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Lubricating oils and greases are formulated to satisfy specific kinds of service. If not handled and stored properly, they can deteriorate or become contaminated and, as a result, provide inadequate lubrication or become waste that requires disposal.
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Samantha Stosur isn't happy about being usurped as Australia's top ranked woman at the Australian Open.
But could it free the world No.42 to produce her best performance at Melbourne Park in years?
Stosur isn't seeded at her home grand slam for the first time this decade, slipping below 18th seed Ashleigh Barty and Daria Gavrilova, the 23rd seed.
The 33-year-old has notoriously struggled to live up to her potential at her home grand slam.
In 15 appearances, Stosur's best result has been two fourth-round appearances.
In 2006 she lost to comeback queen Martina Hingis in the last 16, and in 2010 Serena Williams beat the Queenslander en route to winning the title.
After landing in Melbourne ahead of the 2018 tournament, Stosur suggested the rise of her two compatriots might take some of the pressure off her - but she'd prefer to have the somewhat protection of a seeding.
"I never wished to be the third one, put it that way," she said of her spot in Australia's rankings pecking order.
Barty wins another 2019 honour
Federer eyes Tokyo 2020
Ash Barty's stunning rise to No.1
"More than anything, I know what I can do and what I am capable of and how I can play.
"That has always been (the case) when I have been the No.1-ranked player.
"Now that I am No.3 ... the first and foremost thing that I am thinking about and feel like I am capable of doing, regardless of whatever anyone else says.
"I feel like I can fly under the radar a little bit more maybe than other years, but when you are playing well and have that better number next to your name, that is obviously a great thing."

subset: commoncrawl


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There is an amazing product on the market right now. It is 3D Fiber Lashes by Younique. This mascara is amazing and it make you look like you are wearing false eyelashes. Everyone who tries this product cannot believe how amazing their lashes look. The best part of all is that the kit only costs $29 and lasts a loooonnnnggg time. My friend Jackie exclusively sells this wonderful product. You can contact her HERE to answer any questions or to order.
images Younique


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ballam park, frankston/
What could be better than one adventure packed park? Two of them, of course!
If you haven't been to Ballam Park before, you are seriously missing out! Especially now, as it has recently undergone a massive upgrade!
The park consists of two separate play areas at opposite ends of the park.
On the Eastern side you will find a perfect paradise for toddlers. The wooden structure is full of climbing walls, slides, musical bells and tunnels. Surrounded by large trees, it offers a perfect picnic spot.
On the Western side you will find the recently upgraded adventure park - perfect for the older kids.
There's a skate park- packed with small hills and bumps, climbing wall, metal climbing bars, basketball court, in-ground mini trampolines, flying fox - and all the usual suspects like swings, tunnels and the widest slide you have ever seen!
This is one park you will want to stay at for hours!
Mamma's special mention: If you want to keep the adventure going - check out McClelland Sculpture Gallery which is a 5 minute drive away!
the nitty gritty
BBQ facilities
toilets - mostly fenced in
picnic tables - some under cover
- free parking
- basketball court
- climbing wall
260R Cranbourne Rd,


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The Harnett County School Board has filled the vacant Coats Elementary principal's job.
The board named current Coats Elementary Assistant Principal Grisel Cuadrado-Gabot as the new principal at the school.
Ms. Cuadrado-Gabot has served as the assistant principal at Coats since 2014. Prior to that position she was a teacher at Highland Elementary School. She was a Spanish teacher at Overhills Middle School for 13 years.
Ms. Cuadrado-Gabot is a graduate of Fayetteville State University and the University of Puerto Rico. She has received multiple professional awards from Fayetteville State University.
In her biographical fact, Ms. Cuadrado-Gabot indicated spending time with her family as one of her favorite pastimes. She also enjoys walking, jogging and listening to music. Courtesy The Daily Record


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The Streetlights App is the best way to interact with all Streetlights creative resources. You can stream all of our Audio Bible books, in all available languages.
You can access all of our Corner Talk and Multimedia Curriculum materials, as well as visit our online store and donate to the ministry as a whole.
The Streetlights App is available for free on both iOS + Android mobile devices.


