the epoch when French lyric poetry may fairly be said to begin. It is true that the song of Sainte Eulalie, which is older by two centuries, is lyrical in form; but it is composed in the old, uncouth
lingua romana;
the dry bones, as it were, of Latin, which afterwards became quickened to new and wonderful life in French, Italian, and Spanish. An Englishman who glanced casually at the Song of Eulalie would imagine it to be written in a mixture of Dutch and Italian, and it has more interest for the archaeologist in language than for the lover of poetry.
Chansons de Geste,
dreary and monotonous enough to our impatient modern sense, yet often redeemed by a sudden note of rugged pathos, as when Berthe
aux grands pieds
is lost in the woods, or the Belle Aude dies of grief at the feet of Charlemagne, drag their slow length along through the twelfth and thirteenth centuries. Their language, so full of the rough gutturals of the North, must have been the despair of the would-be lyric poet; but farther South, where the sun was kind and life more gay and leisured,
the lingua romana
developed rapidly, and Provence probably had a flourishing school of poetry before the singers of Picardy and Champagne had learnt their art. The elaborate and chivalrous etiquette of Provençal society was reflected faithfully in the songs of the troubadours; it was a peculiarly artificial civilization with oddly candid immoralities, and in its poems there is often a comic contrast between the subtlety of the form and the
of the subject.
Provence, in the twelfth century, may be defined as a state that flourished under the benevolent tyranny of a great number of queens. Women, for perhaps the first time in history, were supreme, though their supremacy certainly differed from that so fiercely desired by our modern self-emancipators. It is not surprising to find that the early lyrics of the North of France adopt for the most part the same immortal theme. The
Chansons de Toile
they were called this because women sang them over their tapestryare admirable little pictures of some troubled, or doubtful, or happy moment in the life of a lady who is a lover. The fair Erembors is suspected of faithlessness by Count Renaud, but convinces him (very easily) of the contrary; and the fair Doette hears the news of the death of Count Doon, and becomes a nun at Saint-Pol. The language of these little sewing-songs is, of course, still the language of the
Chansons de Geste,
but the skill with which the dialogue is presented, the few words that give the scene, and the haunting refrain, combine to endow them with a charm for which we shall sigh in vain when the Strephons and Chloes of riming Abbés and court Anacreons strut through their self-conscious idylls. The original
does not appear to have survived the twelfth century, but it was revived later on in a more elaborate form by a poet of Arras called Audefroi le Bâtard.
Various other kinds of lyric poetry begin to appear at the end of the twelfth century,
motots, serventois, pastourelles, rotrouenges, rondeaux, lais, ballettes,
It is from these rather complicated forms of verse that the ballades and rondeaux of Villon and Marot are descended.
When exactly the poetry of the troubadours first began to influence the North of France is a vexed question; probably it was about the time when Richard Cur de Lyon was lying in a German prison and Bertran de Born riding to battle at the head of the lords of Aquitaine. The Courts of the North were visited by the troubadours; those of Eleanor of Poitiers, wife of our Henry II, and of her daughter Marie of Champagne, became famous for their refinement; and early in the thirteenth century the singers of Champagne and Picardy began to use the most characteristic forms of Provençal verse: the
an argument between two poets; the
and the
sung at dawn and at evening beneath the window of the beloved; and the
a form governed by highly complicated rules. Chrétien de Troies, Tibaut de Champagne, Gace Brulé, Conon de Béthune,these are some of the writers whose songs keep for us a faint fragrance of those far-off, passionate days, and are relics of the early sweetness that Pater found in
Aucassin et Nicolete.
We need not consider the sudden death of Provençal art; but it is worthy of note that the decline of the troubadour poetry of the North is due to the same cause; I mean the altering of the peculiar social conditions to which it owed its birth. For it was essentially a Court poetry; the poet declaimed or sang his verse to an audience of knightly rimers and noble ladies, and was untroubled by the attention of a larger public. It was an aristocratic art, and so soon as it was adopted by the
poets of Arras it lost its essential character. By the end of the thirteenth century it was extinct; yet, brief though its duration was, it has an intense effect on the literature of Europe, and we may trace its influence in Dante and in Petrarch.
It is in the sombre years of the fourteenth century that the new era of poetry begins, and Guillaume de Machault is the name usually associated with the first effusion of that deplorable cataract of ballades and rondeaux. The chief penalty that these hard-and-fast
impose on those who cultivate them isas we may see from the innumerable clever imitations of our own timethat almost any one can write them fairly well, and that almost every one writes them in exactly the same manner. The learned Christine de Pisan and the sagacious Des Champs employ the
without the least discrimination for any kind of subject; they moralize, they preach, they sing the praises of the glorious dead and discuss their own physical ailments in the same sempiternal cantering measure. Des Champs, it is true, is redeemed occasionally by a certain fine malice, a hint of that
esprit gaulois
which runs like a vein of mercury through French from the bragging scene in the
Geste du Roi
down to the poems of Mathurin Regnier and Béranger; Froissarts verse has a delicate refinement that may be the last trace of the troubadour influence; but for the most part one emerges from a long course of this literature anxious only to take Du Bellays advice and to leave all these
rondeaux, ballades, vyrelaiz, chantz royaux, chansons et autres telles épisseries qui corrumpent le goust de notre langue.
If only the splendid creatures would be themselves! But they are wholly content to follow one another like meek sheep; they use the same catch-words; the same patient rimes do duty over and over again; and when we have read the heading of one of their poems we can guess almost exactly what the poet will sing, or rather, say. Only an occasional folk-song, or a
like the
Olivier Basselin,
can save the epoch from being wholly the prey of its representative ballad-writers.
Yet this artificial, impersonal
became vivid and human in the hands of two fifteenth-century poets; the one a man of refined and exquisite talent, the other a lonely and wayward genius. It has been the custom to speak of Charles dOrléans as if he were merely a clever versifier with a sense of music in words that was denied to his forerunners; but any one who has toiled through the greater part of the work of those forerunners will realize at once, when he reads the
written at Dover, or
Dieu, quil la fait bon regarder,
that here at last is a poet with a distinct personal utterance; a poet who perhaps has not any very profound thoughts or great ideas, but possesses a gentle, unforced melancholy or gaiety that is often perfectly expressed. His limitations are obvious, but his success within their bounds is complete.
The other, the earliest great poet of France,
Ung povre petit escollier
Qui fust nommé François Villon,
transformed the poor jaded
into a living lyric; filling it with heroic melancholy in the
Dames du temps
and with grim terror in the
and with exquisite sympathy for the pathos of old age and weariness in the lines written for his mother. Like all genius, he stands alone and defies all effort to place him in the line of literary evolution. He came at the most unlikely period, he wrote in the most out-worn forms, and he was a burglar, and had a supreme sympathy with all manner of rogues, male and female. Yet he has none of the affectations of the ballade-writers, his poems are amazingly original and vivid; he is eloquent, gay, cynical, pious, scurrilous, and remorseful in turn, and yet never gives us the impression that he is posturing. His predecessors had one mood, and it was insincere. He has a hundred, but he is convincing in every one of them. To read him after the earlier metre ballad-mongers is as invigorating as to hear the wind in the mountain-pines after sitting in a drawing-room full of hot air and small-talk.
He stands alone. Clément Marot, who edited his works, learnt nothing from him except perhaps the fact that poetry should be the expression of a personality. The neat, genial rimes of the author of
LAdolescence Clémentine
are personal but not poetic; they are full of good sense, clearness, and malicious gaiety; they possess, indeed, as Brunetière has pointed out, all the fine qualities of French prose; but only on a few occasions do they rise above the commonplace. If Marot is depressed, it is not the pathos of self-tormented, toiling humanity that makes him sad, but the little accidents of his own existence; and when he rejoices he is merely gay; sunshine and love and flowers awake in him no fervour of exultation; he likes the good things of this world, and says so without undue emotion. There are great voices in the seas and among the hills; the earth is full of strife and strange passion, and Europe echoes with the vast conflicts of kings; the poet, however, is content to look at the shop-windows and to write about nothing in particular in excellent French.
He died in the midst of the great awakening,that amazing pageant in which he played so small a part. At times he seems dimly to have realized the splendour of the new epoch:
Le monde rit au monde, aussi est-il en sa jeunesse,but he was content to abide till the end amid the old shadows, for he loved neatness rather than beauty of language, and the finer enthusiasms found no place in a temperament so discreetly and pleasantly mediocre.
In the last days of the year 1494 the army of Charles VIII surged down the Alpine slopes into Italy, and thenceforward, until that sinister battle of Pavia in which Francis I lost all
fors lhonneur,
Italy was the centre and focus of European learning and chivalry. It was the amazing vision of a mode of life more passionate and more comely than their own, a mode for which gallant soldiers and scholars enthusiastic concerning all new things were just then apt, that first enthralled the strangers from beyond the hills.
They found a country which is still to us, as to them, an earthly paradise; where, amid superb cathedrals and palaces and beautiful walled cities, dwelt a race that numbered life itself amongst the grand arts. The love of beauty for its own sake, the careful delight in the details of existence as well as in its passion and its poetry, so that an artist in metals would spend months in engraving a sword blade, and a squabble about Greek enclitics would be conducted with all the fury of a religious war; the intellectual ruffians who entertained great poets, and translated Plato, and burnt each others towns; the wily and terrible masters of intrigue who were Christs vicars on earth; princes of the Church; condottieri; women like those Titian painted, and feasts as we see them in the pictures of Veronese; colour everywhere, and music, and amazing luxury;one can imagine how wonderful this crowded and vivid existence would seem to a Frenchman of the time; how eagerly the French temperament, always curious concerning every kind of material excellence, would absorb the details and investigate the causes of such exuberant and intense vitality.
To the student of literature the most significant feature of the Renaissance is the revival of learning. Scholarship had continued throughout the Middle Ages, but it was utilitarian; learning was a weapon for the hand of the jurisconsult or the theologian. Humanism appears with the discovery of the art of printing; and when the great Venetian editions of the classics were issued scholarship was not merely a useful accomplishment but had become a high passion. The scholar was no longer an advocate who rolled Ciceronian thunder across the court, or a priest primed with Augustine: he was a happy hedonist who, like Ronsard, would lock his door and read the
in three days. When the Sorbonne petitioned Francis I to suppress the printers it understood what a fatal blow was being aimed by the new learning at the official residence of pedantic darkness; it knew that the message contained in these old, ever-new books which were multiplying so rapidly was the message of liberty. But it committed the error of confusing liberty with impiety, and in regarding the enthusiasm for Greek and Latin as essentially pagan. M. Faguet has pointed out
that the humanist of the Renaissance had two personalities; one which went to church and loved the king, and one which adored Jupiter and loved Amaryllis. Pico della Mirandola is the type of this dual character, and the story that he was buried in the Dominican habit is strangely suggestive. In the poetry of Ronsard and the Pléiade we find all the characteristics of the complete humanist; the passion for learning, the sense of and craving for style, the realization of the beauty of natural sights and sounds, and the ever-haunting consciousness of the brevity of life and earthly love. In Ronsard, however, the love of learning for its own sake soon changed into a desire to use all his knowledge in glorifying and enriching his own poverty-stricken language. It seemed at that time as if poetry in France was henceforward to be employed, as Marot employed it, in genial commonplace, or devoted, as the ballad-mongers devoted it, to conventional essays in dreariness; that the language had grown anaemic for lack of healthy exercise and sweet air. New blood was needed, and Ronsard found it, as Dante had found it before him, and as André Chénier would find it at the end of another epoch when verse had grown stale, in the poets of Greece and Rome. Style was what was needed,style, and a language which should express noble and delicate emotions, uniting the wistful beauty of Theocritus and the
with the resonant ardour of Pindar and the
The Renaissance was full of fine ambitions, and this poets dream was not the least splendid of them.
The official manifesto of the Pléiade,
La Deffence et Illustration de la Langue Françoyse,
was written by Du Bellay and appeared in 1549. We learn from it the means which Ronsard was to employ in order to redeem French poetry from the prison which had Marot for governor. New themes of inspiration must be found instead of the old hackneyed subjects, and new
instead of the
of the balladists. These new
must be derived mainly from the Greek and Latin writers; the poet is to cultivate the epic poem; the idyll, as Theocritus wrote it; the ode, majestic as that of Pindar or lyrical as that of Anacreon; the tragedy of Sophocles; the satire of Horace in place of the
coq à lasne
of Marot; the epigram of Martial and the
pitoyables élégies
of Ovid, Tibullus, and Propertius. Then the language must be enriched by new loan-words from the Greek and Latin; and not from Greek and Latin only, but by grafting from old French, and by collecting curious words from the special vocabularies of hunting, and falconry, and the various handicrafts. Mere translation from the classics is deprecated, and so is writing in Latin and Greek instead of French; but it is the reformers duty to steep himself in those ancient literatures.
Lis donques et relis premièrement, ô poète futur! feuillette de main nocturne et journelle les exemplaires greez et latins, puis me laisse toutes ces vieilles poésies Françoyses
It may seem surprising to some readers that the compilers of such a formidable edifice of rules should ever after have written anything in the least resembling poetry. It is not impossible that the elaborate study of form demanded by the
