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Vol. IV. Representative Men: Seven Lectures
V. Shakspeare; or, the Poet
men are more distinguished by range and extent than by originality. If we require the originality which consists in weaving, like a spider, their web from their own bowels; in finding clay and making bricks and building the house; no great men are original. Nor does valuable originality consist in unlikeness to other men. The hero is in the press of knights and the thick of events; and seeing what men want and sharing their desire, he adds the needful length of sight and of arm, to come at the desired point. The greatest genius is the most indebted man. A poet is no rattle-brain, saying what comes uppermost, and, because he says every thing, saying at last something good; but a heart in unison with his time and country. There is nothing whimsical and fantastic in his production, but sweet and sad earnest, freighted with the weightiest convictions and pointed with the most determined aim which any man or class knows of in his times.
The Genius of our life is jealous of individuals, and will not have any individual great, except through the general. There is no choice to genius. A great man does not wake up on some fine morning and say, I am full of life, I will go to sea and find an Antarctic continent: to-day I will square the circle: I will ransack botany and find a new food for man: I have a new architecture in my mind: I foresee a new mechanic power: no, but he finds himself in the river of the thoughts and events, forced onward by the ideas and necessities of his contemporaries.
He stands where all the eyes of men look one way, and their hands all point in the direction in which he should go. The Church has reared him amidst rites and pomps, and he carries out the advice which her music gave him, and builds a cathedral needed by her chants and processions. He finds a war raging: it educates him, by trumpet, in barracks, and he betters the instruction. He finds two counties groping to bring coal, or flour, or fish, from the place of production to the place of consumption, and he hits on a railroad. Every master has found his materials collected, and his power lay in his sympathy with his people and in his love of the materials he wrought in. What an economy of power! and what a compensation for the shortness of life! All is done to his hand. The world has brought him thus far on his way. The human race has gone out before him, sunk the hills, filled the hollows and bridged the rivers. Men, nations, poets, artisans, women, all have worked for him, and he enters into their labors. Choose any other thing, out of the line of tendency, out of the national feeling and history, and he would have all to do for himself: his powers would be expended in the first preparations. Great genial power, one would almost say, consists in not being original at all; in being altogether receptive; in letting the world do all, and suffering the spirit of the hour to pass unobstructed through the mind.
Shakspeares youth fell in a time when the English people were importunate for dramatic entertainments. The court took offence easily at political allusions and attempted to suppress them. The Puritans, a growing and energetic party, and the religious among the Anglican church, would suppress them. But the people wanted them. Inn-yards, houses without roofs, and extemporaneous enclosures at country fairs were the ready theatres of strolling players. The people had tasted this new joy; and, as we could not hope to suppress newspapers now,no, not by the strongest party,neither then could king, prelate, or puritan, alone or united, suppress an organ which was ballad, epic, newspaper, caucus, lecture, Punch and library, at the same time. Probably king, prelate and puritan, all found their own account in it. It had become, by all causes, a national interest,by no means conspicuous, so that some great scholar would have thought of treating it in an English history,but not a whit less considerable because it was cheap and of no account, like a bakers-shop. The best proof of its vitality is the crowd of writers which suddenly broke into this field; Kyd, Marlow, Greene, Jonson, Chapman, Dekker, Webster, Heywood, Middleton, Peele, Ford, Massinger, Beaumont and Fletcher.
The secure possession, by the stage, of the public mind, is of the first importance to the poet who works for it.
He loses no time in idle experiments. Here is audience and expectation prepared. In the case of Shakspeare there is much more. At the time when he left Stratford and went up to London, a great body of stage-plays of all dates and writers existed in manuscript and were in turn produced on the boards. Here is the Tale of Troy, which the audience will bear hearing some part of, every week; the Death of Julius Cæsar, and other stories out of Plutarch, which they never tire of; a shelf full of English history, from the chronicles of Brut and Arthur, down to the royal Henries, which men hear eagerly; and a string of doleful tragedies, merry Italian tales and Spanish voyages, which all the London prentices know. All the mass has been treated, with more or less skill, by every playwright, and the prompter has the soiled and tattered manuscripts. It is now no longer possible to say who wrote them first. They have been the property of the Theatre so long, and so many rising geniuses have enlarged or altered them, inserting a speech or a whole scene, or adding a song, that no man can any longer claim copyright in this work of numbers. Happily, no man wishes to. They are not yet desired in that way. We have few readers, many spectators and hearers. They had best lie where they are.
Shakspeare, in common with his comrades, esteemed the mass of old plays waste stock, in which any experiment could be freely tried. Had the
which hedges about a modern tragedy existed, nothing could have been done. The rude warm blood of the living England circulated in the play, as in street-ballads, and gave body which he wanted to his airy and majestic fancy. The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice, and in furnishing so much work done to his hand, leaves him at leisure and in full strength for the audacities of his imagination. In short, the poet owes to his legend what sculpture owed to the temple. Sculpture in Egypt and in Greece grew up in subordination to architecture. It was the ornament of the temple wall: at first a rude relief carved on pediments, then the relief became bolder and a head or arm was projected from the wall; the groups being still arranged with reference to the building, which serves also as a frame to hold the figures; and when at last the greatest freedom of style and treatment was reached, the prevailing genius of architecture still enforced a certain calmness and continence in the statue. As soon as the statue was begun for itself, and with no reference to the temple or palace, the art began to decline: freak, extravagance and exhibition took the place of the old temperance. This balance-wheel, which the sculptor found in architecture, the perilous irritability of poetic talent found in the accumulated dramatic materials to which the people were already wonted, and which had a certain excellence which no single genius, however extraordinary, could hope to create.
In point of fact it appears that Shakspeare did owe debts in all directions, and was able to use whatever he found; and the amount of indebtedness may be inferred from Malones laborious computations in regard to the First, Second and Third parts of Henry VI., in which, out of 6043 lines, 1771 were written by some author preceding Shakspeare, 2373 by him, on the foundation laid by his predecessors, and 1899 were entirely his own. And the proceeding investigation hardly leaves a single drama of his absolute invention. Malones sentence is an important piece of external history. In Henry VIII. I think I see plainly the cropping out of the original rock on which his own finer stratum was laid. The first play was written by a superior, thoughtful man, with a vicious ear. I can mark his lines, and know well their cadence. See Wolseys soliloquy, and the following scene with Cromwell, where instead of the metre of Shakspeare, whose secret is that the thought constructs the tune, so that reading for the sense will best bring out the rhythm,here the lines are constructed on a given tune, and the verse has even a trace of pulpit eloquence. But the play contains through all its length unmistakable traits of Shakspeares hand, and some passages, as the account of the coronation, are like autographs. What is odd, the compliment to Queen Elizabeth is in the bad rhythm.
Shakspeare knew that tradition supplies a better fable than any invention can. If he lost any credit of design, he augmented his resources; and, at that day, our petulant demand for originality was not so much pressed. There was no literature for the million. The universal reading, the cheap press, were unknown. A great poet who appears in illiterate times, absorbs into his sphere all the light which is any where radiating. Every intellectual jewel, every flower of sentiment it is his fine office to bring to his people; and he comes to value his memory equally with his invention.
He is therefore little solicitous whence his thoughts have been derived; whether through translation, whether through tradition, whether by travel in distant countries, whether by inspiration; from whatever source, they are equally welcome to his uncritical audience. Nay, he borrows very near home. Other men say wise things as well as he; only they say a good many foolish things, and do not know when they have spoken wisely. He knows the sparkle of the true stone, and puts it in high place, wherever he finds it.
Such is the happy position of Homer perhaps; of Chaucer, of Saadi. They felt that all wit was their wit. And they are librarians and historiographers, as well as poets. Each romancer was heir and dispenser of all the hundred tales of the world,
Presenting Thebes and Pelops line
And the tale of Troy divine.
The influence of Chaucer is conspicuous in all our early literature; and more recently not only Pope and Dryden have been beholden to him, but, in the whole society of English writers, a large unacknowledged debt is easily traced. One is charmed with the opulence which feeds so many pensioners. But Chaucer is a huge borrower. Chaucer, it seems, drew continually, through Lydgate and Caxton, from Guido di Colonna, whose Latin romance of the Trojan war was in turn a compilation from Dares Phrygius, Ovid and Statius. Then Petrarch, Boccaccio and the Provençal poets are his benefactors: the Romaunt of the Rose is only judicious translation from William of Lorris and John of Meung: Troilus and Creseide, from Lollius of Urbino: The Cock and the Fox, from the
of Marie: The House of Fame, from the French or Italian: and poor Gower he uses as if he were only a brick-kiln or stone-quarry out of which to build his house.
He steals by this apology,that what he takes has no worth where he finds it and the greatest where he leaves it. It has come to be practically a sort of rule in literature, that a man having once shown himself capable of original writing, is entitled thenceforth to steal from the writings of others at discretion. Thought is the property of him who can entertain it and of him who can adequately place it. A certain awkwardness marks the use of borrowed thoughts; but as soon as we have learned what to do with them they become our own.
Thus all originality is relative. Every thinker is retrospective. The learned member of the legislature, at Westminster or at Washington, speaks and votes for thousands. Show us the constituency, and the now invisible channels by which the senator is made aware of their wishes; the crowd of practical and knowing men, who, by correspondence or conversation, are feeding him with evidence, anecdotes and estimates, and it will bereave his fine attitude and resistance of something of their impressiveness. As Sir Robert Peel and Mr. Webster vote, so Locke and Rousseau think, for thousands; and so there were fountains all around Homer,
Menu, Saadi, or Milton, from which they drew; friends, lovers, books, traditions, proverbs,all perishedwhich, if seen, would go to reduce the wonder. Did the bard speak with authority? Did he feel himself overmatched by any companion? The appeal is to the consciousness of the writer. Is there at last in his breast a Delphi whereof to ask concerning any thought or thing, whether it be verily so, yea or nay? and to have answer, and to rely on that? All the debts which such a man could contract to other wit would never disturb his consciousness of originality; for the ministrations of books and of other minds are a whiff of smoke to that most private reality with which he has conversed.