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Trees Cry for Rain: A Sephardic Journey (1992)
Directed by Bonnie BurtGenres - History | Run Time - 32 min. | MPAA Rating - NR
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Synopsis by Rose of Sharon Winter
The title of this program is a reference to a Balkan folk song, sung in the Ladino tongue used by Sephardic Jews in that region. Many of these people met a tragic fate in the Holocaust. Their story is told through the eyes of a young woman who is a member of the Turkish Sephardim community. From her new American home, Rachel Amado Bortnick shares stories and traditions that have been passed on to her. The documentary features photographs, music, and a cooking demonstration of some of the unique foods of her culture.


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The Southern Village Farmer's Market has seen so much fun thus far! If you don't believe us see for yourself! Make sure you come out Thursday from 3:30 pm to 6:30 pm. And don't make dinner that day! You'll definitely be picking up some surprise ingredients!
Back to All Events
Earlier Event: July 20Music Series: The Byron Paul Band
Later Event: July 25Outdoor Movie: Godzilla


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Being in Bluewater Sumilon Island Resort is like taking a refuge from reality. For travellers pursuing an ongoing love affair with the sea, there's much to savor here. They ask little of you – just bring the necessities and few plans, if any.
Sumilon is a small island in the southern region of Cebu. However, we didn't book our flights to Cebu from Manila, we opted for Dumaguete because that route would get us to our destination faster. From Sibulan Airport, we embarked on a 1 hour and 30 minute-journey and rode two cars and hopped on two boats before arriving at Bluewater Sumilon. I was told that if the guest would be coming from Mactan-Cebu International Airport, it would take more than 3 hours going to the island. Fret not because once you get off the plane, someone will assist you all throughout the way. Talk about service!
One can never be bored at Bluewater Sumilon. Why? There's an awesome sandbar, direct access to the beach with snorkelling opportunities, a lagoon where you can enjoy kayaking and fish feeding, a hiking trail with sweeping panoramic views, and resort facilities such as an infinity pool and jacuzzi. You can enjoy a massage with a view at Amuma Spa for ultimate pampering or enjoy local and international cuisines at The Pavilion. Another thing worth mentioning was the abundance of hammocks and lounge chairs scattered around the resort!
They can also arrange tours and excursions for all their guests. Given that Bluewater Sumilon is located in Oslob and it's our first time in the area, naturally, we didn't want to miss the opportunity to swim with the whalesharks and visit the mesmerizing Tumalog Falls! Had we stayed longer, we would have been able to explore the others wonders that Oslob has to offer – at least there are more reasons for us to come back!
Thank you Bluewater Sumilon and Agoda for a wonderful getaway!
Check out their accommodations: Glamping Tent and Premiere Deluxe Room


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"I will not waste time with those who have made the calculation that it's better politics to kill this plan than improve it. I will not stand by while the special interests use the same old tactics to keep things exactly the way they are. If you misrepresent what's in the plan, we will call you out. And I will not accept the status quo as a solution. Not this time. Not now." — President Barack Obama
It was finally time to take the hammer to the know-nothings who had dominated the healthcare debate this past August. President Barack Obama addressed a joint session of congress for the second time since he began his presidency with authority and decisiveness. And while few new ideas were presented in the speech (he addressed the "kill grandma" death panels mythology and reiterated the broader points on healthcare), it was his ability to drive home the point that he would not be deterred on the road to healthare reform that came through with bell clarity.
"I am not the first President to take up this cause, but I am determined to be the last," said the president as he outlined how the fight for universal healthcare has dated back to Theodore Roosevelt. Obama made an excellent point of showing that we have been there and done this before. Describing the fight for social security, Medicare and Medicaid, all things once branded as harbingers of socialism, but became simply part of the larger fabric of American life.
The president exuded confidence in a way that had been missing thus far in the debate. In August, the whole discussion was derailed by people bring guns to healthcare rallies and townhall meetings, people crying about losing their America or being unable to recognize it. People bemoaning the president and just about everything but actually discussing with civility the merits and demerits of universal healthcare.
Will this speech get the discussion back on track? I think it will for the short term. It was both informative and a scolding speech meant to silence those who the president believes are standing in the way of progress.
Of course some were more than happy to stand in the way.
Much of the Republican side of Congress sat through the speech grumpily looking like sad rabbits, sitting on their hands. House Minority Whip Eric Cantor, Blackberry in hand, texted throughout the speech. Some Republicans waved papers at the president. One Joe Wilson of South Carolina took it a disrespectful step further by actually shouting out "You lie!" at the president after Obama said the healthcare plan would not cover illegal immigrants. That was shocking in the sense that it is rare for a politician to directly call another politician a liar to their face, but it was a dangerous precedent in that Wilson did this during a joint session of congress to the President of the United States while he was speaking.
I can't think of any time in all the years that I've followed politics of an infraction this big and even Wilson seemed to realize the power of his words after the speech when he called Rahm Emmanuel, White House Chief of Staff, to apologize for his outburst. Nancy Pelosi was giving him the blinky stare of death from her chair, that's how serious and shocking it was, as it was an pretty big sign of disrespect to the office of the president.
But it was also a sign of opportunity. Once again, the right faces being painted as uncouth, naysayers by an energized Democratic coalition.
The night's defining moment — which Democrats hope to transform into a turning point – came when Rep. Joe Wilson (R-SC) shouted "You lie!" as Obama claimed his plan wouldn't offer free care to illegal immigrants.
Wilson's boorishness — for which he quickly apologized — enraged audience members on both sides of the aisle.
It also overshadowed a speech that included some of Obama's harshest attacks on his GOP critics to date, including a denunciation of "death panel" alarmists as liars — a veiled swipe at Sarah Palin — and a warning to Republicans who want to "kill" reform.
"What we have also seen in these last months is the same partisan spectacle that only hardens the disdain many Americans have toward their own government," Obama said. "Too many have used this as an opportunity to score short-term political points, even if it robs the country of our opportunity to solve a long-term challenge. And out of this blizzard of charges and counter-charges, confusion has reigned.
"Well, the time for bickering is over. The time for games has passed," he added, to Democratic cheers.
The president's combativeness, coupled with Wilson's behavior, clearly energized Democrats — to the point where few were in a mood to criticize Obama's lack of specifics or the fact that he offered no ironclad commitment to inserting a robust public option in the final legislation.