had a fatal effect on the inspiration of the less robust members of the Pléiade; that Jodelle, with his tedious tragedy, and Baïf with his pedantic
and attempts at a new orthography, are sad examples of an elegiac poet wasting all his strength in dramatic attempts, and of a scholar trying to become a poet by rule. Even Ronsard himself, that master of the lyric, leaves us with the impression that, though he often sings because he must, he often also sings because he knows the rules of singing. There is much in
Le Bocage Royal
to remind us that Malherbe, the perfidious Malherbe, learnt his art from the poet whose verse, as we are told in a certain scandalous story, he erased altogether; we have a chilly premonition, when we read it, of the pseudo-Arcadian shepherds and shepherdesses of the seventeenth century with their high heels and their crooks:
Houlette de Louis, houlette de Marie
Dont le fatal appui met notre bergerie
Hors du pouvoir des loups.
But the marvel is not that there should be any insipid exercises of the kind in the work of Ronsard, but that there are so few; that the favourite of kings and the self-ordained reformer of French poetry never lost his exquisite sense of the beauty of youth and the spring, and the pathos of winter in the fields and winter in the heart. We are apt, I suppose, to look on old poetry to a certain extent with the benevolent eye of the antiquary; but how seldom the shorter lyrics of Ronsard give us the chance of this attitude! A poem such as
Mignonne, allons voir si la rose
has all the freshness and fragrance of a summer day at dawn; it is impossible to contemplate it with intelligent interest as a specimen of sixteenth-century poetry; we might as well try to refuse to be thrilled by the coming of spring because the spring happens to be a million years old. Ronsard may have gone to the Greeks for this quality, and to the Latins for the other, and to Petrarch for a third, but the real sources of his inspiration are betrayed by the visions that the verses keep for us; sunshine and bright rain, changeful skies and awakening flowers. The immortal novelty of great art is a trite theme, but it is worth reiterating when even Pater writes of these poems as if they were specimens of remarkable tapestry in a museum.
In enumerating the characteristics of humanism, we spoke of its abiding consciousness of the brevity of life and love. That sense is the canker which lies in the heart of intellectual paganism, the pathos of
Beauty that must die;
And Joy whose hand is ever at his lips
Bidding adieu
The sudden thought of the night of perpetual sleep breaking in like a cruel intruder amid the loveliness of the long safe summer days; the bewildering tragedy of early death,these are the phantoms that begin to haunt the poets of the Renaissance, and lend to French poetry a new note of wistfulness.
Si périssable est toute chose née,
Que songes-tu, mon âme emprisonnée?
Ronsard finds no answer to that question; if he hopes at all, it is for an eternity of fame, and for respose
par les ombres myrteux;
Du Bellay, at least when he writes under the influence of Petrarch, yearns for
un plus clair séjour,
where he can meet the ideal beauty, as Dante met Beatrice, in a heaven too full of strange light to have colour and warmth. The points of view may be limited and literary, but they are expressed, as far as Ronsard is concerned, in two sonnets of exquisite and immortal loveliness, the
Quand vous serez bien vieille and Comme on void sur la branche au mois de Mai la rose.
In the prolific nature of his genius and his passionate curiosity for new metres and old words Ronsard is a typical son of the Renaissance; Du Bellay, with his melancholy, his petulance, his wayward gentleness, seems like a poet of our own time, and his verse probably appeals more intimately to Englishmen than the greater but less personal art of his friend. His first collection of poems,
was written when he was manifestly under the influence of Petrarch, but he renounced this influence early in his short life, and his satire
Contre les Pétrarquistes
contains an excellent summary of all the characteristic mannerisms affected by the disciples of the great Italian at Lyons and elsewhere. The greater part of his work is extraordinarily personal and virile; it is largely autobiographical; we can follow him step by step in his pilgrimage of love and despair, just as we follow Byron; but Du Bellay at least never gives us the impression that he is secretly rather pleased with the rôle of a misunderstood lost angel. His pessimism is never languid; and his ironical powerat its best in the sonnets that narrate the election of a popeis amazing. He was a scholar; it was not the literature, however, but the visible remnant of a mighty age which evoked the great series of sonnets that remains his supreme achievement. If any one ever imagines that a city is not merely a collection of houses and palaces and temples, but has a strange life of its own, he will imagine it when he looks across Rome at sunset from the Pincian. The place will seem to him the prison of some fettered Titan, a colossal Prometheus who has incurred the anger of a jealous god, and been hurled to the earth and bound there, and so lain for centuries, buffeted and wounded, but immortal. This is the impression that Du Bellay has enshrined in the
Antiquitez, de Rome.
He has looked beyond the gloom and grandeur of the Caesarean palaces, the mouldering amphitheatres and forsaken temples, and has seen the vast and deathless spirit of the city, and heard it weeping for its ruined splendour.
The other stars of the Pléiade are of lesser magnitude. Rémi Belleau has left a few delicate lyrics; Daurat, the master of Ronsard and Baïf, wrote in Latin; Baïf went astray in pedantic wildernesses, and Jodelle and Pontus du Tyard are only pleasing to the lover of literary bric-à-brac. The learned ladies of Lyons and their circle are more interesting. Sçèves
was responsible for the influence of Petrarch on the Pléiade; and Louise Labé, that fair Amazon, wrote intensely passionate poetry full of the obscure symbolism that was being cultivated in Italy. The Lyons school, indeed, had definitely broken with the traditions of the previous age, and had developed a mystical cult of beauty that was based on the Platonic theory of Ideas. But the spirit of the Pléiade is on the whole hostile to obscurity in thought and in language. Ronsard realized that French had all the delicate and accurate clearness of tone that belongs to a perfectly-tuned violin; that it possessed, beyond all languages but Greek, a power of expression that could be sharply definite without losing its harmony; and to him, as to all great poets, expression seemed finer than mystification.
Malherbe was crowned king of the realm of classical poetry, but it was Ronsard who conquered its domain and built its palaces. It has been said that every movement of reform contains perceptibly the germ of its own decay, and this is pre-eminently true of the work of the Pléiade,a work which seems, regarded superficially, somewhat spiritless and short-lived. It was Ronsard who first realized the height to which the Alexandrine could be raised; there is nothing in the early literature to compare with the noble dignity of his
Conseils à Charles IX;
but only the cold cleverness of Malherbe is necessary to change this dignity into pompous rhetoric. It was Ronsard who first showed any discrimination in the use of dainty diminutives and strange loan-words, and we have only to glance at Du Bartaswho would be suspected of parody if he were not the most solemn Calvinist that ever compiled inflated fustianto see what amazing pinnacles of lunacy an uninspired disciple may reach. Ronsard was a great poet, having authority; he was also a scholar, with the scholars weakness for imposing rules; and, unfortunately, the first to take advantage of such rules, and to strengthen them and contract their limits, are usually those who are designed by nature to be pedants and not poets.
To Ronsard and the Pléiade, besides a high dignity of style and a lyric sweetness never before approached, we owe the modern
of poetry, the free lyric, the ode, the various forms written in Alexandrines, the sonnet, and the great
strophe Malherbienne,
which was in reality the
strophe Ronsardienne,
for Malherbe has only added a syllable to each of its lines. To Malherbe we owe the perpetualizing of these forms reduced to their lowest terms of mechanical accuracy by a frigid intelligence. Ronsard and Malherbe will be remembered together as the supreme examples of the ancient truth that the letter kills and the spirit makes alive. The Pléiade is immortal; Malherbe will be recalled only as the uninspired prophet of a dawn that had already risen, as the thin voice of an epoch which stole the lyrical forms of its despised forerunners and found nothing lyrical to say.
With the beginning of the so-called classical epoch comes the decline and fall of lyric poetry.
Enfin Malherbe vint;
but Malherbe can no more be held directly responsible for the literary iniquities of the seventeenth century than he can be lauded as the originator of its great drama. He is the spokesman of the new age, and his verse is the official pattern, rather than the cause, of all the ensuing machine-made rhetoric.
The Renaissance was a return to individualism, to personal freedom of thought and action.
Fay ce que vouldras
was the inscription on the portal of Rabelais Thélème; be intolerant and suspicious of all formal control which is based on outworn and arbitrary rules;
Be your own star, for strength is from within,
And one against the world will always win!
this is the most startling of the qualities that distinguish the temperament of the Renaissance from that of the Middle Ages. In Castigliones
and Montaignes
we may see how this new spirit affected the man of affairs and the man of thought; and Ronsards passion for personal fame and the poignant heart-sickness of Du Bellays
are widely different examples of its influence on the poets. The Reformation was a reaction against this spirit of self-culture and self-expression, and a perfectly logical reaction. The religion of the Middle Ages had led men, like sheep, in flocks; and the reformers realized that the new individualism had rapidly become the sworn enemy of that particular kind of spiritual direction, and was developing into an extreme form of pagan nonchalance. But whatever the theological defects of individualism may be, it is a necessary adjunct to any period of great lyric poetry, and when the literature of any country loses this quality and falls into the careful hands of cliques and coteries we may conclude with tolerable certainty that, for the moment at least, its singing season is over. Poetry in a cage of rules is like an imprisoned bird: she will pipe a formal tune for you, but the wild sweetness of her woodland voice was lost with her liberty.
It has been said that the continued eagerness shown by the French temperament to impose the restraint of authority on its art is produced by the distrust of its own exuberance. The reform which is usually attributed to Malherbe was probably carried into effect for another and less subtle reason; it was due to a social movement in some degree analogous to the moral reaction which we spoke of a moment ago. Poetry became domesticated and went to live at the Hôtel de Rambouillet. Or rather, it went there to die. The day of the
began, and Vincent Voiture was their laureate. There is no doubt that these amiable ladies exercised an influence on French literature that was not altogether for evil: for they admitted it to their
on the understanding that it should behave well,or, at least, that it should avoid the grosser improprieties of language. The verse of Mathurin Regnier, for example, they would not tolerate, and though Voiture was quite as indecent, it was indecency with a difference. We owe to them much of the courtly grace and charm of eighteenth-century prose in the form of letters, maxims, and character, and an immense quantity of amusing light verse; epigrams, squibs, lampoons, and sonnets of love-sick shepherds who desire to end their days
en lamour dUranie.
They were the foes of the
of the unlucky Théophile who wrote the notorious couplet about the dagger that blushed to see the blood of its master;they required men of letters to be men of the world and not owlish persons in a dusty library, and thus they prepared the way for the realism of Molière. On the other hand, they were responsible for a gallantry that usurped the place of passion, for introducing the specious euphuism of Gongara and Guarini, and for making literature generally a social and impersonal art and so completely effacing the lyric. This last achievement of the
was consummated by Richelieu when he founded the Académie Française in 1635. The official recognition of impersonal literature had taken place; the Alexandrine rose to icy heights of classic dignity; the grand style was fixed, and the path was plain for the superb rhetoric of Corneille. The
was produced in 1637.
No man of genius was less of an innovator than Corneille, except, perhaps, Dryden. His method is the method of the contemporary dramatists: the grandees of Spain in the
are typical sword and cloak heroes, splendid and declamatory as their fellows in
but not vitally characterized; supreme phantoms, but aloof from human nature. The
Stances de Don Rodrigue
are immortal specimens of eloquence; but as examples of what a man should say when confronted with a hideous dilemma they are less satisfactory. Rodrigue, in fact, is a Superman, though he would scarcely have pleased Nietzsche; and this tendency to elevate its characters to the rank of demigods is the chief defect, to an English sense, of the grand style.
At the moment, however, when the dominion of this formal art seems to be complete, a writer appears who is content to abjure the austere regions of the classical drama and to devote his incomparable talent to fables and
each of them a little treasury of good sense and gay humour. La Fontaine realized that the language of his time was not the absolute property of the muse on stilts; the verse of Voiture, with all its defects, proved that it was still capable of an exquisite elegance, but so far no one had been adventurous enough to associate grace with simplicity. La Fontaine was able to extract all that was vital from the example of his predecessors, and to leave whatever was cold and fruitless; from Malherbe he acquired a certain dignity; a wise restraint that never wholly left him even in his most facetious
from Voiture and his school he derived felicity of expression, the sense of the
mot juste.
His work,
Une ample comédie, à cent actes divers,
Et dont la scène est Iunivers,
is a real return to natureto human nature, for all his animals are really human, and in this quality lies his affinity with the great dramatists who were his friends. His characters are types of everyday, greedy, kind, harassed humanity; when we read him we are far from the tremendous personages of Corneille, but we are some distance, also, from Racines stern presentment of human weakness and from the terrific clairvoyance of Molière.
Boileau, the draftsman of the poetical statutes of the seventeenth century, advised the ambitious poet to study nature and nature only; but this advice implies no liberty, it is qualified by restrictions which result in the study of nature becoming the study of certain moral types. No one can help admiring the good sense and powerful, if limited, logic of the redoubtable opponent of the
and champion of formalism; he has all the qualities of a splendid fighter, and in spite of his crushing power of inventive he was far too wise to be bitter; but his enthusiasm for literary law and order makes him support all that is most unlyrical in poetry. His contempt for Ronsard (whom he did not read) is rather amusing when we remember all that Malherbe owed to the earlier poet.