It is easy to see that what is best written or done by genius in the world, was no mans work, but came by wide social labor, when a thousand wrought like one, sharing the same impulse. Our English Bible is a wonderful specimen of the strength and music of the English language. But it was not made by one man, or at one time; but centuries and churches brought it to perfection. There never was a time when there was not some translation existing. The Liturgy, admired for its energy and pathos, is an anthology of the piety of ages and nations, a translation of the prayers and forms of the Catholic church,these collected, too, in long periods, from the prayers and meditations of every saint and sacred writer all over the world.
Grotius makes the like remark in respect to the Lords Prayer, that the single clauses of which it is composed were already in use in the time of Christ, in the Rabbinical forms. He picked out the grains of gold. The nervous language of the Common Law, the impressive forms of our courts and the precision and substantial truth of the legal distinctions, are the contribution of all the sharp-sighted, strong-minded men who have lived in the countries where these laws govern. The translation of Plutarch gets its excellence by being translation on translation. There never was a time when there was none. All the truly idiomatic and national phrases are kept, and all others successively picked out and thrown away. Something like the same process had gone on, long before, with the originals of these books. The world takes liberties with world-books. Vedas, Æsops Fables, Pilpay, Arabian Nights, Cid, Iliad, Robin Hood, Scottish Minstrelsy, are not the work of single men. In the composition of such works the time thinks, the market thinks, the mason, the carpenter, the merchant, the farmer, the fop, all think for us. Every book supplies its time with one good word; every municipal law, every trade, every folly of the day; and the generic catholic genius who is not afraid or ashamed to owe his originality to the originality of all, stands with the next age as the recorder and embodiment of his own.
We have to thank the researches of antiquaries, and the Shakspeare Society, for ascertaining the steps of the English drama, from the Mysteries celebrated in churches and by churchmen, and the final detachment from the church, and the completion of secular plays, from Ferrex and Porrex,
and Gammer Gurtons Needle, down to the possession of the stage by the very pieces which Shakspeare altered, remodelled and finally made his own. Elated with success and piqued by the growing interest of the problem, they have left no bookstall unsearched, no chest in a garret unopened, no file of old yellow accounts to decompose in damp and worms, so keen was the hope to discover whether the boy Shakspeare poached or not, whether he held horses at the theatre door, whether he kept school, and why he left in his will only his second-best bed to Ann Hathaway, his wife.
There is somewhat touching in the madness with which the passing age mischooses the object on which all candles shine and all eyes are turned; the care with which it registers every trifle touching Queen Elizabeth and King James, and the Essexes, Leicesters, Burleighs and Buckinghams; and lets pass without a single valuable note the founder of another dynasty, which alone will cause the Tudor dynasty to be remembered,the man who carries the Saxon race in him by the inspiration which feeds him, and on whose thoughts the foremost people of the world are now for some ages to be nourished, and minds to receive this and not another bias. A popular player;nobody suspected he was the poet of the human race; and the secret was kept as faithfully from poets and intellectual men as from courtiers and frivolous people.
Bacon, who took the inventory of the human understanding for his times, never mentioned his name. Ben Jonson, though we have strained his few words of regard and panegyric, had no suspicion of the elastic fame whose first vibrations he was attempting. He no doubt thought the praise he has conceded to him generous, and esteemed himself, out of all question, the better poet of the two.
If it need wit to know wit, according to the proverb, Shakspeares time should be capable of recognizing it. Sir Henry Wotton was born four years after Shakspeare, and died twenty-three years after him; and I find, among his correspondents and acquaintances, the following persons: Theodore Beza, Isaac Casaubon, Sir Philip Sidney, the Earl of Essex, Lord Bacon, Sir Walter Raleigh, John Milton, Sir Henry Vane, Isaac Walton, Dr. Donne, Abraham Cowley, Bellarmine, Charles Cotton, John Pym, John Hales, Kepler, Vieta, Albericus Gentilis, Paul Sarpi, Arminius; with all of whom exists some token of his having communicated, without enumerating many others whom doubtless he saw,Shakspeare, Spenser, Jonson, Beaumont, Massinger, the two Herberts, Marlow, Chapman and the rest. Since the constellation of great men who appeared in Greece in the time of Pericles, there was never any such society;yet their genius failed them to find out the best head in the universe.
Our poets mask was impenetrable. You cannot see the mountain near. It took a century to make it suspected; and not until two centuries had passed, after his death, did any criticism which we think adequate begin to appear. It was not possible to write the history of Shakspeare till now; for he is the father of German literature: it was with the introduction of Shakspeare into German, by Lessing, and the translation of his works by Wieland and Schlegel, that the rapid burst of German literature was most intimately connected. It was not until the nineteenth century, whose speculative genius is a sort of living Hamlet, that the tragedy of Hamlet could find such wondering readers.
Now, literature, philosophy and thought are Shakspearized. His mind is the horizon beyond which, at present, we do not see. Our ears are educated to music by his rhythm. Coleridge and Goethe are the only critics who have expressed our convictions with any adequate fidelity: but there is in all cultivated minds a silent appreciation of his superlative power and beauty, which, like Christianity, qualifies the period.
The Shakspeare Society have inquired in all directions, advertised the missing facts, offered money for any information that will lead to proof,and with what result? Beside some important illustration of the history of the English stage, to which I have adverted, they have gleaned a few facts touching the property, and dealings in regard to property, of the poet. It appears that from year to year he owned a larger share in the Blackfriars Theatre: its wardrobe and other appurtenances were his: that he bought an estate in his native village with his earnings as writer and shareholder; that he lived in the best house in Stratford; was intrusted by his neighbors with their commissions in London, as of borrowing money, and the like; that he was a veritable farmer. About the time when he was writing Macbeth, he sues Philip Rogers, in the borough-court of Stratford, for thirty-five shillings, ten pence, for corn delivered to him at different times; and in all respects appears as a good husband, with no reputation for eccentricity or excess. He was a good-natured sort of man, an actor and shareholder in the theatre, not in any striking manner distinguished from other actors and managers.
I admit the importance of this information. It was well worth the pains that have been taken to procure it.
But whatever scraps of information concerning his condition these researches may have rescued, they can shed no light upon that infinite invention which is the concealed magnet of his attraction for us. We are very clumsy writers of history. We tell the chronicle of parentage, birth, birth-place, schooling, school-mates, earning of money, marriage, publication of books, celebrity, death; and when we have come to an end of this gossip, no ray of relation appears between it and the goddess-born; and it seems as if, had we dipped at random into the Modern Plutarch, and read any other life there, it would have fitted the poems as well.
It is the essence of poetry to spring, like the rainbow daughter of Wonder, from the invisible, to abolish the past and refuse all history. Malone, Warburton, Dyce and Collier have wasted their oil. The famed theatres, Covent Garden, Drury Lane, the Park and Tremont have vainly assisted. Betterton, Garrick, Kemble, Kean and Macready dedicate their lives to this genius; him they crown, elucidate, obey and express. The genius knows them not. The recitation begins; one golden word leaps out immortal from all this painted pedantry and sweetly torments us with invitations to its own inaccessible homes. I remember I went once to see the Hamlet of a famed performer, the pride of the English stage; and all I then heard and all I now remember of the tragedian was that in which the tragedian had no part; simply Hamlets question to the ghost:
What may this mean,
That thou, dead corse, again in complete steel
Revisitst thus the glimpses of the moon?
That imagination which dilates the closet he writes in to the worlds dimension, crowds it with agents in rank and order, as quickly reduces the big reality to be the glimpses of the moon.
These tricks of his magic spoil for us the illusions of the green-room. Can any biography shed light on the localities into which the Midsummer Nights Dream admits me? Did Shakspeare confide to any notary or parish recorder, sacristan, or surrogate in Stratford, the genesis of that delicate creation? The forest of Arden, the nimble air of Scone Castle, the moonlight of Portias villa, the antres vast and desarts idle of Othellos captivity,where is the third cousin, or grand-nephew, the chancellors file of accounts, or private letter, that has kept one word of those transcendent secrets? In fine, in this drama, as in all great works of art,in the Cyclopæan architecture of Egypt and India, in the Phidian sculpture, the Gothic minsters, the Italian painting, the Ballads of Spain and Scotland,the Genius draws up the ladder after him, when the creative age goes up to heaven, and gives way to a new age, which sees the works and asks in vain for a history.
Shakspeare is the only biographer of Shakspeare; and even he can tell nothing, except to the Shakspeare in us, that is, to our most apprehensive and sympathetic hour.
He cannot step from off his tripod and give us anecdotes of his inspirations. Read the antique documents extricated, analyzed and compared by the assiduous Dyce and Collier, and now read one of these skyey sentences,aerolites,which seem to have fallen out of heaven, and which not your experience but the man within the breast has accepted as words of fate, and tell me if they match; if the former account in any manner for the latter; or which gives the most historical insight into the man.