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Samples of pure zinc metallisation carried out by MSB
The examples below show one plate cut back with a air sander revealing a satin finish or can be left in its out of the gun form for incredible paint adhesion.
This pure zinc coating can be used for any steel body shells, chassis work. Once applied any type of colour coating can be applied. offering outstanding corrosion protection.
When left unpainted this coating will last over 20 years exposed to all weathers. So if you are looking for ultimate anti corrosion protection then you have found it. From replacement car panels to full steel body shells. See the link above showing a Land Rover Chassis being coated and other vehicle projects we have undertaken in the past.
Metallisation of a Land Rover Chassis
Metallisation in progress on a land rover chassis. Note the fine laydown of pure molten zinc particles forming a barrier on the blast cleaned surface.
This is the next best thing to galvanised dipping without the worry of frame distortion or build up of materials in the box sections or any mounting threads.
Once complete it can be wet painted or powder coated.
Hardwood metallation. Light blast work to raise the grain,then coated in pure copper or aluminium. Hard wearing & outstanding. Can be overcoated with clear lacquer. Other pure metal finishes available. Can be used for flooring, window frames, furniture, artwork infact any type of soft or hardwood. For samples please call.
Oversized Bearing Housings
Here is a little trick for oversized bearing housings, This part is an alloy casting and the bearing were a very poor fit. We put our metallistion gun to work and sprayed a pure alloy metal on the surface to build up the walls. This item is now in the engineering shop being milled out to size
Our Opening Times:
Monday to Friday: 9.00am – 5.00pm
Saturday: 9.30am – 12.00pm
Closed Bank Holiday weekends
Tel: 01621 841100
Fax: 01621 842233
Our Address:
Unit 2a, Benbridge Industrial Estate,
Heybridge, Maldon, Essex,


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K8 Gualicho
The Gualicho Club is a meeting point between art and juggling and it is the first club of the "Art Juggling" series.
Gualicho, who is involved in this first limited edition, is a street artist born in Buenos Aires who mixes in his influences the folk-art, the 60s psychedelia and the urban culture.
• Heart: Lotus
• Length: 52 cm.
• Diameter: 8.4 cm.
• Weight: 215 gr.
• Handle: Wrapped
• Screws: T20 Tork. A. steel.
• Tops & Knobs: Inyected, maximum strength 90 and 70 Sh.
• Structural tube: Nylon
• Gualicho Limited Edition