The early part of the eighteenth century is remarkable only for its prose. The anaemic odes and allegories of Jean-Baptiste Rousseau are neat illustrations of the inevitable fate of formal verse, and Voltaire, the grand Voltaire, is content, so far as his theory of poetry is concerned, to follow the obvious footprints of Boileau. His
is as cold and pedantic as
La Pucelle
or the
it is for the most part in his epigrams and occasional verses that we find the admirable irony and wise humour which make
immortal. The age of Reason continues its grim course, but after a time we find a sentimental spirit beginning to invade prose literature; lAbbé Prévost writes
Manon Lescaut
and translates some of Richardsons novels; and although for many years this new spirit finds no expression in poetry, its appearance is a definite step in the direction of romantic art; even when it existed side by side with the classic style, it was in reality its enemy. The far-sighted Boileau knew this when he laughed at the type of lover who murmurs tenderly
je vous hais
in the ear of his mistress. He had detected one of the eternal commonplaces of sentimentalism.
It was a writer of prose who gave the death-wound to the faded and uninspired remnants of the classical tradition and made existence possible for lyric poetry. Jean-Jacques Rousseaus
Nouvelle Héloïse
appeared in 1761, and the return to nature and individualism began in earnest soon after its appearance. Ones own emotions and other peoples tears, the effect of beautiful scenery on the sensitive temperament, the freedom of passion, the sublime self-assertiveness of love,these were the themes which this new writer proclaimed with extraordinary lyrical fervour. Another prose writer, Buffon, quickened the languid interest in the beauty of the world with his magnificent works on Natural History, which appeared during the latter half of the eighteenth century. The Abbé Delille and Saint-Lambert began to write poems of nature which would have shocked Wordsworth; but if their form is often contorted and absurd, they at least show a desire for simplicity in their choice of a subject. Quite near the end of the century Pompeii (one might almost add Greece) was disinterred, and the writings of Winckelmann and Brunck aroused a keen if somewhat unscholarly enthusiasm in the art and mythology of the Hellenes,an enthusiasm which is commemorated in the quaint and charming artificiality of First Empire furniture and decoration. This is another instance of reaction against the classical tradition, which was influenced almost entirely by the Latins. It was in the midst of this little Greek renaissance that André Chénier lived. To him, as to Ronsard, the spirit of that old literature came with strange fragrance across a desert of unctuous and inept conceits. Like Ronsard, he was strongly influenced by the Alexandrians. His mother was a Greek, and we may presume that her beautiful native country was the chief topic of conversation in her
when LebrunLebrun Pindareand the rest of the neo-Hellenes were present. But whilst Lebrun and his friends were solemnly comparing the Tiers État with Latona and calling the Tennis Court Delos,
André Chénier was writing elegies that have the soft yet clearly-cut beauty of a Sicilian coin of the great period, and idylls that have really caught some of the freshness and simplicity of Theocritus. Part of his work is marred by the rhetorical tricks of his time, but no praise can be too high for these little pictures in which the beauty of some incident of pastoral life, some golden moment of a long summer day, is made eternal.
Yet these little poems were, after all, only studies that he executed whilst he was on his way to greater achievement, for he had wide ambitions, and was a sharer in the new enthusiasm for nature which the writings of Buffon had aroused. The fragment of his
shows us that he aspired to be the Lucretius of his epoch, and his metrical innovations were daring and successful. He had a keen sense of music in words, and one has only to read his contemporaries to discover how completely this sense was lost in France when he wrote. But his tragic death came, as it came to Keats, at the moment when he was preparing for a loftier flight; his poems were not published for many years; and it is the voice of LebrunPindare,after all, that sings the swan-song of the eighteenth century.
The writers of the great epoch of French lyric poetry are sufficiently well known in England to make a detailed account of their art superfluous in this volume. It is, however, worth while to observe that the germ of almost every quality which the poets of the nineteenth century possess is to be found in the work of a master of prose. Chateaubriand is the genius of the revolt against the classical fetish.
His temperament is as modern as that of Verlaine. He is the realization of the type foreshadowed, with certain gross limitations, by Rousseau in the
Confessions, Emile,
La Nouvelle Héloïse,
the type of the lonely, self-analytical soul that sees all the world through the darkened glass of its own moods. He is so intensely individual that the only characters in his fictions which really live are faithful reflections of his own personality; the rest are the shadows of shades. Though he has left hardly any verse, he had in a supreme degree the sensitive imagination of the poet; any one who has studied his work carefully will be astonished, when he reads modern French poetry, to find so great a part of it apparently consisting of Chateaubriand rendered in verse. He is the pioneer of the Romantic movement; his deep sense of mans unity with nature is echoed in Lamartines
Le Lac,
as clearly as his wonderful descriptive power is reflected in Leconte de Lisles
Sommeil du Condor,
Les Éléphants,
and in a hundred other pictorial poems. In Vigny and Musset we find something of his haunting sense of the
lacrymae rerum,
and in the latter, at any rate, the same luxury of regret; and his idea of the epic of Christianity and his historical method are distinctly traceable in Hugos
Légende des Siècles.
He is the genius, as we said, of the revolt against the classical tradition, which had dwindled at the beginning of the nineteenth century to a mere lifeless mimicry of forms that were themselves essentially derivative. He represents, too, the revolt against pagan mythology; he is weary, as he says somewhere, of a nature that is peopled with a crowd of undignified gods, and he extols the finer conception of a single soul pervading all natural things. His point of view is distinctly aesthetic; it is the imaginative beauty of Christianity that appeals to him,another modern characteristic. Above all, he has the sense of composition, of literary structure;a sense, which France, of all countries, is the least likely to lose, but one which had grown very feeble at the end of the eighteenth century. He was a consummate artist. He, and not Chénier, whose works he read some time before their publication in 1822, is the protagonist of modern French poetry.
Another and earlier writer of prose shares with Chateaubriand the honour of being a founder of the Romantic tradition. In
La Littérature considérée dans ses rapports avec les Institutions Sociales
Madame de Staël had expounded her theory of the distinction between the Northern and Southern literary temperaments, and in a subsequent work,
De lAllemagne,
she developed this theory further, insisting on the importance of the Northern literature, and revealing to France two elements from which her poetry had long been estranged, the grotesque and the
It is after the publication of these books that the influence of other European literatures, which we find in Voltaire and Jean-Jacques Rousseau, begins to assume an extreme importance. Shakespeare becomes more than a mere name; Byron and Walter Scott are regarded as the high priests of sentiment and local colour, and the cult of the Gothic Age, that phantasmagoria of wicked barons and snow-pale princesses, of grim donjons and sinister forests where all the devils lurk, becomes a fever:
Voilà que de partout, des eaux, des monts, des bois,
Les larves, les dragons, les vampires, les gnomes,
Des monstres dont lenfer rêve seul les fantômes,
La sorcière, échappée aux sépulcres déserts,
Volant sur le bouleau qui siffle dans les airs,
Les nécromants, parés de tiares mystiques
Où brillent flamboyants des mots cabalistiques,
Et les graves démons, et les lutins rusés,
Tous par les toits rompus, par les portails brisés,
Par les vitraux détruits que mille éclairs sillonnent,
Entrent dans le vieux cloître où leurs flots tourbillonnent.
But all this fustian of ogres and broomsticks was only the first wild exuberance of the romantic spirit, the excessive delight of a poetry that found itself free at last from the galling chain of rule and convention. A great part of it was polemical: when Gautier writes
he only does it to annoy the prim personages who still try to floor the youth of 1830 with the classical cudgel; and the careless insolence of some of Mussets early poems has the same end in view. The true value of the Romantic movement lies, not in its
couleur locale,
its Gothic pinnacles and Spanish balconies, but in its ultimate return to genuine personal expression instead of rhetoric, in the new richness and lyrical quality of its language, and the new variety of its poetical forms.
For the first twenty years of the century the little bad poets of the EmpireMillevoye, Chênedollé, and the restcontinued to perpetrate their amiable nothings, until, in 1820, the appearance of Lamartines
inaugurated the great period of French lyrical verse. The book was welcomed with intense enthusiasm; here at last, it seemed, was the poet of the new France, the singer whose voice was exquisite with all the vague yearning of modern idealism and all the poignant melancholy of modern regret; a poet intensely personal and sincere, with few but very noble ideas, and with a richness of diction and mastery of harmonious verse that must have seemed like witchcraft to the little rimers of the Empire.
He was not destined to be alone in greatness. The magnificent poetry of Hugo began with the publication of the
in 1822, and soon afterwards came the
Poèmes Antiques et Modernes
of Alfred de Vigny,first-fruits of a genius which only reached its full dignity many years later. The golden galleon of romance set all sail for Eldorado;
was published, with its polemical preface: and the simultaneous apparition of
and the too famous
of Théophile Gautier showed the opponents of the new spirit, as a contemporary remarked, that the theatre had become the veritable abomination of desolation. Sainte-Beuve, himself a poet who had died young, joined the
and his critical influence became apparent in the technique of the subsequent works of Hugo; and Alfred de Musset, the wayward, idle apprentice of the Romantic movement, amazed the world with
After the first fervours of enthusiasm had waned, and when the battle was won and the Académie Française rose to the occasion with an honourable surrender, the conquerors began to set their house in order, and to define, though not to contract, the bounds of their own domain. There was a recrudescence of that spirit of orderliness which seems eternal in French literature; a new classical spirit, with none of the warping rules of the dead tradition, is apparent in the dignified restraint that all the great poets manifest in their treatment of the language. With Mussetto take as an instance the most irresponsible of themwild license has matured into noble freedom: and the
Lettre à Lamartine
and the
express the most personal emotion with the utmostwith a classicdignity. A kindred restraint gives Alfred de Vignys later poems their austere grandeur:
Depuis le premier jour de la création,
Les pieds lourds et puissants de chaque Destinée
Pesaient sur chaque tête et sur toute action.
Chaque front se courbait et traçait sa journée,
Comme le front dun buf creuse un sillon profond
Sans dépasser la pierre où sa ligne est bornée.
Ces froides déités liaient le joug de plomb
Sur le crâne et les yeux des hommes leurs esclaves,
Tous errants, sans étoile, en un désert sans fond;
Levant avec effort leurs pieds chargés dentraves,
Suivant le doigt dairain dans le cercle fatal,
Le doigt des Volontés inflexibles et graves.
And we find the same quality in Hugos mature work:
Tout reposait dans Ur et dans Jérimadeth;
Les astres émaillaient le ciel profond et sombre;
Le croissant fin et clair parmi ces fleurs de lombre
Brillait à loccident, et Ruth se demandait,
Immobile, ouvrant lil à moitié sous ses voiles,
Quel dieu, quel moissonneur de léternel été
Avait, en sen allant, négligemment jeté
Cette faucille dor dans le champ des étoiles.
It was to majestic harmonies of this kind that the wild music of romance gradually developed. As regards subject, also, the great poets freed themselves from anything that was conventional in the Romantic revival; Hugo, allowing wrath to embitter the sweet mouth of song, aired his political hatreds in
Les Châtiments,
and wrote the epic of the world in the
Légende des Siècles;
and the Vigny of
Les Destinées,
with his stoical pessimism and abiding idea of nature as
la grande indifférente,
seems very distant from the Vigny of
Madame de Soubise.
Sil est vrai quau Jardin sacré des Ecritures
Le Fils de lhomme ait dit ce quon voit rapporté
Muet, aveugle et sourd au cri des créatures,
Si le Ciel nous laissa comme un monde avorté,
Le juste opposera le dédain à labsence,
Et ne répondra plus que par un froid silence
Au silence éternel de la Divinité.
It would require considerable ingenuity to trace the intimate connexion between these lines and the epoch that adored
and sang
Avez-vous vu dans Barcelone.
There was, however, one poet who was content to remain for his whole life a Romantic in the sense in which that word was used in 1830. Théophile Gautier has stolen our hearts away so often with his exquisitely finished poems that when we are compelled to admit that he is not in a line with the great poets of the nineteenth century we feel self-convicted of treachery to a benefactor. For the readers who hold that poetry can be great independently of great ideas Gautier is naturally and logically the king of rime, but they who hold the contrary opinion are compelled, when they read him, to sigh the lack of many a thing they sought. He is a master of descriptive poetry, an incomparable word-painter, a carver of gems; any one who reads the best poems in
Émaux et Camées
will afterwards discover that they absolutely decline to be forgotten; but we remember them as we remember fragments of music, or colour in some picture: seldom because they are the noble expression of noble thoughts. They never appeal to our profound emotions for the simple reason that they were constructed unemotionally, or rather, with the highly restrained emotion that an artist in ivory feels when he executes an extremely intricate piece of work. Gautier would have said that this was precisely the kind of emotion that the poet should feel. And this is the shibboleth of his camp. From him, and still more from Leconte de Lisle, the poets of the
Parnasse Contemporain
of 1866 claim their descent. Their return to a rigid theory of versification was a reaction against the loose methods of various disciples of Lamartine and Hugo; a deliberate conspiracy (to quote M. Sully Prudhomme, one of their most distinguished poets) against the excessively facile line, the line which is feeble and flabby, fluid as water, and as formless. The passion for order once again obsesses French verse; no matter how exotic or commonplace his ideas, this phantom bestrides Pegasus behind the poet: it is equally obvious in the terrible and haunting dreams of Baudelaire and in the agreeable palinodes of Banville. We many view the future of poetry in France without foreboding, conscious that, in spite of the amusing revolts of transient eccentricity, the love of symmetry, the desire for comely order, will never wholly forsake the art of a nation so justly famous for her tradition of harmony in construction and clearness in idea.
Note 1.
Gaston Paris,
La Littérature française au moyen âge.
Note 2.
Seizième Siècle: Études Littéraires.
Note 3.
Dix-huitième Siècle: Études Littéraires.
· [
Top 150
] ·
World Lit