Hence, though our external history is so meagre, yet, with Shakspeare for biographer, instead of Aubrey and Rowe, we have really the information which is material; that which describes character and fortune, that which, if we were about to meet the man and deal with him, would most import us to know. We have his recorded convictions on those questions which knock for answer at every heart,on life and death, on love, on wealth and poverty, on the prizes of life and the ways whereby we come at them; on the characters of men, and the influences, occult and open, which affect their fortunes; and on those mysterious and demoniacal powers which defy our science and which yet interweave their malice and their gift in our brightest hours. Who ever read the volume of the Sonnets without finding that the poet had there revealed, under masks that are no masks to the intelligent, the lore of friendship and of love; the confusion of sentiments in the most susceptible, and, at the same time, the most intellectual of men? What trait of his private mind has he hidden in his dramas? One can discern, in his ample pictures of the gentleman and the king, what forms and humanities pleased him; his delight in troops of friends, in large hospitality, in cheerful giving. Let Timon, let Warwick, let Antonio the merchant answer for his great heart. So far from Shakspeares being the least known, he is the one person, in all modern history, known to us. What point of morals, of manners, of economy, of philosophy, of religion, of taste, of the conduct of life, has he not settled? What mystery has he not signified his knowledge of? What office, or function, or district of mans work, has he not remembered? What king has he not taught state, as Talma taught Napoleon? What maiden has not found him finer than her delicacy? What lover has he not outloved? What sage has he not outseen? What gentleman has he not instructed in the rudeness of his behavior?
Some able and appreciating critics think no criticism on Shakspeare valuable that does not rest purely on the dramatic merit; that he is falsely judged as poet and philosopher. I think as highly as these critics of his dramatic merit, but still think it secondary. He was a full man, who liked to talk; a brain exhaling thoughts and images, which, seeking vent, found the drama next at hand.
Had he been less, we should have had to consider how well he filled his place, how good a dramatist he was,and he is the best in the world. But it turns out that what he has to say is of that weight as to withdraw some attention from the vehicle; and he is like some saint whose history is to be rendered into all languages, into verse and prose, into songs and pictures, and cut up into proverbs; so that the occasion which gave the saints meaning the form of a conversation, or of a prayer, or of a code of laws, is immaterial compared with the universality of its application. So it fares with the wise Shakspeare and his book of life. He wrote the airs for all our modern music: he wrote the text of modern life; the text of manners: he drew the man of England and Europe; the father of the man in America;
he drew the man, and described the day, and what is done in it: he read the hearts of men and women, their probity, and their second thought and wiles; the wiles of innocence, and the transitions by which virtues and vices slide into their contraries: he could divide the mothers part from the fathers part in the face of the child, or draw the fine demarcations of freedom and of fate: he knew the laws of repression which make the police of nature: and all the sweets and all the terrors of human lot lay in his mind as truly but as softly as the landscape lies on the eye. And the importance of this wisdom of life sinks the form, as of Drama or Epic, out of notice. T is like making a question concerning the paper on which a kings message is written.
Shakspeare is as much out of the category of eminent authors, as he is out of the crowd. He is inconceivably wise; the others, conceivably. A good reader can, in a sort, nestle into Platos brain and think from thence; but not into Shakspeares. We are still out of doors. For executive faculty, for creation, Shakspeare is unique. No man can imagine it better. He was the farthest reach of subtlety compatible with an individual self,the subtilest of authors, and only just within the possibility of authorship.
With this wisdom of life is the equal endowment of imaginative and of lyric power. He clothed the creatures of his legend with form and sentiments as if they were people who had lived under his roof; and few real men have left such distinct characters as these fictions. And they spoke in language as sweet as it was fit. Yet his talents never seduced him into an ostentation, nor did he harp on one string. An omnipresent humanity co-ordinates all his faculties. Give a man of talents a story to tell, and his partiality will presently appear. He has certain observations, opinions, topics, which have some accidental prominence, and which he disposes all to exhibit. He crams this part and starves that other part, consulting not the fitness of the thing, but his fitness and strength. But Shakspeare has no peculiarity, no importunate topic; but all is duly given; no veins, no curiosities; no cow-painter, no bird-fancier, no mannerist is he: he has no discoverable egotism: the great he tells greatly; the small subordinately. He is wise without emphasis or assertion; he is strong, as nature is strong, who lifts the land into mountain slopes without effort and by the same rule as she floats a bubble in the air, and likes as well to do the one as the other. This makes that equality of power in farce, tragedy, narrative, and love-songs; a merit so incessant that each reader is incredulous of the perception of other readers.
This power of expression, or of transferring the inmost truth of things into music and verse, makes him the type of the poet and has added a new problem to metaphysics. This is that which throws him into natural history, as a main production of the globe, and as announcing new eras and ameliorations. Things were mirrored in his poetry without loss or blur: he could paint the fine with precision, the great with compass, the tragic and the comic indifferently and without any distortion or favor. He carried his powerful execution into minute details, to a hair point; finishes an eyelash or a dimple as firmly as he draws a mountain; and yet these, like natures, will bear the scrutiny of the solar microscope.
In short, he is the chief example to prove that more or less of production, more or fewer pictures, is a thing indifferent. He had the power to make one picture. Daguerre learned how to let one flower etch its image on his plate of iodine, and then proceeds at leisure to etch a million. There are always objects; but there was never representation. Here is perfect representation, at last; and now let the world of figures sit for their portraits. No recipe can be given for the making of a Shakspeare; but the possibility of the translation of things into song is demonstrated.
His lyric power lies in the genius of the piece. The sonnets, though their excellence is lost in the splendor of the dramas, are as inimitable as they; and it is not a merit of lines, but a total merit of the piece; like the tone of voice of some incomparable person, so is this a speech of poetic beings, and any clause as unproducible now as a whole poem.
Though the speeches in the plays, and single lines, have a beauty which tempts the ear to pause on them for their euphuism, yet the sentence is so loaded with meaning and so linked with its foregoers and followers, that the logician is satisfied. His means are as admirable as his ends; every subordinate invention, by which he helps himself to connect some irreconcilable opposites, is a poem too. He is not reduced to dismount and walk because his horses are running off with him in some distant direction: he always rides.
The finest poetry was first experience; but the thought has suffered a transformation since it was an experience. Cultivated men often attain a good degree of skill in writing verses; but it is easy to read, through their poems, their personal history: any one acquainted with the parties can name every figure; this is Andrew and that is Rachel. The sense thus remains prosaic. It is a caterpillar with wings, and not yet a butterfly. In the poets mind the fact has gone quite over into the new element of thought, and has lost all that is exuvial. This generosity abides with Shakespeare. We say, from the truth and closeness of his pictures, that he knows the lesson by heart. Yet there is not a trace of egotism.
One more royal trait properly belongs to the poet. I mean his cheerfulness, without which no man can be a poet,for beauty is his aim. He loves virtue, not for its obligation but for its grace: he delights in the world, in man, in woman, for the lovely light that sparkles from them. Beauty, the spirit of joy and hilarity, he sheds over the universe. Epicurus relates that poetry hath such charms that a lover might forsake his mistress to partake of them. And the true bards have been noted for their firm and cheerful temper. Homer lies in sunshine; Chaucer is glad and erect; and Saadi says, It was rumored abroad that I was penitent; but what had I to do with repentance?
Not less sovereign and cheerful,much more sovereign and cheerful, is the tone of Shakespeare. His name suggests joy and emancipation to the heart of men. If he should appear in any company of human souls, who would not march in his troop? He touches nothing that does not borrow health and longevity from his festal style.
And now, how stands the account of man with this bard and benefactor, when, in solitude, shutting our ears to the reverberations of his fame, we seek to strike the balance? Solitude has austere lessons; it can teach us to spare both heroes and poets; and it weighs Shakespeare also, and finds him to share the halfness and imperfection of humanity.
Shakespeare, Homer, Dante, Chaucer, saw the splendor of meaning that plays over the visible world; knew that a tree had another use than for apples, and corn another than for meal, and the ball of the earth, than for tillage and roads: that these things bore a second and finer harvest to the mind, being emblems of its thoughts, and conveying in all their natural history a certain mute commentary on human life.
Shakespeare employed them as colors to compose his picture. He rested in their beauty; and never took the step which seemed inevitable to such genius, namely to explore the virtue which resides in these symbols and imparts this power:what is that which they themselves say? He converted the elements which waited on his command, into entertainments. He was master of the revels to mankind. Is it not as if one should have, through majestic powers of science, the comets given into his hand, or the planets and their moons, and should draw them from their orbits to glare with the municipal fireworks on a holiday night, and advertise in all towns, Very superior pyrotechny this evening? Are the agents of nature, and the power to understand them, worth no more than a street serenade, or the breath of a cigar? One remembers again the trumpet-text in the Koran,The heavens and the earth and all that is between them, think ye we have created them in jest? As long as the question is of talent and mental power, the world of men has not his equal to show. But when the question is, to life and its materials and its auxiliaries, how does he profit me? What does it signify? It is but a Twelfth Night, or Midsummer-Nights Dream, or Winter Evenings Tale: what signifies another picture more or less? The Egyptian verdict of the Shakespeare Societies comes to mind; that he was a jovial actor and manager. I can not marry this fact to his verse. Other admirable men have led lives in some sort of keeping with their thought; but this man, in wide contrast. Had he been less, had he reached only the common measure of great authors, of Bacon, Milton, Tasso, Cervantes, we might leave the fact in the twilight of human fate: but that this man of men, he who gave to the science of mind a new and larger subject than had ever existed, and planted the standard of humanity some furlongs forward into Chaos,that he should not be wise for himself;it must even go into the worlds history that the best poet led an obscure and profane life, using his genius for the public amusement.
Well, other men, priest and prophet, Israelite, German and Swede, beheld the same objects: they also saw through them that which was contained. And to what purpose? The beauty straightway vanished; they read commandments, all-excluding mountainous duty; an obligation, a sadness, as of piled mountains, fell on them, and life became ghastly, joyless, a pilgrims progress, a probation, beleaguered round with doleful histories of Adams fall and curse behind us; with doomsdays and purgatorial and penal fires before us; and the heart of the seer and the heart of the listener sank in them.
It must be conceded that these are half-views of half-men. The world still wants its poet-priest, a reconciler, who shall not trifle, with Shakespeare the player, nor shall grope in graves, with Swedenborg the mourner; but who shall see, speak, and act, with equal inspiration. For knowledge will brighten the sunshine; right is more beautiful than private affection; and love is compatible with universal wisdom.