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Red Gold Tomatoes Company sent me the tomatoes, noodles, and a lasagna server. I was not paid for this review, nor were my opinions swayed by the products I received
A month ago a representative from Red Gold tomatoes contacted me and wondered if I would be interested in trying their product and making their lasagna recipe. It's a product that I have used in the past and been pleased with so I said yes.
A few days later I got this box from Red Gold Tomatoes:
All of the stuff for lasagna except the meat and cheese plus a lasagna server ready to be made into a luscious lasagna. I wanted to do a taste test so I opened the Red Gold tomatoes and a can of the organic tomatoes I usually get at Costco. There was no comparison. I am serious – the Red Gold brand was fresh tasting and sweet. I swear they tastes like my mom's home-canned tomatoes!
So, I put the lasagna together according to the Red Gold Tomatoes instructions and covered it with plastic wrap and then aluminum foil to bake later on. I then stuffed it into my overflowing refrigerator for eight hours.
About two hours before dinner I took it out and removed the plastic wrap, put the aluminum foil back on, and then popped it in the oven. When it was done it was absolutely delicious.
Tips for Making Red Gold Tomatoes Lasagna
You can make a lot of adjustments to this recipe — it's very basic.
- Layer fresh spinach or basil leaves on top of the ricotta
- Use Italian sausage
- Add mushrooms, zucchini, or other vegetables
You can also make it in two 8×8 inch pans and freeze on of them if you like. I am telling you there is nothing about this recipe that is difficult. Here's just a little tip — oil the underside of the aluminum foil before you put it on the lasagna and the cheese will not stick to it when it is all melted.
I found that this recipe was a little "looser" than my normal recipe. I'd suggest making sure to give it the full 10 minutes of cooling time, or even a little more, for a prettier presentation. When lasagna is this easy there's no reason to make it a special occasion dish!
Red Gold Tomatoes and a Yummy LasagnaPrint Add to Collection Go to Collections
- ½ cup water
- 1 (28 ounce) can Red Gold Crushed Tomatoes
- 2 (14.5 ounce) cans Red Gold Diced Tomatoes with Basil, Garlic and Oregano
- 1 pound lean ground beef, , cooked and fat drained off
- 1 (16 ounce) box of regular lasagna noodles, uncooked
- 1 (15 ounce) carton ricotta
- 3 cups shredded Mozzarella
- ½ cup grated Parmesan
- Preheat the oven to 350F.
- In a large bowl combine the water, crushed tomatoes, diced tomatoes, salt, and meat.
- Stir to blend well.
- Cover the bottom of a 13×9-inch casserole dish with 1 ½ cups of the sauce.
- Arrange 1/3 of the (uncooked) noodles on the top of the sauce.
- Top with ½ cup of the ricotta, 1 cup of the Mozzarella, then 1 cup of the sauce.
- Repeat the layers and top with the last 1/3 of the noodles and the sauce.
- Sprinkle with remaining Mozzarella and Parmesan.
- Cover tightly with foil and bake for 1 to 1 ½ hours, or until noodles are cooked.
- Let stand for 10 minutes before serving
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You might also like:
Shell Pasta with Creamy Vodka Sauce. (restless chipotle)
Artichoke Chicken Lasagna (cinnamon and spice and everything nice)
Slow Cooker Lasagna (keyingredient)
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Can't find Red Gold Tomatoes locally? Don't worry you can get them online!