text:
Michael F. needed a new logo design and created a contest on 99designs.
A winner was selected from 721 designs submitted by 193 freelance designers.
Fern Strategy Development
Fern Strategy Development is a boutique consultancy that helps high-technology companies develop effective strategies to improve their revenues and profitability. We provide strategy consulting and executive education, targeting primarily software and media firms. We are based in Santa Clara, California, in the region known as Silicon Valley. "Fern" is the founder's last name.
We need a logo design that is elegant ("less is more"), clean, relatively compact, and very memorable.
The winning designer will have the opportunity (if he/she is interested) to design business cards, stationary, and the website for this business.
The target audience are senior executives (CEOs, Presidents, Vice Presidents) in medium to large high-technology companies, particularly in software and media. The logo should invoke in the target audience the following thoughts:
PROGRESS – Movement to a goal or higher stage, advancement
INNOVATION – Creativity, differentiation, boldness
CONFIDENCE – Reliability, trust, integrity
The logo must be elegant ("less is more"), clean, relatively compact, but also creative and memorable. The logo and fonts should appeal to a professional/executive audience.
The logo will appear on business cards, stationary, and website, and thus should be legible in various sizes. The logo should be legible in color or black and white.
Please AVOID the following:
A design that invokes a "Fern" plant
Shadows, gradients, lens flares, or other photoshop gimmicks
Logo templates, clip art, stock designs
Cartoonish designs
I look forward to your designs!
Find out how a design contest works or learn more about our logo design services.