Note 1.
This essay was read as a lecture in Exeter Hall, in London, in June, 1848.
Perhaps it is well to bear in mind that Mr. Emerson was reared for the ministry and ordained a clergyman, and that his ancestors for several generations had exercised that office, and moreover that, in New England, up to his day, theatrical representations had been looked at with disfavor by serious and God-fearing people, and the witnessing of such by a minister would, like dancing, have been considered unbecoming indulgence. Although Mr. Emerson emancipated himself from bonds that were merely professional or artificial, he had an inbred distaste for the common amusements of society, feeling that they were unbecoming to a scholar, and that he was not adapted for them, though he was tolerant of them in other people. There was a natural earnestness, and a simple and cheerful asceticism in his early and later life. Yet once in his later life, when he had been induced to go to see Mr. and Mrs. Barney Williams in some bright comedy, he praised their acting and admitted to his daughter that he really much enjoyed theatrical performances, in spite of the feeling that they were not for him. Dancing, for instance, which he considered a proper part of youths education, would have seemed unbecoming for himself. He says, It shall be writ in my memoirs as it was writ of St. Pachonius,
Pes ejus ad saltandum non est commotus omni vita sua.
His staying away from theatrical entertainments was instinctive, but he was liberal in the matter and would go to see a real artist. He even went to see the performance of the beautiful dancer Fanny Elssler, although a story which has been too often repeated of his remarks to Margaret Fuller on the subject is as false as it is silly.
In Paris he saw Rachel during the Revolution of 1848, and often told his children of her fierce and splendid declamation of the
in the theatre, holding the tricolor aloft. On London in that same year he wrote of seeing Macready in
with Mrs. Butler as Cordelia. It was to see one of Shakspeares heroes rendered by some master that he went, and probably he never was inside a theatre twenty times in his life, and, so sensitive was he to had taste or ranting, that he was usually sorry that had gone.
The rendering of
Richard II.
(I cannot remember by whom) more than satisfied him, and he liked to recall the actors tones in reading this play, an especial favorite of his, to his children.
Julius Cæsar
too he enjoyed reading to them, and he selected passages from Shakspeare for them and trained them very carefully for their recitation in school.
He saw Edwin Booth in Boston, and met him later at the house of a friend and had some talk with him. Booth later mentioned with pleasure to their host the fact that Mr. Emerson had not once alluded to his profession or performance in their conversation.
Mr. Emerson once defined the cultivated man as one who can tell you something new and true about Shakspeare. And he read a good omen for our age in Shakspeares acceptance: The book only characterizes the reader. Is Shakspeare the delight of the nineteenth century? That fact only shows whereabouts we are in the ecliptic of the soul.
In writing of Great Men in 1838 in his journal, he says:
Swedenborg is scarce yet appreciable. Shakspeare has, for the first time, in our time found adequate criticism, if indeed he have yet found it:Coleridge, Lamb, Schlegel, Goethe, Very, Herder.
The great facts of history are four or five names, HomerPhidiasJesusShakspeare. One or two names more I will not add, but see what these names stand for. All civil history and all philosophy consists of endeavours more or less vain to explain these persons.
In the journal for 1843 he writes: Plato is weak inasmuch as he is literary. Shakspeare is not literary, but the strong earth itself. Yet from another point of view he writes, Shakspeare and Plato each sufficed for the culture of a nation.
That Shakspeare and Milton should have been born meant much to him and to mankind. Who saw Milton, who saw Shakspeare, saw them do their best, and utter their whole heart manlike among their contemporaries.
And again, No man can be named whose mind still acts on the cultivated intellect of England and America with an energy comparable to that of Milton. As a poet, Shakspeare undoubtedly transcends and far surpasses him in his popularity with foreign nations: but Shakspeare is a voice merely: who and what he was that sang, that sings, we know not. [
Note 2.
Mr. Emerson said of Nature:
No ray is dimmed, no atom worn,
My oldest force is good as new,
And the fresh rose on yonder thorn
Gives back the bending heavens in dew;
and her cheerful lesson for the artist or poet was that he too could forever re-combine the old material into fresh and splendid pictures. He rejoiced that the poet is permitted to dip his brush into the old paint-pot with which birds, flowers, the human cheek, the living rock, the broad landscape, the ocean and the eternal sky were painted, and turning from the reading of the plays he says: T is Shakspeares fault that the world appears so empty. He has educated you with his painted world, and this real one seems a hucksters-shop. Again as to his true rendering of mens characters, I value Shakspeare as a metaphysician and admire the unspoken logic which upholds the structure of Iago, Macbeth, Antony and the rest. [
Note 3.
Again the ancient doctrine of the Flowing, and the modern onward and upward stream of Evolution. [
Note 4.
The passive Master lent his hand
To the vast soul that oer him planned.
The Problem,
Note 5.
The stage was to Shakspeare his opportunity, as the Lyceum was to Emerson. [
Note 6.
Henry VIII.,
Act V.,
Scene iv
. [
Note 7.
This estimate of the value of memory to the poet, typified by the Greeks in their making the Muses the daughters of Mnemosyne, is enlarged upon in the Essay on Memory in
Natural History of Intellect.
Mr. Emerson said once, Of the most romantic fact the memory is more romantic, and he quotes Quintilian as saying,
Quantum ingenii, tantum memoriæ.
Note 8.
In a fragment of verse written in Mr. Emersons journal of 1831 on the yearning of the poet to enrich himself from the Treasury of the Universe, he says:
And if to me it is not given
To fetch one ingot thence
Of that unfading gold of Heaven
His merchants may dispense,
Yet well I know the royal mine,
And know the sparkle of its ore,
Know Heavens truth from lies that shine,
Explored, they teach us to explore.
Fragments on the Poet,
Note 9.
Il Penseroso
. [
Note 10.
Taine, in his
History of English Literature,
thus justifies Chaucers borrowing or rendering:
Chaucer was capable of seeking out, in the old common forest of the middle ages, stories and legends, to replant them in his own soil and make them send out new shoots . He has the right and power of copying and translating because by dint of retouching he impresses his original mark. He re-creates what he imitates . At the distance of a century and a half he has affinity with the poets of Elizabeth by his gallery of pictures.
The dates of Lydgate and Caxton show a mistake as to his use of them. Caxton, following Chaucer, when he introduced the printing-press to England, printed his poems and those of Lydgate, who was younger than Chaucer. In his
House of Fame,
Chaucer places, in his vision, on a pillar higher than the rest, Homer and Livy, Dares the Phrygian, Guido Colonna, Geoffrey of Monmouth and the other historians of the war of Troy [Taines
History of English Literature
], a due recognition of his debt for
Troylus and Cryseyde.
As for Gower, he was Chaucers exact contemporary and friend, and Chaucer dedicated this poem to him. [
Note 11.
Kipling irreverently tells of Homers borrowings thus:
When Omer smote is bloomin lyre,
He d eard men sing by land an sea;
An what he thought e might require,
E went an tookthe same as me!
And says of his humble audience:
They knew e stole; e knew they knowed.
They did nt tell, nor make a fuss,
But winked at Omer down the road,
An e winked backthe same as us!
Note 12.
Dr. Holmess remark with regard to the preceding page is: The reason why Emerson has so much to say on this subject of borrowing, especially when treating of Plato and Shakspeare, is obvious enough. He was arguing his own causenot defending himself, etc. In
Letters and Social Aims,
Mr. Emerson discusses Quotation and Originality. [
Note 13.
Mr. Emerson had tender associations with the Book of Common Prayer. His mother had been brought up in the Episcopal communion, and the prayer-book of her youth was always by her, though after her marriage she attended her husbands church. [In Mr. Cabots
vol. ii. p. 572, see Mr. Emersons letter on his mothers death.] [
Note 14.
Landor says of these borrowings of Shakspeare, He breathed upon dead bodies and brought them to life. [
Note 15.
The princes Ferrex and Porrex, brothers and rivals for the ancient British throne, are characters in the tragedy
by Norton and Sackville, to which the date 1561 is assigned.
Gammer Gurtons Needle
is a comedy of the same period. [
Note 16.
Journal, 1864. Shakspeare puts us all out. No theory will account for him. He neglected his works, perchance he did not know their value? Ay, but he did; witness the sonnets. He went into company as a listener, hiding himself, [Greek]; was only remembered by all as a delightful companion. [
Note 17.
Englands genius filled all measure
Of heart and soul, of strength and pleasure,
Gave to the mind its emperor,
And life was larger than before:
Nor sequent centuries could hit
Orbit and sum of Shakspeares wit.
The men who lived with him became
Poets, for the air was fame.
The Solution,
Note 18.
While writing this, Mr. Emerson was surrounded by persons paralyzed for active life in the common world by the doubts of conscience or entangled in over-fine-spun webs of their intellect. [
Note 19.
Journal, 1837. I either read or inferred to-day in the
Westminster Review
that Shakspeare was not a popular man in his day. How true and wise. He sat alone and walked alone, a visionary poet, and came with his piece, modest but discerning, to the players, and was too glad to get it received, whilst he was too superior not to see its transcendent claims. [
Note 20.
The following is the Exordium of a lecture on Poetry and Eloquence, given in London in 1848:
Shakspeare is nothing but a large utterance. We cannot find that anything in his age was more worth telling than anything in ours; nor give any account of his existence, but only the fact that there was a wonderful symbolizer and expresser, who has no rival in the ages, and who has thrown an accidental lustre over his time and subject.
In the lecture on Works and Days he wrote, Shakspeare made his
as a bird weaves its nest. And in that on Inspiration in
Letters and Social Aims:
Shakspeare seems to you miraculous, but the wonderful juxtapositions, parallelisms, transfers, which his genius effected, were all to him locked together as links of a chain, and the mode precisely as conceivable and familiar to higher intelligence as the index-making of the literary hack.