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Why would you call your company Hollywood Top LLC?
I've always heard that if you call yourself or your company "Hollywood", then more than likely you won't make it in Hollywood. So, why would I call my company Hollywood Top LLC, when I know I have doomed myself to fail in Hollywood? There is a very good explanation, but first I need to explain what the "Top" means in the name.
If you have ever served in the U.S. military, then more than likely you know the term "Top". However, just in case you are not familiar with the term, here is a brief explanation. The rank of first sergeant has existed in the Army since 1781. The first sergeant (E8) is generally the highest non-commissioned officer rank in a company-sized unit in the Army (First Sergeants are also ranks in the USMC & Air Force). In the Army, First Sergeants are generally referred to the term of endearment by their soldiers as "top", "top sergeant", "top soldier", "top kick", and "first shirt". When I was stationed in Southern California (SoCal) as a first sergeant, my soldiers would refer to me as "Top". This is why many of my friends and colleagues refer to me as "Top".
Now for a brief explanation of why I call the company "Hollywood Top". When I was stationed SoCal in 2008-2010, I had the pleasure of meeting Hollywood celebrities at different speaking engagements and events that I would be invited too. I met Vince Ferragamo who was a quarterback in the NFL and CFL. Vince Ferragamo was attending an event at the LAX USO to hand out Thanksgiving dinners to troops traveling through the airport. I was able to meet other celebrities.
Other celebrities that I had the pleasure of meeting and actually hanging out with were Jon Voight, Kevyn Major Howard, and Michael Gregory. You may know Jon Voight from some of his early movies like Midnight Cowboy, Deliverance, and The Champ. He also was in movies like Heat, Mission Impossible, Anaconda, and Transformers. Jon has recently played "Mickey Donovan" in the Showtime series called Ray Donovan. You may know Kevyn Major Howard as "Rafterman" from Full Metal Jacket and Michael Gregory who has acted in a wide variety of films and TV shows, such as General Hospital, Robocop, Total Recall, and Eraser. Each of these celebrities is very pro-military and veteran.
In my first sergeant office, I had a wall dedicated to all the pictures that I had with each celebrity. My friend came into my office and with one look at my wall said, "You are not Top, you're Hollywood Top!" My soldiers overheard him say this, and decided that they would start calling me "Hollywood Top". I didn't like the moniker at first, but it began to grow on me.
When I decided to start my own military film and television consulting company in late 2015, it was not a difficult task coming up with a clever name. The only name that I could possibly use for my company was Hollywood Top LLC. I need to thank my friend Jesse and my soldiers from the 304th Sustainment Brigade for helping me make an easy decision on the company name. And…That's the story behind the name.
Now to choose a logo for the company…which one should I choose?
In 2012, I sat down with my mentor, Michael Del Monaco Sr. who is a Vietnam Veteran, to discuss how one generation of veterans passes on knowledge to the new generation of veterans. We wanted to define the passing of this knowledge by using a motto, phrase, or slogan. This is how the WE'VE GOT IT FROM HERE!® movement was formed. WE'VE GOT IT FROM HERE!® is defined as one generation passing on knowledge to a new generation. This new generation accepts this knowledge with the intent to pass it on to the next generation keeping the flame of knowledge lit from generation to generation. Once this knowledge is received by the new generation they proclaim that the future is safe by saying WE'VE GOT IT FROM HERE!®.
The WE'VE GOT IT FROM HERE!® movement initially was only intended to define how one generation of veterans passes on knowledge to a new generation of veterans, but we realized that WE'VE GOT IT FROM HERE!® applies to any mentor-mentee relationship. What defines a great mentor-mentee relationship? According to Merriam-Webster, a mentor is defined as "a trusted counselor or guide" and a mentee is defined as "one who is being mentored". This mentor-mentee relationship usually starts at childhood, as a parent begins to mentor a child on what to do, what is right from wrong, what is good and what is bad. Mentor-mentee relationships can be formed when a child is in school, where a teacher or a coach mentors a student or an athlete. If one belongs to a religious organization, the religious leader mentors the faithful on the religious beliefs. A president passes on their knowledge and values to a nation with the belief that the future is safe, WE'VE GOT IT FROM HERE!®.
Paving the way!
Recently, I was honored to travel to Washington D.C. to celebrate Veterans Day with all my fellow veterans on November 11th. I was honored to meet a group of veterans who served during the Vietnam War, but rarely receive recognition for their service. These groups of veterans are women who volunteered to serve during the Vietnam War when conditions were very unfavorable. Whether they served with the Army Nurse Corps, Army Special Service, Donut Dolly's, American Red Cross, or as a civilian, these women volunteered and risked their lives to serve their country. These brave women were not always treated well while serving in Vietnam, often being victims of sexual harassment or sexual assault. In my opinion, they were the pioneers that paved the way for the Me Too Movement, and readily passed on the knowledge to new generations after they returned. I was particularly moved when I was at the Vietnam Women's Memorial, where I witnessed two young women in their 20's hug and thank the women who served during the Vietnam War for passing on their knowledge to their generation. This epitomizes the meaning of WE'VE GOT IT FROM HERE!®.
There is a long list of mentors that I would like to let know WE'VE GOT IT FROM HERE!® because the knowledge they passed on to me has been passed on to a new generation. My parents, my brother and sisters, teachers, professors, coaches, military leaders, religious leaders, and friends have all shared their knowledge with me. I will be forever grateful for this knowledge and I will always insure that they know that the future is secure by proclaiming WE'VE GOT IT FROM HERE!®.
Let them know…WE'VE GOT IT FROM HERE!®
Everyone has a mentor that they would like to thank for being there for them. Visit our shop to purchase WE'VE GOT IT FROM HERE!® merchandise to let your mentor know that you are grateful for the knowledge that they passed on to you and that you will pass this knowledge to a new generation. Hollywood Top LLC is committed to helping veterans, so we pledge to donate a portion of every purchase to help out homeless veterans in need.