subset: commoncrawl


text:
Search results for: Beautiful Christmas Cards
Beautiful Christmas Cards
Shutterfly Christmas Cards (Rating: 3) , Votes:Create your personalized Christmas card with Shutterfly. With a variety of designs, sizes, and the ability to personalize with your favorite photos, you can create the perfect Christmas card for thishttp://www.shutterfly.com/cards-stationery/christmas-cards
Christmas Cards - E-Cards Online (Rating: 3) , Votes:Christmas cards that are fun (and easy) to send. Our christmas cards include catchy music and are available in various themes: funny, romantic, sentimental...http://www.free-e-cards-online.com/ChristmasCards.html
All things Christmas (Rating: 9) , Votes:Beautiful printable Christmas gift tags, gift certificates, Victorian Santa cards, lists, decorating tips, illustrated full length Christmas stories.http://www.allthingschristmas.com
Christmas Connections: Personalised Christmas Cards (Rating: 0) , Votes:Personalised Christmas Cards and Calendars. Custom Xmas and greeting cards for business, corporate and families. Donate to charity with our high quality cards from traditional, fun, religious and humohttp://www.christmas-connections.co.uk
Photo Christmas Cards (Rating: 49) , Votes:Features personalized photo Christmas cards and other Christmas greeting cards, business holiday cards, business birthday cards, get well cards, personalized calendars and others.http://www.holidayclassics.com
Business Greeting Cards - Corporate and Personalized Christmas Cards (Rating: 0) , Votes:Business Christmas cards featuring a large selection of original Holiday designs perfect for corporate and personal use at discounted prices.http://www.gallerycollection.com/
BestHolidayCards - Business Christmas Cards (Rating: 2) , Votes:Choose from a large variety of top quality Christmas Cards. Specialized in business and corporate holiday cards and welcomes individuals and small business owners with affordable pricing. Your choice of verse, ink color and 4 lines of personalization.http://www.bestholidaycards.com
Artistic, Beautiful, Animated Ecards (Rating: 11) , Votes:Offers unique and artistic animated ecards for holidays - Birthday, Christmas, New Year, Valentine, Thanksgiving, Mother Day, etc. - or just to say Congratulation and Thank You.http://www.ojolie.com
Top Toys Christmas Gifts (Rating: 5) , Votes:Top toys Christmas gifts is a source for Christmas Presents, gifts and toys for 2010. Our aim is to help you find those perfect Christmas gifts for children.http://www.toptoyschristmasgifts.comCategory: Directory/Shopping/General Merchandise
Luxury Christmas Hampers (Rating: 0) , Votes:Luxury Christmas hampers and corporate gift hampers. Our Christmas hampers make the perfect corporate gift.UK and worldwide delivery. Pay online with WorldPay.http://www.christmas-hampers.net
Outdoor LED Christmas Lights (Rating: 25) , Votes:LED Christmas Lights and Xmas Lights. Buy battery powered, icicle lights, net lights, C6, C7, C9, G12 and LED Rope Lights. Find white, red, green, blue, orange, purple and more Christmas light colorshttp://www.holidayleds.com
Christmas Gifts on the Net (Rating: 77) , Votes:Offers Christmas gifts and tips. Enjoy the Christmas gift story and send a ecard, create a wish list while checking the Christmas blog. Find the most wanted gift with the gift calculator.http://www.christmasgifts.net
Crafts - free, easy, homemade craft projects & craft patterns (Rating: 6) , Votes:Crafts, free craft projects and patterns to make easy homemade gifts, all with photos and clear how-to instructions. Valentine, Easter, Mother's Day, Halloween and Christmas crafts; sewing, crochet and knitting patterns, gardening and nature crafts, plus recycling craft ideas and crafts for kids.http://www.allfreecrafts.comCategory: Directory/Arts & Humanities/Crafts
Christmas Ornaments Shop (Rating: 2) , Votes:Choose from over 1,400 personalized Christmas ornaments, gifts and holiday decor.http://www.ornamentshop.com
i-yo - Business Cards (Rating: 2) , Votes:Provides fun, casual business cards. All articles are created by young designers and custom made by hand. They represent unique gifts. Recently original t-shirts and apparel have been added to the site.http://www.i-yo.com/en/index.php
WowLights (Rating: 0) , Votes:We are an online supplier of Christmas lights and other light packages set to music.http://wowlights.com/
Creative Design, Beautiful Art & Luxury Lifestyle (Rating: 19) , Votes:Beautiful Life - popular online magazine about various designs ranging from web design to luxury stuff, wonderful paintings, unique yachts and super cars. The site is daily updated and has more 1,000,000 pageviews per month.http://www.beautifullife.infoCategory: Directory/Arts & Humanities/Design
Clear Plastic Business Cards (Rating: 0) , Votes:The source for premium plastic business cards. These unique, custom plastic cards help any business stand out from the competition and help with establishing a company's brand. Get plastic business cards, membership cards, gift cards and much more.http://www.plasticprinters.com
Business Cards Design Online (Rating: 0) , Votes:Provides unique, full color, custom business cards, attorney business cards, embossed business cards and real estate business cards for professionals looking to increase their curb appeal.http://businesscardgenius.com
Christmas Chocolate Gift (Rating: 0) , Votes:Find chocolate, candy, caramel, and cookie creations from the legendary Fannie May. Offering custom assortments for gourmet chocolate gift boxes and Christmas chocolate gifts.http://www.fanniemay.com/
Calling Cards and Phone Cards from Banana Call (Rating: 15) , Votes:Calling cards and phone cards for you. Banana Call's international phone cards and calling cards offer great connectivity at the lowest rates available.http://www.bananacall.com
Credit Card Offers BANK - Online (Rating: 9) , Votes:Offers credit cards online, instant approvals and best rates. Also provides free online service that allows people to easily search and compare best credit card offers.http://www.creditcardoffersbank.com
Prepaid Debit Card and Credit Card Reviews (Rating: 17) , Votes:Offers consumer reviews on all available UK prepaid debit cards and specialist credit cards.http://www.endorsedcards.com/
Phone Cards and Calling Cards for your international calls (Rating: 6) , Votes:PhoneCard.org provides you a large variety of international phone cards and prepaid calling cards for your local and long distance calls. Low rates, PIN-less dialing, free minutes!http://www.phonecard.org
Decorative Christmas Ornaments (Rating: 4) , Votes:ChemArt designs and manufacturers Decorative Metal Christmas ornaments, Custom Etched Collectibles, decorative metal bookmarks, and lapel pins. Our industrial division manufactures precision Photochemhttp://www.chemart.comCategory: Directory/Business/Industry
Credit Cards and Credit Reports (Rating: 4) , Votes:A resource for information, news, articles and applications for unsecured and secured credit cards. Obtain credit reports as well.http://www.creditcardsreports.com
International Phone Card Emporium (Rating: 2) , Votes:The best quality low rate international calling cards on the market. Supplying low rate calling cards with reliable customer support for over 10 years. Get your phone card today and save.http://www.prepaid-cards-phonecards.com
Credit Cards (Rating: 6) , Votes:Virgin credit cards - transfer your balance and get low interest rates plus a host of Virgin discounts, free fraud protection on purchases and no annual fee. Voted best credit card reward program.http://uk.virginmoney.com/virgin/credit-cards-v3/
Free Phone Cards (Rating: 547) , Votes:Your number one place to get free phone cards on the Internet. Just sign up today and start calling immediately for free.http://www.phonecallgenie.com
Ornaments with Love (Rating: 0) , Votes:Sells personalized Christmas ornaments with a wide variety of designs and options.http://www.ornamentswithlove.com/
Business Credit Cards With Rewards (Rating: 0) , Votes:Bank of America Small Business credit cards offer excellent benefits including control, security, rewards, value, travel, and more.http://business.bankofamerica.com/creditcard/CardBenefitsPageCategory: Directory/Business/Small Business
ASAP Credit Card - Credit Cards & Offers Comparison (Rating: 1) , Votes:Offers possibility to compare a wide selection of credit card offers. The clients could find low interest credit cards with 0% APR and many reward options such as cash back, airline miles, gas rebates and more.http://www.asapcreditcard.com
Credit Cards, Credit Card Reviews, Discounts (Rating: 13) , Votes:Credit Card Directory site that features credit card reviews, articles, applications, information and help. Find a credit card that best fits your needs quickly and easily.http://www.creditcardsbyweb.com
Prepaid Visa Debit Cards (Rating: 2) , Votes:PrepaidDebitCards.net provides comparisons and reviews of Visa pre paid debit card offers. Apply for prepaid debit cards and credit cards.http://prepaiddebitcards.net/
Traditional Christmas Pudding from Matthew Walker (Rating: 1) , Votes:Buy traditional Christmas Puddings online from Matthew Walker, the original and the best. The UK's largest manufacturer of traditional Xmas and Plum Puddings.http://www.traditional-christmas-puddings.co.uk
123 Print: Business Cards and Custom Printing (Rating: 53) , Votes:Provides custom printing services for business cards, postcards, mailing labels, greeting cards and other materials.http://www.123print.com
Phone Cards and International Calling Cards from NobelCom (Rating: 24) , Votes:Nobelcom.com is a great provider of phone cards. Whether you're looking for a card to make domestic or international calls, and you simply want to reduce you phone bill, without cutting back on call quality, get a phone card from Nobelcom. The rates are very low, and you will benefit of great connectivity, to call to and from any place in the world!http://www.nobelcom.com
Festive Glassware (Rating: 0) , Votes:Hand painted barware and stemware includes everything from wine glasses and shot glasses to martini glasses and margarita glasses. Glassware collection of votive candle holders and Christmas ornaments.http://www.festiveglassware.com
Compare Credit Cards from Bank of America (Rating: 0) , Votes:Bank of America allows you to compare credit cards to find the one that's right for you. Compare credit cards today.https://www.bankofamerica.com/credit-cards/compare-credit-cards.go
Credit Cards | Compare The Best Credit Card Offers (Rating: 0) , Votes:Compare the best credit card offers from the top credit card companies. Choose from 0% intro APR credit cards with a generous reward program. Apply securely online.http://www.comparecards.com/
Barclaycard credit cards (Rating: 8) , Votes:Offering a range of credit cards - student and low rate credit cards, plus balance transfer.http://www.barclaycard.co.uk
Online Brochure and Flyer Printing (Rating: 2) , Votes:Offers a wide range of online printing including; business cards, post cards, flyers, brochures, newsletters, posters, rack cards, greeting cards, invitations and letterhead.http://www.eprintfast.com
Calling card - prepaid phone card (Rating: 134) , Votes:Find the optimal rates from a variety of calling cards. International calling cards, prepaid calling cards - save money for long-distance calls. Prepaid wireless recharge service for mobile phones.http://phonebestcard.com
Shopping Clearance (Rating: 0) , Votes:Unique and personalized gifts from Valentines day to Christmas.http://www.1st-online-mall.com/news/5000/Shopping-Clearance.phpCategory: Directory/Shopping/General Merchandise
Credit Cards - Compare Credit Card Offers (Rating: 10) , Votes:Compare Credit Cards Offers, search credit cards and reviews about the best low interest, reward, cash back, prepaid, student, airline, business and instant approval credithttp://www.bestcreditcardratings.com
Christmas Hampers (Rating: 1) , Votes:Order Hampers is the number one shop for your hampers and gifts. We sell Hampers, Wines, Champagnes as well as a whole load of other gifts.http://www.orderhampers.co.uk
Free dating (Rating: 1014) , Votes:A new place where to meet boys and girl of your city and more...http://www.qmpeople.co.uk/Category: Directory/People & Society/Romance
The Eternity Rose - Beautiful Gifts for Her (Rating: 1) , Votes:Beautiful natural roses, picked at the peak of their beauty and dipped in pure gold, silver or platinumhttps://www.eternityrose.com/
Custom Card Canada | Canada's Best Source for Security and Identification (Rating: 0) , Votes:Canada's best source for Photo ID card printers and supplies. Along with printers we supply proximity cards, plastic card printing services for gift, membership and loytalty cards along with custom printed lanyards and other Identity products.http://www.customcardcanada.comCategory: Directory/Business/B2B/Security
Homemade Gifts (Rating: 5) , Votes:Get some classy, unique homemade gift ideas for all sorts of occasions, including Christmas, birthday's and Easter. Learn how to make tasty food gifts and handmade Valentine's presents for your loved ones.http://www.gifthomemade.com
Related searches:
Webotopia provides a business directory designed to promote Beautiful Christmas Cards companies, products and services whilst helping it's users find the Beautiful Christmas Cards information they need. Webotopia business directory, with the help of it's dedicated support specialists and reviewers, enables delivery of Beautiful Christmas Cards quality content, excellent customer support as well as value added services such as content publishing and press releases for it's users.