Journal, 1838. Read
yesterday and
to-day with new wonder and mused much on the great Soul in the broad continuous daylight of these poems. Especially I wonder at the perfect reception this wit and immense knowledge of life and intellectual superiority find in us all in connection with our utter incapacity to produce anything like it. The superior tone of Hamlet in all the conversations how perfectly preserved, without any mediocrity, much less any dulness in the other speakers.
How real the loftiness! an inborn gentleman; and above that, an exalted intellect. What incessant growth and plenitude of thought,pausing on itself never an instant, and each sally of wit sufficient to save the play. How true then and unerring the
of the dialogue, as when Hamlet talks with the Queen. How terrible his discourse! What less can be said of the perfect mastery, as by a superior being, of the conduct of the drama, as the free introduction of this capital advice to the players; the commanding good sense which never retreats except before the Godhead which inspires certain passagesthe more I think of it, the more I wonder. I will think nothing impossible to man. No Parthenon, no sculpture, no picture, no architecture can be named beside this. All this is perfectly visible to me and to many,the wonderful truth and mastery of this work, of these works,yet for our lives could not I, or any man, or all men, produce anything comparable to one scene in
With all my admiration of this life-like picture, set me to producing a match for it, and I should instantly depart into mouthing rhetoric . One other fact Shakspeare presents us; that not by books are great poets made. Somewhatand much, he unquestionably owes to his books; but you could not find in his circumstances the history of his poems. It was made without hands in his invisible world. A mightier magic than any learning, the deep logic of cause and effect he studied: its roots were cast so deep, therefore it flung out its branches so high. [
Note 21.
Mr. Edwin P. Whipple, writing in
Harpers Monthly
in 1882, relates how in a long drive with Mr. Emerson, after a lecture, The conversation at last drifted to contemporary actors who assumed to personate leading characters in Shakspeares greatest plays. Had I ever seen an actor who satisfied me when he pretended to be Hamlet or Othello, Lear or Macbeth? Yes, I had seen the elder Booth in these characters. Though not perfect, he approached nearer to perfection than any other actor I knew
Ah, said Emerson, [after] the three minutes I consumed in eulogizing Booth, I see you are one of the happy mortals who are capable of being carried away by an actor of Shakspeare. Now, whenever I visit the theatre to witness the performance of one of his dramas, I am carried away by the poet. I went last Tuesday to see Macready in
I got along very well until he came to the passage:
thou, dead corse, again, in complete steel,
Revisitst thus the glimpses of the moon:
and then actor, theatre, all vanished in view of that solving and dissolving imagination, which could reduce this big globe and all it inherits into mere glimpses of the moon. The play went on, but, absorbed in this one thought of the mighty master, I paid no heed to it.
What specially impressed me, as Emerson was speaking, was his glance at our surroundings as he slowly uttered, glimpses of the moon, for here above us was the same moon which must have given birth to Shakspeares thought . Afterward, in his lecture on Shakspeare, Emerson made use of the thought suggested in our ride by moonlight. He said, That imagination which dilates the closet he writes in to the worlds dimensions, crowds it with agents in rank and order, as quickly reduces the big reality to be the glimpses of the moon. In the printed lecture, there is one sentence declaring the absolute insufficiency of any actor, in any theatre, to fix attention on himself while uttering Shakspeares words, which seems to me the most exquisite statement ever made of the magical suggestiveness of Shakspeares expression. I have often quoted it, but it will bear quotation again and again, as the best prose sentence ever written on this side of the Atlantic: The recitation begins; one golden word leaps out immortal from all this painted pedantry,
and sweetly torments us with invitations to its own inaccessible homes.
Note 22.
The little Shakspeare in the maidens heart
Makes Romeo of a ploughboy on his cart;
Opens the eye to Virtues starlike meed
And gives persuasion to a gentle deed.
The Enchanter,
Note 23.
And yet perhaps there is some truth in Dr. Richard Garnetts word in his
Life of Emerson:
Emerson is incapable of contemplating Shakspeare with the eye of a dramatic critic.
Just after Mr. Emerson settled in Concord he read with great pleasure Henry Taylors play
Philip van Artevelde,
then recently published. He wrote in his journal for 1835:
I think Taylors poem is the best light we have ever had upon the genius of Shakspeare. We have made a miracle of Shakspeare, a haze of light instead of a guiding torch, by accepting unquestioned all the tavern stories about his want of education, and total unconsciousness. The internal evidence all the time is irresistible that he was no such person. He was a man, like this Taylor, of strong sense and of great cultivation; an excellent Latin scholar, and of extensive and select reading, so as to have formed his theories of many historical characters with as much clearness as Gibbon or Niebuhr or Goethe. He wrote for intelligent persons, and wrote with intention. He had Taylors strong good sense, and added to it his own wonderful facility of execution which aerates and sublimes all language the moment he uses it, or more truly, animates every word. [
Note 24.
Lowell, in one of his essays, calls attention to the survival in New England of the type of face of the English in Queen Elizabeths day even more than in the mother country, and also to the old English expressions, obsolete in England, but still current on New England farms. [
Note 25.
Journal, 1838. fills us with wonder the first time we approach him. We go away, and work and think, for years, and come again,he astonishes us anew. Then, having drank deeply and saturated us with his genius, we lose sight of him for another period of years. By and by we return, and there he stands immeasurable as at first. We have grown wiser, but only that we should see him wiser than ever. He resembles a high mountain which the traveller sees in the morning, and thinks he shall quickly near it and pass it, and leave it behind. But he journeys all day till noon, till night. There still is the dim mountain close by him, having scarce altered its bearings since the morning light. [
Note 26.
And yet it seemeth not to me
That the high gods love tragedy;
For Saadi sat in the sun,
And thanks was his contrition;
* * * * *
And yet his runes he rightly read,
And to his folk his message sped.
Note 27.
This image appears in The Apology in the
Note 28.
The Puritan shrinking from the form in which the great poet embodied his thought or oracles or dreams still appears in the journal of 1852, yet, contrasted to the dismal seers, Shakspeare is well-nigh pardoned his levity.
There was never anything more excellent came from a human brain than the plays of Shakspeare, bating only that they were plays. The Greek has a real advantage of them in the degree in which his dramas had a religious office. Could the priest look him in the face without blenching?
In 1839 Mr. Emerson had written:
It is in the nature of things that the highest originality must be moral. The only person who can be entirely independent of this fountain of literature and equal to it, must be a prophet in his own proper person. Shakspeare, the first literary genius of the world, leans on the Bible: his poetry supposes it. If we examine this brilliant influence, Shakspeare, as it lies in our minds, we shall find it reverent, deeply indebted to the traditional morality, in short, compared with the tone of the prophets,
On the other hand, the Prophets do not imply the existence of Shakspeare or Homer,to no books or arts,only to dread Ideas and emotions. [
Note 29.
All through his life Mr. Emerson felt increasing thankfulness for the Spirit of joy which Shakspeare had shed over the Universe. In 1864 he wrote:
When I read Shakspeare, as lately, I think the criticism and study of him to be in their infancy. The wonder grows of his long obscurity:how could you hide the only man that ever wrote from all men who delight in reading?
And again he wrote: Your criticism is profane. Shakspeare by Shakspeare. The poet in his interlunation is a critic,that is, his worst is criticised by his best performance.
Journal, 1864. How to say it I know not, but I know that the point of praise of Shakspeare is the pure poetic power: he is the chosen closet companion, who can, at any moment, by incessant surprises, work the miracle of mythologizing every fact of the common life; as snow, or moonlight, or the level rays of sunrise lend a momentary glow to Pump and wood-pile.
And again: 1836. It is easy to solve the problem of individual existence. Why Milton, Shakspeare, or Canova should be there is reason enough. But why the million should exist drunk with the opium of Time and Custom does not appear.
But even Shakspeare must not be idolized. The soul must rely on itself, that is, on the universal fountain of beauty, wisdom and goodness to which it is open. So thus he draws the moral:
1838. The indisposition of men to go back to the source and mix with Deity is the reason of degradation and decay. Education is expended in the measurement and imitation of effects in the study of Shakspeare, for example, as itself a perfect beinginstead of using Shakspeare merely as an effect of which the cause is with every scholar. Thus the college becomes idolatrousa temple full of idols. Shakspeare will never be made by the study of Shakspeare. I know not how directions for greatness can be given, yet greatness may be inspired.
Feb. 1838. Consider too how Shakspeare and Milton are formed. They are just such men as we all are to contemporaries, and none suspected their superiority,but after all were dead, and a generation or two besides, it is discovered that they surpass all. Each of us then take the same moral to himself. [
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KUWAIT CITY — Thousands of people gathered here last week to protest changes in voting laws in advance of next month's parliamentary elections. They were met by hundreds of riot police who fired smoke bombs, stun grenades, and tear gas to break up the rally.
Another rally was held this past weekend, which also marked the 50th anniversary of Kuwait's constitution. These were the latest in a series of confrontations between Kuwaiti opposition forces and the government in recent weeks.
The violence prompted some news agencies to wonder whether the first winds of an Arab Spring had begun to stir this desert nation. But Kuwait is not Egypt or Libya, where people grew restive under autocratic rule. Nor is Kuwait similar to Bahrain, where tensions between the Shiite-majority population and Sunni-led government have boiled over.
Unlike some of its Middle Eastern and North African neighbors, Kuwait has a long democratic tradition, said Abd al-Rahman Alyan, editor-in-chief of the Kuwait Times, the oldest daily and first English-language newspaper in the Persian Gulf region.
Democratically, he told me, "we're in the forefront of the Middle East, and I think our press is freer even than Israel, which is [said] to be the most democratic country. We have no political prisoners. We have no fear of the police."