text:
GREENCASTLE — Leading 3-1 in the top of the seventh, Greencastle Post 373 was two outs away from registering its first win of the 2013 Franklin County American Legion League baseball season.
And then, the wheels fell off.
After managing just two hits through six innings, Chambersburg Post 46 erupted for eight runs in the final frame, rallying for a 9-4, come-from-behind victory Tuesday night.
With the leadoff batter retired, Greencastle appeared comfortably in control before a Tige McCurdy single and two consecutive hit batsmen abruptly loaded the bases.
Called upon to pinch hit, Dyon Taylor-Myers came through in the clutch, lacing a shot down the third base line to tie the game at 3-3.
From here, the flood gates opened, as a two-run double by Jesse Wenrick put Chambersburg ahead before singles from Colby Dice and McCurdy paired with two Greencastle errors dramatically changing the game's complexion.
Now trailing by six, Post 373 manufactured only one run in the home half, as a base knock by Holden Baker and two passed balls set up a sacrifice fly from Dalton Webster, resulting in the 9-4 final.
It was a deflating conclusion to a contest that seemed well in-hand, especially considering how the opening six innings had unfolded.
Starting pitcher Thomas Bowers was in command through 6 1/3, surrendering just one run on two hits in the fifth before being unable to finish the seventh.
Prior to Chambersburg's decisive rally, Bowers had recorded four 1-2-3 innings, allowing Greencastle to dictate the tempo throughout.
A walk to Baker followed by an error and a sacrifice fly from Elijah Webster granted Post 373 a 1-0 lead in the second.
Greencastle pushed across another in the third, as a free pass to Kurt Hansen preceded a single by Justin Hovey and a RBI groundout from Josh Young, extending the margin to 2-0.
Held hitless through four, Chambersburg finally found some offense in the fifth, with a triple by McCurdy and a double off the bat of Hunter Brindle cutting the deficit to one.
Post 373 responded in the home half, with a single and stolen base by Hovey putting Greencastle in scoring position. Bowers followed with a base knock to left, moving Hovey to third, before a passed ball re-established Post 373's two-tally lead at 3-1.
The opportunity was there to extend the advantage in the sixth, with Greencastle being unable to cash in after loading the bases with one out.
For the game, Post 373 left 12 runners on base, including leaving them loaded in the third, fifth and sixth innings.
Hovey had a sensational evening at the plate, finishing a perfect 4-for-4 to pace Greencastle's production.
McCurdy's 3-for-4 performance highlighted Chambersburg's seven-hit outing.
Post 373 is scheduled to return to action Thursday at St. Thomas.


text:
The Bird Spider is made of stainless steel arms attached to a UV protected polycarbonate base. Each "arm" of the bird spider is fitted with polycarbonate tip to assist in movement and prevent scuffing. Bird spiders are offered in four different sizes: 2', 4', 6' & 8' and have several optional bases for easy removal and storage.
Bird Spiders are manufactured by Bird-B-Gone in the USA!
♦ Virtually invisible!
♦ Polycarbonate tips prevent scuffing!
♦ Easy to store away for later use!
♦ No assembly required!
♦ Ideal for use on boats & marinas!
♦ Made in the USA by Bird-B-Gone!
♦ Optionalbases make the Bird Spider adaptable & versatile!
♦ Available in 8', 6', 4' & 2' diameters!


text:
The OUP word of the year announcement has nothing to do with whether the word is new or not; it's based on its "currency and potential longevity". But simply because I can, I looked into how old it is. And like so many other words the kids today are using to destroy our language, there's nothing new about unfriend, at least in the past participle:
Will you with those infirmities she owes,
Vnfriended, new adopted to our hate,
Dow'rd with our curse, and stranger'd with our oath,
Take her or, leaue her.
- Shakespeare, King Lear I i
I hope, Sir, that we are not mutually Unfriended by this Difference which hath happened betwixt us.
- Thomas Fuller, The appeal of injured innocence III. xxxjb, 1659
All quotes I could find are of the past participle. It's possible that unfriended was derived from friended, the past participle of the verb friend (which dates from 1225). In that case, unfriend as a verb, as in "I decided to unfriend my roommate on Facebook", really is new.
As a noun it's even older:
We sollen wende and wid ham fihten, slean houre onfrendes
(We should go and fight with them, slay our unfriends [enemies])
Layamon's Brut, c1275


text:
Translation Disclaimer
Special Meeting eAgendaMay 28, 2013
Click on the linked agenda item titles below for background materials/reports. Adopted Resolutions and Ordinances (second reading) are available via Records Online (http://www.CityofBerkeley.info/ContentDisplay.aspx?id=4222) as soon as they are finalized.
Resolutions and Ordinances are subject to amendment, rescission or repeal, or readoption in whole or in part. Additional research may be necessary to verify the completeness of the legislative history. To research the Berkeley Municipal Code, visit: http://www.CityofBerkeley.info/BMC
These documents are presented in Adobe Acrobat PDF*, and will open in a new browser window. Some files may exceed 1MB in size. All items are available for review at the City Clerk Department, (510) 981-6900.
*To read PDF files, download a free copy of Adobe Acrobat Reader. If you are unable to access .pdf documents online, please contact us via email (email@example.com), telephone (510) 981-6900, or TDD (510) 981-6903 so that we can provide an alternate format.
Tom Bates, Mayor
District 1 – Linda Maio
District 5 – Laurie Capitelli
District 2 – Darryl Moore
District 6 – Susan Wengraf
District 3 – Max Anderson
District 7 – Kriss Worthington
District 4 – Jesse Arreguin
District 8 – Gordon Wozniak
Preliminary Matters
Roll Call:
City Manager Comments: The City Manager may make announcements or provide information to the City Council in the form of an oral report. The Council will not take action on such items but may request the City Manager place a report on a future agenda for discussion.
Public Comment – Items on this agenda only
Consent Calendar
The Council will first determine whether to move items on the agenda for action or "Information" to the "Consent Calendar", or move "Consent Calendar" items to action. Items that remain on the "Consent Calendar" are voted on in one motion as a group. "Information" items are not discussed or acted upon at the Council meeting unless they are moved to "Action" or "Consent".
After hearing from public speakers regarding items remaining on the Consent Calendar, any Council Member may move any Information or Consent item to "Action", however no additional items can be moved onto the Consent Calendar at that point. Following this, the Council will vote on the items remaining on the Consent Calendar in one motion.
For items removed from the Consent Calendar to the Action Calendar for additional public comment, at the time the matter is taken up during the Action Calendar, public comment will be limited to persons who have not previously addressed that item during the Consent Calendar related public comment period.
Additional information regarding public comment by City of Berkeley employees and interns: Employees and interns of the City of Berkeley, although not required, are encouraged to identify themselves as such, the department in which they work and state whether they are speaking as an individual or in their official capacity when addressing the Council in open session or workshops.
1. Women's Daytime Drop-In Center: Relinquishment of Council Office Budget Funds to General Fund and Grant of Such Funds From: Councilmember MaioRecommendation: Adopt a Resolution approving the expenditure of an amount not to exceed $500 per Councilmember including $500 from Councilmember Maio to the Women's Daytime Drop-In Center with funds relinquished to the City's general fund for this purpose from the discretionary Council Office Budgets of Councilmember Maio and any other Councilmember who would like to contribute.Financial Implications: Councilmember's Discretionary Fund - $500Contact: Linda Maio, Councilmember, District 1, 981-7110
Action Calendar – Public Hearing
Staff shall introduce the public hearing item and present their comments. This is followed by five-minute presentations each by the appellant and applicant. The Presiding Officer will request that persons wishing to speak, line up at the podium to be recognized and to determine the number of persons interested in speaking at that time.
Up to ten (10) speakers may speak for two minutes. If there are more than ten persons interested in speaking, the Presiding Officer may limit the public comment for all speakers to one minute per speaker. Speakers are permitted to yield their time to one other speaker, however no one speaker shall have more than four minutes. The Presiding Officer may with the consent of persons representing both sides of an issue allocate a block of time to each side to present their issue.
Each member of the City Council shall verbally disclose all ex parte contacts concerning the subject of the hearing. Councilmembers shall also submit a report of such contacts in writing prior to the commencement of the hearing. Written reports shall be available for public review in the office of the City Clerk.
2. Fiscal Year 2014 and Fiscal Year 2015 Proposed Budget Public Hearing #2From: City ManagerRecommendation: Conduct a second public hearing regarding the FY 2014 and FY 2015 proposed budget.Financial Implications: See Proposed FY 2014 and FY 2015 BudgetContact: Teresa Berkeley-Simmons, Budget Manager, 981-7000
Action Calendar – Old Business
3. Extend Commercial Zoning on Fourth Street and Gilman Street (Continued from May 7, 2013)Revised materialsFrom: Mayor BatesRecommendation: Request the Planning Commission consider expanding Commercial West Berkeley (CW) zoning along: 1) Fourth Street to Virginia Street, 2) Gilman Street from Sixth Street to San Pablo Avenue (precise area indicated on map attached to Council report).Financial Implications: Increased tax revenue and employment opportunities.Contact: Tom Bates, Mayor, 981-7100
4. Temporarily Relax Quota System on Telegraph Avenue (Continued from April 30, 2013)From: Mayor BatesRecommendation: Request the Planning Commission consider zoning changes on Telegraph Avenue in the Southside area to allow a temporary relaxation of the quota system for three years.Financial Implications: Increased sales tax revenue and employment opportunities.Contact: Tom Bates, Mayor, 981-7100
5. Tobacco Free Multi-Unit Housing: Amending Berkeley Municipal Code Chapter 12.70 (Continued from May 7, 2013)PresentationFrom: City ManagerRecommendation: Adopt first reading of an Ordinance amending Berkeley Municipal Code Chapter 12.70 to prohibit tobacco smoking which involuntarily exposes neighbors to secondhand smoke in all multi-unit housing in the City with enforcement through private right of action; to require that all new leases include a non-smoking clause; and to permit any tenant who is involuntarily exposed to tobacco smoke to terminate his or her lease without penalty if the landlord fails to include or enforce the non-smoking clause.Financial Implications: NoneContact: Jane Micallef, Health, Housing and Community Services, 981-5400
NOTICE CONCERNING YOUR LEGAL RIGHTS: If you object to a decision by the City Council to approve or deny a use permit or variance for a project the following requirements and restrictions apply: 1) No lawsuit challenging a City decision to deny (Code Civ. Proc. 1094.6(b)) or approve (Gov. Code 65009(c)(5)) a use permit or variance may be filed more than 90 days after the date the Notice of Decision of the action of the City Council is mailed. Any lawsuit not filed within that 90-day period will be barred. 2) In any lawsuit that may be filed against a City Council decision to approve or deny a use permit or variance, the issues and evidence will be limited to those raised by you or someone else, orally or in writing, at a public hearing or prior to the close of the last public hearing on the project.
Live captioned broadcasts of Council Meetings are available on Cable B-TV (Channel 33),via internet accessible video stream at http://www.ci.berkeley.ca.us/video and KPFB Radio 89.3.Archived indexed video streams are available at http://www.ci.berkeley.ca.us/citycouncil.Channel 33 rebroadcasts the following Wednesday at 9:00 a.m. and Sunday at 9:00 a.m.
Any writings or documents provided to a majority of the City Council regarding any item on this agenda will be made available for public inspection at the public counter at the City Clerk Department located on the first floor of the civic center located at 2180 Milvia Street as well as posted on the City's website at http://www.cityofberkeley.info.
Agendas and agenda reports may be accessed via the Internet at http://www.ci.berkeley.ca.us/citycounciland may be read at reference desks at the following locations:
City Clerk Department
2180 Milvia Street
Main - 2090 Kittredge Street
Tel: 510-981-6900
Claremont Branch – 2940 Benvenue
Fax: 510-981-6901
North Branch – 1170 The Alameda
Email: email@example.com
This meeting is being held in a wheelchair accessible location.
To request a disability-related accommodation(s) to participate in the meeting, including auxiliary aids or services, please contact the Disability Services specialist at 981-6346(V) or 981-7075 (TDD) at least three business days before the meeting date.
Attendees at public meetings are reminded that other attendees may be sensitive to various scents, whether natural or manufactured, in products and materials. Please help the City respect these needs.
Captioning services are provided at the meeting, on B-TV, and on the Internet. In addition, assisted listening devices for the hearing impaired are available from the City Clerk prior to the meeting, and are to be returned before the end of the meeting.
I hereby certify that the agenda for this meeting of the Berkeley City Council was posted at the display case located near the walkway in front of Council Chambers, 2134 Martin Luther King Jr. Way, as well as on the City's website, on May 23, 2013.
Mark Numainville, City Clerk
Council rules limit action on Communications to referral to the City Manager and/or Boards and Commissions for investigation and/or recommendations. All communications submitted to Council are public record. Communications are not published directly to the City's website. Copies of individual communications are available for viewing at the City Clerk Department and through Records Online.


text:
Can any kind and learned person tell me if this is in Chinese, as I suspect, and what it might mean? It is being used as a signature by someone on another forum with whom I (amongst others) have had difficulties for his offensive displays of nationalism in past signatures.
Many thanks to any who can help.
Edit: I should add that the one using this is not Chinese hence not Chinese nationalism!


text:
Brief SummaryRead full entry
BiologyFin whales tend to occur in pairs or in groups known as pods that usually contain around six or seven individuals; although larger groups have been observed (5) (7). This species spends spring and early summer in cold feeding grounds at high latitudes, migrating to more southerly areas for winter and the breeding season (5). Northern and southern populations never meet because the seasonal patterns are reversed in the two hemispheres, and so they migrate to the equator at different times of year (5). Mating takes place in winter, and as gestation takes about 11 months, births occur in the winter breeding grounds where conception took place (5). A single calf is produced, which is suckled for six to seven months; when weaned, calves travel with their mother to the feeding grounds (5). Females produce calves every couple of years after reaching sexual maturity at three to twelve years of age. Full maturity is usually attained at 25 to 30 years of age (5). Fin whales feed by filtering planktonic crustaceans, fish and squid through their baleen plates. Individuals can dive to depths of 230 metres and can stay submerged for about 15 minutes (7) (8). The blow of a fin whale reaches six metres in height and is a slim cone shape (7).


text:
WASHINGTON (Reuters) - The U.S. intelligence community is warning that "one or more foreign governments" appear to have a "coordinated strategy" to acquire valuable American technology by buying U.S. firms, a U.S. government body said in an annual report.
The finding was mentioned in the public version of an annual report to Congress by the Committee on Foreign Investment in the United States, an interagency body that reviews foreign investment for potential national security concerns.
One investment now before the committee is Chinese state-owned CNOOC's purchase of Canadian energy producer Nexen Inc. Ottawa has approved the deal, but CFIUS is reviewing whether to allow CNOOC to acquire Nexen's oilfields in the Gulf of Mexico.
The report, issued on Thursday, said the U.S. intelligence community "judges with moderate confidence that there is likely a coordinated strategy among one or more foreign governments or companies to acquire U.S. companies involved in research, development, or production of critical technologies for which the United States is a leading producer."
The public version did not identify any particular country but said information supporting the intelligence community's assessment was provided in the classified version of the report that was sent to Congress.
U.S. government officials have publicly complained about Chinese government policies that pressure American companies to transfer valuable technologies to do business in China.
That issue was on the agenda for high-level U.S.-China talks this week in Washington, with the United States welcoming a new Chinese pledge not to make technology transfer a condition for market access.
The U.S. business community has also complained about growing theft of U.S. trade secrets by Chinese companies, often by means of sophisticated cyberattacks.
The United States and China also agreed this week to hold technical talks next year on cybersecurity.
Last month, the U.S.-China Economic and Security Review Commission urged Congress to conduct an in-depth assessment of Chinese cyberspying and consider imposing tougher penalties on companies that benefit from industrial espionage.
The advisory panel, created by the U.S. Congress, also urged tougher U.S. scrutiny of all Chinese investment by state-owned enterprises.
"China is engaged in a state-directed coordinated strategy to acquire critical U.S. assets important to our economic and national security," commission member Michael Wessel told Reuters on Friday, saying he was reflecting his own views.
"Just in the last few weeks, we have seen an accelerated buying spree by Chinese companies with ties to the state," Wessel said, referring to a bid by BGI-Shenzhen to buy U.S. life sciences company Complete Genomics and investments made by Chinese petroleum company Sinopec in Wyoming.
Reporting By Doug Palmer; Editing by Neil Stempleman