The current unrest, Mr. Alyan said, is part of the growing process.
"Most democracies, including the United States, went through a period of bloodshed that was part of the learning experience," he said. "But they got to a point where they said: 'Let's have a mutual understanding and work on something,' and I think that's the case all over the world.
"Kuwait, in comparison to the rest of the Gulf and the rest of the Middle East," he said, "has had slightly more time to adapt to this sort of system. But it is still in somewhat of an early stage."
Kuwaitis are upset by the lack of recent development in the oil-rich nation. Mr. Alyan blames that lack on ineffective parliaments whose members are more interested in wasta (accumulating influence and distributing favors) than they are in governing.
"The problem that Kuwait is facing is that its democratic and political process is not working," he said. "Parliament is not functioning in the way it is supposed to. I think there's a lack of understanding of what a democracy means."
Mr. Alyan said that opposition groups, especially tribal groups and Islamists, chose in recent years to work outside the parliamentary system when they don't get what they want.
Opposition protests led to the dissolution of parliament in December, 2011. A new parliament with a majority opposition was elected in February. The country's Constitutional Court invalidated that election earlier this year and restored the previous parliament.
New elections are scheduled for Dec. 1, but many in the opposition have vowed to boycott them because Kuwait's leader, Sheikh Sabah al-Ahmad al-Sabah, changed the voting law to give each eligible voter just one vote.
Kuwait is divided into five election districts. Each district elects 10 members of parliament. Previously, each voter could vote for up to four candidates, which led to vote trading (more wasta), Mr. Alyan said. One-person, one-vote, he said, will force candidates to run on their own merits.
There are tensions in Kuwait, Mr. Alyan said: Tribals and Islamists who are more conservative than urbanites; what to do about stateless people called Bedoun; jealousy of Indians and other foreigners who run businesses here, and centuries-old grievances between Shiites and Sunnis.
Mr. Alyan said that people have to start to think of themselves as Kuwaitis first, then as members of a tribe or religious sect.
"When I look at England, the system works because I don't think there's an English person who cares what his uncle wants," he said. "That's what the Emir is hoping that the one vote will achieve. That more unexpected people will get to parliament."
Pressure will be on the new government to get development started again.
"I think the Emir's vision was that the prime minister and the government and the parliament and the people can do that," Mr. Alyan said. "He feels like the next parliament is going to be a parliament that represents the Kuwaiti people in the right way.
"Now is the chance for that parliament and that government to really start to achieve," Mr. Alyan said. "If they do that on economic and social areas, I think the opposition will start to lose favor."
Kendall F. Downs is a former associate editor of The Blade who lives and works in Kuwait.
Contact him at: firstname.lastname@example.com


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Born in the greater Boston area, comedian Joe List began his career in 2000 just weeks after graduating from High School. His rapid ascent in the Boston club scene prompted the Boston Globe to profile him in 2005, describing him as the "most talented" and "the city's freshest new comedian, showing real promise, real early".
List moved to New York City in 2006, becoming a favorite at clubs across the city. He tours as the preferred feature act for Comedy Central's Nick DiPaolo in addition to headlining his own shows in clubs and colleges across the U.S. and Canada. 2007 saw List perform at the prestigious HBO Las Vegas Comedy Festival where his solid performance garnered industry attention and positive reviews.
List made his national television debut on Comedy Central's Live at Gotham which premiered in July 2008. In 2010 List was a Semi-Finalist on NBC's Last Comic Standing and was featured at the prestigious "Just for Laughs" Comedy Festival in Montreal.. When not touring List resides in New York City where he can be seen performing at the city's top clubs nightly.


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November 11, 2018
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From Left Field
By BOB SHRALUKA
It would appear most Decatur residents are reasonably pleased with the Schultz administration and the current city council makeup since there was no pre-July 5 rush of candidates to seek wholesale changes.
Only Democrat Barb Engle, the council's lone at-large member, will be opposed in the fall, by Cam Collier, whom some observers believe the Republican party here is getting in line for a run for mayor in 2015.
So Mayor John Schultz, Clerk-Treasurer Phyllis Whitright, and four other council members — Republicans Ken Meyer and Matt Dyer, Democrats Bill Crone and Charlie Cook — will begin new four-year terms next January.
The mayor continues to say his second term will be his last and he surely believes that at this point. But as he said the other night, Berne Mayor John Minch told him to never use the word "never." Minch, you'll recall, also ran for — and won — one more term after he had said he wouldn't.
There's no reason to argue with what the Schultz Administration and council have accomplished in the past three and a half years. A considerable amount of progress has been made — and is being made — on a number of fronts, in large part because petty politics rarely if ever raises its ugly head. So one is left with people from both parties who work together for the good of their city and its citizens.
A bouquet also should go to every department head and their employees. Working without a raise for not one but two years, the city workers have provided excellent service while at the same time keeping close tabs on costs. Over $600,000 of budgeted funds went unspent last year as the various departments minded their dimes and dollars, making extra effort to keep the city's financial outlook sound in a time of recession and cutbacks.
Thankfully, the mayor and council are rewarding the employees with $1,000 raises next year. As Councilman Dyer said at this week's meeting: "They (city employees) put us in position to do this (provide raises)."
Back to the, uh, er...'stuff'
In reference to the recent words here on Amish horses and what they leave on Decatur streets, a Berne resident called to say, "I've put up with the crap for years. It gets in my tires. I've even had to hose down the street. But what can you do about it? There just doesn't seem to be any answers."
Which seems to be the consensus opinion.
A letter writer, however, had an answer: "The city could scoop it up, as they would scoop up yard waste or fallen branches, and take it to the city dropoff site off Jackson St." Then, the writer goes on to say, a manure pile could accumulate in a designated area and "people would be able to get some for their gardens, just as they scavenge for other things at that site."
The writer concludes: "...overall, the idea is a good one for such a miniscule problem."
A few more thoughts
• Adam Eguia deserves more than a few back-pats and thank-yous for his ongoing efforts to keep alive a city tradition that many communities have been forced to forgo for financial reasons: the Fourth of July fireworks celebration. Meantime, Adam — or someone else — scored a major triumph this year with idea to honor Sgt. Phillip Jenkins and Bob Bombka.
Jenkins, of course, gave his life for his country. Bombka, as has often been said here, was, like Eguia, a major factor in keeping alive the Fourth celebration here. Now his family carries on the TND Fireworks tradition..
• Talk about a busy time. Starting in mid-July we'll have the 4-H Fair and Swiss Days back to back, then soon after will be Decatur's 175th celebration and the Kekionga Festival.
• One of the major accomplishments of the Schultz administration may well be Operation Cleanup. It was designed to "spruce up" the city for the 175th party, but its effects will last far beyond. And it's pleasing to note, as Bill Karbach — who heads up the effort — often points out, that the vast majority of people go along with requests to remove unsightly items, clean up yards, and so on.
As the mayor continues to say, for every person who gripes about being forced to do some cleaning up, "three others are happy," referring to three neighbors.


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This article provides information on how to determine if an iDRAC shared physical NIC 1 is connected on remote Windows Server
In some scenarios where a server is located in a remote facility (cannot get a hands-on view of server), the customer has access to the console of the system via RDP or Webex, but needs to verify if the Shared iDRAC port has a network cable plugged into it. Network Connections may state that Local Area Connection (LAC) is plugged in, but due to NIC enumeration issues, LAC may not actually be Physical NIC 1 on the server. In this situation, iDRAC connectivity will fail.
The root problem is that a NIC cable is not plugged into Physical NIC 1, not allowing iDRAC connectivity to the server.
To resolve this:
This is valid for Windows Server 2003 and Windows Server 2008. The release of Windows Server 2012 should resolve the issue of NIC enumeration and Local Area Connection 1 being connected to Physical NIC1.
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Article ID: SLN266203
Last Date Modified: 10/11/2017 08:15 AM
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From raw material intake to your final packing process, we deliver the best engineering, equipment, processes and automated control to suit your needs.
A complete powder handling system can be used to feed Tetra Pak® High Shear Mixer or to mix different dairy powders (dry-mix). This system will improve product quality and reduce production cost, with a very high level of reliability; we can offer sanitary, turn-key solutions for powder handling systems with specific solutions for each part of your powder process such as:
The handling of ingredients in powder form has many advantages. Powder ingredients have longer shelf life and are smaller, lighter and more convenient to transport and store. This has lead to an increase in powder ingredient use. A wide range of ingredients are available in powder form, including starches, fibres, vitamins, proteins, emulsifiers, stabilizers, spices, flavourings, probiotics, milk, and sugar.
The various powder ingredients have very different characteristics, depending on what raw ingredients they are made from, and how they are modified to fit different processing needs and recipes. Some powders such as aspartame, powdered milk, and tea powders are prone to foaming and require special attention.
The Product Development Centre (PDC) of Tetra Pak® Cheese and Powder Systems in France offers you the way to validate your future production line. Read more about our PDC for cheese and powder in France
Read more about our Product Development Centres and the Process Development Centre Tetra Pak Cheese and Powder France (pdf)
We can help you with Powder handling
About Tetra Pak
Together with our customers we make food safe and available, everywhere. Since the start in 1951 we have taken pride in providing the best possible processing and packaging solutions for food.
Tetra Pak is one of three companies in the Tetra Laval Group – a private group that started in Sweden. The other two companies are DeLaval and Sidel. Tetra Laval is headquartered in Switzerland.


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BRANDON — The Otter Valley Union High School football team improved to 2-1, 2-0 in Division III, by topping league foe and 2013 finalist Mill River, 42-19, on Saturday.
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ADDISON COUNTY — In area high school baseball play late last week, Otter Valley edged Mount Abraham, while Middlebury, Otter Valley and the Eagles all dropped other contests.
The Otters dodged raindrops and the Eagles on Friday, scoring five times in the seventh inning to rally for a 7-5 victory.
ADDISON COUNTY — In local high school softball action earlier this week, Otter Valley knocked off rival Fair Haven at home, Middlebury lost twice, and Mount Abraham fell on the road.
Mount Abraham also visited Vergennes on Tuesday for a key Division II game — see story on Page 1B.
BENNINGTON — The Vergennes Union High School wrestling team saw senior 160-pound wrestler Kaegan Pearsall win the state championship as the Commodores took fifth at this past weekend's state championship meet.
The Commodores scored 102 points and were the top team that normally competes in Division II in the standings; Vermont wrestling does not recognize divisions.
BRANDON — A Mount St. Joseph boys' basketball team with a misleading 6-14 record and No. 11 seed in Division II knocked No. 6 Otter Valley Union High School out of the playoffs on Tuesday, 60-32, in a first-round game at OV.
The Otters led just once, 3-2, at 6:40 of the first period on a Connor Gallipo three-pointer, and could never get going offensively against the box-and-one defense that the Mounties used to keep high-scoring OV junior John Winslow in check and off the offensive boards.
BRISTOL — The top-seeded and defending champion Mount Abraham Union High School girls' basketball team took an early blow from No. 8 Otter Valley in Friday's Division II quarterfinal in Bristol, but the Eagles came back swinging to punch their return ticket to Barre, 53-22.
ADDISON COUNTY — In local high school basketball action earlier this week, Otter Valley and Middlebury picked up road wins, while Vergennes lost at home.
The Commodores also hosted Missisquoi on Tuesday; see story.
The 9-9 Tigers were also set to visit Mount Abraham on Wednesday after the deadline for this issue of the Independent. The 4-14 Eagles will conclude their season with a visit to St. Albans on Friday night; they will open the Division II postseason on the road.
ADDISON COUNTY — The Division II girls' basketball playoffs got under way Tuesday, when 11th-seeded Vergennes bowed out with a loss at No. 6 Lake Region, 81-41.
When the Vermont Principals' Association released pairings on Monday, Mount Abraham (15-4) was, as expected, awarded the No. 1 seed.
But the Eagles were idle on Tuesday because two teams, including No. 16 Middlebury (1-19) elected not to participate in the postseason.
ADDISON COUNTY — In local high school girls' basketball action late last week, Mount Abraham, Vergennes and Otter Valley all picked up big wins, but Middlebury came up short.
ADDISON COUNTY — In local high school girls' basketball play in the latter half of last week, Mount Abraham won twice, once over rival Vergennes, Otter Valley dropped two tough games, and Middlebury lost on the road.
The Commodores also hosted Missisquoi on Friday; see story.
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HANG TIME NEW JERSEY — As sports fans, we live for the action. The movement, the speed, the grace and physicality of the athletes, and the path of the ball in the air.
With HD technology, we bring the action into our homes. And with the Internet, we have the ability to watch the action over and over again.
Yet a still photograph, a single frame of action, can elicit feelings and responses that video can't. Don't think so? Just browse through Sports Illustrated's 100 Greatest Sports Photos of All Time.
From Aaron to Alcindor and Ali, the list includes photos of the greatest athletes of the last century. Bannister, Dimaggio, Gretzky, Mays, Montana, Phelps, Robinson, Ruth, and Woods. The list goes on and on, and includes nine shots of NBA action.
The nine include the No. 1 sports photo of all time, according to SI. It comes from NBAE photographer Fernando Medina, and is of maybe the most iconic moment in NBA history.
The Chicago Bulls had a 3-2 series lead in the 1998 Finals, but they were on the road, they were running on fumes and Scottie Pippen injured his back in the early minutes of Game 6. The Bulls all knew that this was the end of the line, with Michael Jordan was set to retire, and Pippen and coach Phil Jackson set to leave Chicago.
When John Stockton hit a 3-pointer to put the Jazz up 86-83 with 42 seconds left, things looked desperate for Chicago. But then Jordan got an open lane to the basket for a layup and the Bulls only needed one stop to give themselves a chance to win. The Jazz didn't even get a shot up, as Jordan left Jeff Hornacek to swipe the ball from Karl Malone in the low post.
Jordan calmly dribbled the ball up the floor and his teammates cleared out. He ran the clock down to under the 10 second mark, shook Bryon Russell, and rose for a 19-foot jumper, the last shot of his storied Bulls career.
On the opposite end of the floor, Medina sat with his camera.
This week, Medina answered a few questions about that moment, that shot, and having his photo honored by SI …
NBA.com: What do you remember about that moment?
Fernando Medina: Just that there was a high probability that Jordan would take the shot and I wanted to make sure I framed it right and that it was in focus. I was part of NBA Photos' team of photographers covering The Finals. We had discussed how we wanted to cover possible game-winning shots. Since the Bulls were going away from me and the action would happen on the opposite end of the court, I just made sure my mechanics were right.
NBA.com: Did you know at the time that you had just taken an iconic photograph?
FM: Actually, not really. The image was photographed on slide film, so unlike the digital cameras of today, I had no way of seeing the photo until it had been developed by a film lab. Joe Amati, with NBA Photos, approached me on the court immediately after the game, wanting to know if I had gotten the photo. I knew the camera had triggered, but, I had no way of knowing if the flash strobes had fired, and told him as much.
I then went over to the Bulls hotel to cover their arrival back from the arena. When they arrived on the team bus, fellow NBA Photographer Andy Bernstein was with them. I followed him into an elevator along with Bulls guard Ron Harper who was holding the NBA Finals Trophy. We ended up on the Bulls floor and next thing I knew, we were in a suite and there was Michael Jordan, sitting at a grand piano with a cigar holding a bottle of champagne, singing "I want to be like Mike". A member of the NBA Entertainment video crew used a lamp sans shade to light the scene. Walter Iooss was also there, covering Michael. It was surreal.
Afterwards, Andy and I headed to the local film lab that NBA Photos was using to develop the game film that evening. That was the first time I saw the image. No one had found it yet in the dozens of bags of slides from that night. Knowing how I had marked the specific film bag, I found it, opened the box of slides and it was the second image I pulled from the box. I held it up to the light and looked at it for a moment, handed it to Amati, and never saw it again until it was published in ESPN Magazine. That was the first time I was able to actually "see" and truly appreciate the photo.
NBA.com: What's your favorite part of the photo?
FM: That's easy, the myriad expressions of the fans in the stands. An NBA team executive I know has a 3′ x 5′ framed copy in his office. You can spend quite some time lost in all the expressions. I saw none of that when I took the photo. All I concentrated on, at the time, was a wide shot including Jordan, the ball, most/all of the players on the court and the shot clock.
NBA.com: Anything special about the camera/technique in getting that shot?
FM: The NBA Photos team uses a system, designed by LPA Design, of FlashWizard 2 transceiver units that allow an unlimited number of cameras, either manned by a photographer or preset as a remote, to be triggered by one photographer simultaneously while synched to a single set of flash strobe units mounted high above the court on the arena's catwalk. This results in well-lit, high-quality images from unlimited multiple angles of any play. Also, another factor that worked in my favor was the close proximity of the fans to the court in Utah. In most arenas, the stands are farther away from the court and would not have been as well lit as in EnergySolutions Arena.
NBA.com: Is it harder to get a great shot from the opposite end of the floor than from the near side?
FM: I wouldn't say it's harder, just that your objective may be different. Your subject is facing away from you, but, as this image proves, if you plan ahead, you can end up with a decent frame. I didn't get Jordan's face, but I got a few hundred other ones that tell the story of that moment in history. Also, it's actually easier, if your trying to get the shot clock as part of the image.
NBA.com: What does it mean to you to be honored by Sports Illustrated like this?
FM: I am honored and very humbled by this recognition. To me, it represents what this country is all about. Who could foresee that a poor refugee from Cuba would end up with the opportunity of photographing Michael Jordan taking his last shot as a Bull to win the 1998 NBA Finals, and make good on that opportunity! Amazing. To think of all the great photographers and their great photographs through time and history, I find it hard to believe that God blessed me with the image chosen as Sports Illustrated's favorite, so far. Thank you very much to those at SI who liked my work enough to bestow it with such an incredible honor.


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Marimekko Launches Flagship Store in Manhattan
Last night we attended the opening of Marimekko's Manhattan flagship store. From the fashion and the fabrics to the food and the grooves—the Finnish sure know how to throw a party!
Located in New York's Flatiron District, the opening of Marimekko's new Manhattan location was just as colorful and vibrant as the prints that filled its shelves. The staff on-hand donned Marimekko smocks, while Rioult, a local modern dance company, entertained guests with occasional mod performances.
The space, designed by Japanese design firm IMA, is a stark white space that sets the stage for colorful clothing and home accessories like glassware, storage containers and cooking utensils. What's really exciting about this store are the towers of signature Marimekko fabrics that you can actually give to the on-site seamstress to be sewed into curtains, tote bags or other goods!
For more information, visit Marimekko's store page over at Marketplace.


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7 U.S. Code § 951 - Collection and publication; facts required; submission of report
The Secretary of Agriculture is authorized and directed to collect and publish statistics of raw peanuts, shelled, unshelled, and crushed, and peanut oil, in the United States, received, processed, shipped, and owned by or in the possession of warehousemen, brokers, cleaners, shellers, dealers, growers' cooperative associations, crushers, salters, manufacturers of peanut products, and owners other than the original producers of peanuts: Provided, That the Secretary may, in his discretion, omit for any period of time to collect such statistics from any or all salters of peanuts or manufacturers of peanut products who used, during the calendar year preceding that for which statistics are being collected, less than thirty thousand pounds of shelled and unshelled peanuts. Such statistics shall show the quality of peanuts in such details as to kinds—Virginias, Runners, Spanish, and imported varieties—as the Secretary shall deem necessary for the purposes of this chapter. All reports shall be submitted monthly in each year, except as otherwise prescribed by the Secretary.