text:
COMP Cams Viton Valve Seals - 3/8 Steel Body .530 515-16 Viton® Valve Stem Seals
Positive Stop .530" Guide 0.372" Valve Stem (Set of 16)Pit Stop USA offers COMP Cams Viton Valve Seals - 3/8 Steel Body .530 515-16 at low everyday prices. Be sure to check out all of our products from COMP Cams including COMP Cams Valve Stem Seals.Product Description: Valve Stem Seal, Positive Stop, 3/8 in Valve Stem, 0.530 in Guide, Steel Body/Viton, Set of 16
- 36584142812
- Comp Cams
- Available
- Same Day Shipping!
- New
Shipping Information
- Item Requires Shipping
- 0.2 lbs.
- W3.5000" x H1.0500" x L5.5500"
- Ships from Michigan.
Customer Reviews
Total Reviews (0)
Write the First Review!
You must login to post a review.
- The Company Difference
- We're the ExpertsWe help you find a way to win!
- Huge SelectionOver 100,000 products from the top performance brands!
- Free Shipping On driver safety gear over $99!
- Low Everyday PricesGet the best values in racing!
- Have a question? Ask the Pros
- Email UsGet answers from the pros
- 208-906-0702


text:
We oppose Islam, not Muslims. We are against hate, not faith
As a hands-on participant in the Human Genome project, I need to dispel any myth about a connection between genetics and depravity. Extensive studies have been done on the Human Genome Data Set (HGDS) to find a genetic link to homosexuality. That science is completed. There is no link. No "gay" gene exists. The mainstream media has kept this a secret for quite some time. Homosexuality is, in fact, 100% learned behavior in every case, no exceptions. While there was a frenzy of activity to find a "gay" gene when HGDS was put online, that activity has largely stopped, no further studies are being funded. It's finished. We have the answer.
Muslims are absolutely correct that homosexuality is nothing more than common depravity.
You want him to prove a negative. However, I think it would be fair to say that no such "gene" has been found and that finding one is very unlikely. This is because tendencies to behaviour are more likely to be associated with a combination of genes and are ofte better associated with the complexities of developmental evolution that depend on environment and circumstances.Nosuperstition wrote:Now are you suggesting that science has perfectly established today that no such thing as gay gene exists?
Nosuperstition wrote:Now are you suggesting that science has perfectly established today that no such thing as gay gene exists?
Homosexuality, beastiality, necrophilia, and pedophilia are 100% learned behavior in every case, no exceptions.
Muslims are absolutely empowered by the knowledge that they are correct about homosexuality. That one thread of truth is all they need to believe the whole grotesque mess that is Islam.
sum wrote:Hello Val
Has the science that you quoted also claimed that there is no combination of genes that is one of the causes of homosexuality?
Demographers foresee the abandonment of all of Europe to the Muslims - it will cause a mass migration of remaining Europeans to the Americas. Muslims will gain EU nukes and they will launch them to destroy the Americas in the name of their god who is Satan.
Val wrote: The current balance of scientific knowledge indicates no genetic connection to the learned behavior of homosexuality.
Return to Islam: Questioned, Defended, & Explained
Users browsing this forum: No registered users and 4 guests


text:
|Kit Knox (www.rootshell.com, recently hacked)
|Are you trying to help destroy the internet by posting up exploits so script kids can r00t the planet? About 90% of your webpage viewers are under 18 and use your site to download exploits so they can crack sites.. And look what trouble its gotten you into, your lame site was hacked by a script kiddie.
|AntiOnline (www.antionline.com)
|Sure you provide news and shit.. But like everyone else, the exploit section IS NOT needed. Why can't we just keep all of this for grownups on BUGTRAQ.
|Fyodor (www.insecure.org)
|Yeah you got a nice nmap utility, now whats with the "exploit archive?" Are you fucking retarted? Go out and get a life instead of supplying the worlds script kiddies with old exploits.


text:
TIME, DATE, PLACE: 8 p.m. on Saturday, December 8th, in Strong Auditorium, located on the University of Rochester's River Campus. Doors open at 7:30 p.m.
WHAT: Join After Hours, the University of Rochester's co-ed a cappella group, for a sleek and sexy spy soiree. The last show of the a cappella season will feature the timelessness of James Bond and the contemporary flavor of a cappella covers from popular artists including Adele, Imagine Dragons, Alex Clare, David Guetta, and more.
The show also will include guest performances by Louvre Performance Ensemble and the Binghamtonics, Binghamton University's oldest co-ed a cappella group. Don't miss out on this night of vocal espionage and good, old-fashioned a cappella fun!
TICKETS: Tickets are $6 for University of Rochester students and $10 for University faculty and staff and general public. Tickets can be purchased at the Common Market in Wilson Commons beginning Friday, Nov. 30.
FOR MORE INFORMATION: Visit After Hours on the web at http://www.urafterhours.org/.


text:
Click below to filter your search results
Committee Opinion Number 651, December 2015
(Replaces Committee Opinion 349, November 2006, Reaffirmed 2017)
ABSTRACT: Despite variations worldwide and within the U.S. population, median age at menarche has remained relatively stable—between 12 years and 13 years—across well-nourished populations in developed countries. Environmental factors, including socioeconomic conditions, nutrition, and access to preventive health care, may influence the timing and progression of puberty. A number of medical conditions can cause abnormal uterine bleeding, characterized by unpredictable timing and variable amount of flow. Clinicians should educate girls and their caretakers (eg, parents or guardians) about what...
American College of Obstetricians and Gynecologists
409 12th Street SW, Washington, DC 20024-2188


text:
Central Pacific Railroad Photographic History Museum
How much does a railroad spike weigh?
posted from CPRR Discussion Group at 11:09 AM
Post a Comment
<< Recent Messages
Discussion Group – Central Pacific Railroad Photographic History Museum
View my complete profile
A log of messages discussing transcontinental railroad history and photography. Opinions are those of each person posting. PRIVACY.
To find replies, look for both comments linked to the original message and also for later messages.


text:
Shopping Cart $0.00 (0 Items)
Cart Summary
- There was an error
- It was successful
Backpackers Pantry Freeze Dried Katmandu Curry 2 Person Serving(1298858)
Backpackers Pantry Freeze Dried Katmandu Curry 2 Person ServingBackpackers Pantry Freeze Dried Katmandu Curry 2 Person Serving - This will conjure up an image of being in the Himalayas eating Dahl Bhat. Lentils, brown rice, potatoes, peas, carrots and curry seasoning.
Backpackers Pantry Freeze Dried Katmandu Curry 2 Person Serving - As outdoor enthusiasts participating in an array of activities Backpacker's Pantry understands the need to pack light and eat well. They are dedicated to creating dishes that satisfy not only your palate but your nutritional needs as well. Preparing products using both the freeze drying and dehydration methods not only reduces the weight and prolongs shelf life, but also locks in all of the nutrients needed to keep an active body fueled and ready for the next adventure. Directions: Add 2-3/4 cups (660ml) of boiling water. Stir well. Seal and let sit for 13 minutes. Stir and serve.
- Dry Weight: 6.6 oz
- Servings Per Package: 2
- Nutrition Facts: Per Serving
- Calories: 340
- Total Fat: 0g
- Sodium: 1220mg
- Total Carbohydrate: 64g
- Sugers: 9g
- Protein: 18g
- headerText
- Others Who Bought This Item Also Viewed
- numRecs
- 3
- -inc-price
- true
- -rec-builder
- My_Custom_Builder
- dataItems
- listPrice
- salePrice
Customer Support
We are here to help if you need us, please contact Customer Support at:


text:
Have you seen kitesurfing with a foil board? It's such an amazing feeling! You gotta try it!
It takes a few sessions (days) to get it down. Come out to San Francisco and sign up for the 4 day foil board course. It's like being a beginner all over again!
http://kitethebay.com/specialty-courses ... -training/


text:
Whatever you do, work at it with all your heart, as working for the Lord, not for human masters,since you know that you will receive an inheritance from the Lord as a reward. It is the Lord Christ you are serving.
– Colossians 3:23-24, NIV
On one level, this is a damning critique of critiquing culture through the lens of feminism.
When you think of art not as an expression of culture or an examination of human nature but as a means to an ideological end, you risk creating a cultural experience in which you have closed yourself off to a broad swathe of the human experience.
Now read that again, and apply it to "Christian music". Why has Christianity become sidelined in today's culture? Because sometime long ago, we decided we'd rather (literally) preach to the choir than preach to the lost. There is no such thing as "Christian music", anymore than there is "Communist music". There is music that is good music, and music that is propaganda.
The fact is, unless we're monks in an abbey, most of our life is spent in the world. When I made my living as a photographer, I wrestled with how to express my faith in art for years. I finally came to the same conclusion that the Apostle Paul did, namely, shut up and live your life for the Lord, and the rest will take care of itself.
There is no such thing as Christian music, because a melody can't be a Christian, only a songwriter can. There's no such thing as Christian art, because a canvas can't be filled with the Spirit of the living God, only a painter can.
When I stopped worrying about HOW to take a "Christian Photograph" and just concentrated on making good photographs, I ended up satisfying both my Savior and my creative soul.
Why, it's almost as if God made us to praise with our entire lives, and not just the stuff we do in church, or something.
Comments are closed here.


text:
We use cookies to personalize content and ads, to provide social media features and to analyze our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.
Show details
Bike Specification
B-spoke Centre 123
2This is the highest level of retail categorisation of a Brompton dealer. All B-spoke Centres will have four demonstrator bikes,
this covers the full range of handlebar styles and ride positions; all luggage options will be available as will a wide range of other Brompton spares and accessories. All staff members will have a good knowledge of Brompton products.
Approved Dealer 1
3 This type of dealer will have at least one demonstrator model for you to try and a good selection of bikes and accessories for you
to review and purchase. They will have been a Brompton dealer for at least one year and members of staff will be knowledgeable about Brompton and associated products.
New Dealer 111
4 This type of dealer will have become a Full Brompton dealer in the last 12 months; they will have at least one demonstrator model for
you to try and a good selection of bikes and accessories for you to review and purchase.
Occasional Dealer 1
5 This type of dealership will have a demonstrator Brompton for you to try but may not have a wide selection of stock on hand for
you to review or purchase.
Spares & Accessories Dealer 1
6 A dealer that only sells Brompton spares and accessories.
Thank You! Your details have been successfully submitted and your chosen store will be in touch with you shortly to discuss your requirements in more detail.
I would like this store to contact me about:
Please note: Your details will only be shared with the Authorised Brompton dealer you have selected
Please sign in or register to add this item
to or view your Wishlist