1957—Pub. L. 85–105 struck out "except those required from persons owning or operating peanut picking or threshing machines" after "All reports" in last sentence and inserted "except as otherwise prescribed by the Secretary".
1938—ActMay 12, 1938, among other changes, inserted proviso.
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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To celebrate the day we're all a little Irish, we rounded up the cutest kid-friendly food and craft ideas from around the web. Erin Go Bragh!
Leprechaun Trap Rainbow Cake from Not Martha
Green Candied Popcorn from Skip to My Lou
Minty Milkshakes from Scrumdilly-do!
Bell Pepper Shamrock from Family Chic
Potato Candy from Munchkin Munchies
Fruit Rainbow from Homemade Serenity
DIY Shamrock Shake from My Little Gems
Shamrock Pinwheel from The Mother Huddle
Toilet Paper Roll Leprechauns from Moments of Mommyhood
Pot of Gold from Makes and Takes
Leprechaun Beard from No Time for Flashcards
Handprint Shamrock from No Time for Flashcards
Irish Badges from Store and Style


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Available lesson times for Thursday January 10th, 2019.
Choose between the following time slots.
A 4-hour class choose between; 1:30pm – 5:30pm or 5pm to 9pm.
A 2-hour class choose between; 1:30pm - 3:30pm, 3 - 5pm, 5 - 7pm, 7- 9pm.
To book your lesson go to "Lessons and Rentals" on this website and book directly online! Alternatively, you can call 647-968-4569 or email firstname.lastname@example.com to book your lesson.


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Function Statement
- To explore, recommend, initiate and implement ways of working with organizations that serve children or work for their benefit; to promote libraries with reading to those organizations; to promote awareness of these organizations activities, services and informational materials to ALSC members.
- Carolyn Field, the first Chair of the Liaison with National Organizations Serving the Child, convened the first meeting in Kansas City, MO in 1968. In 1983, the liaison committees of ALSC and YALSA agreed to beeing meeting and working cooperatively. This was significant step toward strengthening our national liaisons and creating an awareness in librarians of not only the existence of these liaisons, but the impact they have on developing coordinated services for children and youth.
- In 1996 the ALSC liaison committee was completely reorganized. Presently, each ALSC liaison explores possibilities for and develops liaison relationships with national organizations. The liaison gathers information from contacts and transmits the information to the ALSC LNOSCY Committee through semi annual report forms. The ALSC LNOSCY Committee and the liaison disseminate the information to the larger membership through the ALSC Newsletter , Children & Libraries (CAL) Conference programs and displays and the ALSC listserv.
- The development of the liaison relationships can go very quickly or it may take many years of nourishment to flower into a working liaison relationship. Each relationship is different. Communication with the Committee Co-chairs is necessary in either extreme.
Below is a listing of the organizations that we currently have on our committee roster. Our Committee members have a minimum of two organizations to work with. Their charge is to make the organization aware of ALSC's activities and goals, as well as to involve themselves in the activities of their assigned liaison organizations. Below you will find links to organizations serving children and youth and perhaps find a local chapter that can assist you in your work with children in your area. Scroll down to the bottom of the list to see the criteria for liaison relationships with ALSC.
- Current Contact Kim Fletcher
Former Contact
New Organization Criteria
Criteria to be used to identify new organizations for possible liaison relationships:
Criteria to be used to evaluate ongoing liaison relationships with each organization:


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Welcome to Official Team Gear, your one stop shop for all your branding needs. Our custom sites are built so that you can choose your style, color and logo all in one place. It makes inventory obsolete, saving you time, energy and most importantly - MONEY. We'll take care of orders and fulfillment, you take care of running your business.
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|Cheap Shades
|Rolm systems
|Monty Python
|Making shell bombs
|Signalling systems around the world
|Data Line
|Private audience
|Fortell systems
|Phantom Phreaker
|Circle Lord
|Building a Shock Rod
|Circle Lord
|Introduction to PBX's
|Knight Lightning
|Phrack Issue(03), Number(10)
==Phrack Inc.== Volume One, Issue Three, Phile 6 of 10 Fortell Systems Written by Phantom Phreaker Call The Alliance at 618-667-3825 Fortell systems seem to be a system to monitor lines. They can only be used to monitor lines within their own NPA. A Fortell system is at 716-955-7750. Whene you call, you will hear: 'Hello. This is the Taradyne Fortell system. Please enter ID code' The ID for this system is 722877*. After you type that in (DTMF) it will ask 'please enter line number' where you then type the PRE+SUFF of the number you wish to check within the NPA of the Fortell. After you enter a number, it will repeat the number you entered. Now it will ask you to 'please enter mode'. The modes are: 1-Calling on other line 2-Calling on test line 3-Line test results If you enter mode 1, you will have these commands available: 1-Fault location 2-Other testing 7-Test ok, Monitor 8-Hang up 9-Enter next line number If you enter 7 here, it will repeat what you selected, and ask for an ID code which can be any 6 digit number followed by a *. Now it will dial and tell you: 'Subscriber busy-busy-monitor test in progress conversation on line-short on line' 2-Monitor test 3-Overide and test 4-Wait for idle If you enter 2, (Monitor Test) it will tell you the busy status again. If you enter 3, it will override, or tell you 'Not available in this CO'. If you enter 4, (Wait for idle) it will wait until the line is idle. If you enter 1 (Fault Location) at the main list you will get these options: 1-Open location 3-Short location 4-Cross location 5-Ground location 8-Hang up If you enter 2 (Other testing) here, you will have these commands: 2-Loop Ground OHMS 3-Dial tone test 5-Pair ID 8-Hang up If you enter Mode 2, you will have these options:(Other testing) 2-Other testing 7-Test ok, Monitor 8-Hang up 9-Enter next line number It will repeat what you selected. If you select 2 here, you will now have these commands: 2-Loop Ground Omhs 8-Hang up If you select 7 at the main list after mode 2, it will ask for an ID which is any 6 digit number followed by a *. Now it will dial and check the number. If the number is busy, it will say 'Subcriber busy-monitor-test in progress- conversation on line-short on line-please hang up-waiting for idle' Now you can just type * to go back to the main list of commands. If you enter MODE 3, if you have done a test before, it will give you the results of the test. If you haven't done a test, it will tell you so with 'No test results available' You can abort back to the main commands list by typing a *. By typing a 9 at several places you will be taken back to the beginning where it asks you to 'enter line number' PP-01/06/86


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With an exquisite location and exceptional service, the Boston Common Hotel & Conference Center is the ideal solution to your meeting and lodging needs. Our dedication and attention to delivering successful meetings, trainings and special events has earned us a long standing reputation as an affordable alternative to high-priced Back Bay hotels.
Featuring 64 non-smoking guest rooms with complimentary continental breakfast, and weekday newspaper, you'll feel right at home. Complimentary WiFi access is available in public areas.
The Boston Common Hotel & Conference Center, where it's all about you.
Boston Common Hotel & Conference Center
Welcome • Reservations • Meeting Rooms • Guest Rooms
Special Events • Directions • Contact Us


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It is the place to be for No. 1 fans.
Bethlehem's Jonathan Frakes, famous for his role as Commander William T. Riker on "Star Trek: The Next Generation," will be among the stars at the Great Philadelphia Comic Con, Friday, through Sunday at the Greater Philadelphia Expo Center in Oaks, Montgomery County.
The event is being hosted for the first time by the same organization that has run the Great Allentown Comic Con for the past five years.
Frakes will appear at the convention all three days but he's not the only attraction for Trekkies. The legendary George Takei, best known as Mr. Sulu in the television and film series, will be at the...


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That's not exactly how Jesus laid it out. The Get Saved and Die Quick plan was not Option A. He said our mission is to be Kingdom Bearers, to pray:
We are to be Kingdom-Bearers.
By: John Ortberg
Category: Prayer
Home > Historical Sources Describe Jesus > Early Biographers Depict Jesus > Matthew`s Biography of Jesus > Prayer
My Workspace
"When you pray, you shall not be as the hypocrites, for they love to stand and pray in the synagogues and in the corners of the streets, that they may be seen by men. Most certainly, I tell you, they have received their reward. But you, when you pray, enter into your inner chamber, and having shut your door, pray to your Father who is in secret, and your Father who sees in secret will reward you openly. In praying, don't use vain repetitions, as the Gentiles do; for they think that they will be heard for their much speaking. Therefore don't be like them, for your Father knows what things you need, before you ask him. Pray like this: 'Our Father in heaven, may your name be kept holy. Let your Kingdom come. Let your will be done, as in heaven, so on earth. Give us today our daily bread. Forgive us our debts, as we also forgive our debtors. Bring us not into temptation, but deliver us from the evil one. For yours is the Kingdom, the power, and the glory forever. Amen.'
"For if you forgive men their trespasses, your heavenly Father will also forgive you. But if you don't forgive men their trespasses, neither will your Father forgive your trespasses.
Matthew 6:5-15


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Jake Gyllenhaal is Back in NYC & Still Sporting His Scruffy Beard
Jake Gyllenhaal steps out in the Soho district of New York City with a pal on Monday (April 28).
The 33-year-old actor is back on the East coast and still sporting his super scruffy beard!
PHOTOS: Check out the latest pics of Jake Gyllenhaal
Last week, Jake stepped out for a secret Arcade Fire concert in Los Angeles alongside Aaron Paul and his wife Lauren Parsekian.
Jake recently completed a romantic comedy titled Nailed alongside Jessica Biel and James Marsden. Unfortunately for us, Nailed has not had a release date set just yet – we can't wait to see it!