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This week, we continued with some more Merazonia projects. Jen and I built some drawers to put beneath the future volunteers' beds. I measured, sawed, planed, and sanded the wood, nailed it all together to make a box, screwed some wheels into the bottom, and voilà! Drawers!
I also hauled rocks in a neat contraption we put on Monty, our workhorse: two boxes strapped to his sides that have inversed lids on the bottom which release on a slant with ropes (so that they fall away from Monty's and our feet).
It was a long day, walking Monty up and down (literally) the rocky, muddy, slippery path from the river to the aviary. We used the rocks to lay over the part of the aviary's floor that will be cemented (I've been informed that cement doesn't adhere to mud; everything starts with stones and sand).
It's really been very fulfilling working here on these Merazonia projects. I see our progress and it really makes me feel like I'm doing something important. I can't wait to come back here and work with the animals we're building all this for!
A friend I've made in the area, Victor, owns Coffeenet in Shell and sings in a reggae group. He invited me along to watch a small concert he gave at a local school. Pretty cool! He had some break-dancers performing with him and the show was fun!
So everything's closed this weekend for the national elections on Sunday. I don't know much about the political situation here, except for something a friend in Quito had mentioned a few weeks ago. Apparently, there's been talk of forming a union between Colombia, Ecuador, Peru, Bolivia, and I think Chile and Venezuela. Something akin to the European Union, to strengthen the economy and stabilize politics. It won't happen for a few years yet, if it does, and I have no idea if it's even part of party platforms in these elections.
Some posters I saw advocated for a new, strong, and just constitution. In Quito, another friend had told me that the Ecuadorian constitution is easily breakable, which contributes to the inability of the country's leaders to maintain power for more than a year or two.


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Lana Del Rey: West Coast (Official Remixes)
I just landed in New York and I'm already homesick. And here comes Lana Del Grey Cloud with her official remixes for my/West Coast. First and foremost, thumbs up to lending the stems to less obvious producers (Four Tet, Ten Ven, William Carl Jr, and Camo & Krooked) to remix the song. Whether you're looking for a slower ride up the coast, or faster, or somewhere in between, our little scarlet, starlet delivers.
Which is your favorite out of the four?


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With the digital and Blu-ray release of Justice League now just weeks away, we're taking a look at which of the movie's deleted scenes may soon be revealed to fans. As you know, the film itself was subjected to extensive reshoots following the departure of director Zack Snyder during post-production. When Joss Whedon stepped in to take his place at the behest of Warner Bros., the movie was drastically reshaped, and not everyone was thrilled with the final product. Many fans have even come out in support of the release of a Snyder cut, in the hopes that the director's original vision for the film would finally see the light of day.
That's not a very likely scenario, of course, but most fans would agree that any new Justice League footage would be a good thing. Now that Warner Bros. has announced that the movie's upcoming home entertainment release would come complete with bonus scenes not seen in theaters, folks can't help but wonder what exactly we're in store for.
Related: Justice League Blu-ray Deleted Scene Preview & Special Features
Interestingly, the press release for the announcement actually revealed that the name of the deleted scenes section is "The Return of Superman". Obviously, this heavily implies that Henry Cavill's Man of Steel will be the primary focus of the bonus footage. That alone gives us an idea of what scenes in particular we'll be getting. From scenes glimpsed in trailers that didn't make the final cut to rumored editing room casualties, here are The Superman Deleted Scenes That Could Be On The Justice League Blu-Ray.
Chatting with Alfred
This scene was first glimpsed at the end of the Comic Con trailer, where Alfred Pennyworth looks to be tinkering in the Batcave. After hearing a pair of loud thuds off in the distance and seeing the ripple effects in his glass of Scotch, Bruce Wayne's trusty butler looks up and sees...someone. He then tells our mystery guest(s), "You said you'd come. Now let's hope you're not too late." There are a few alternate candidates as to who Alfred's talking to here, namely a pair of Green Lanterns (seeing as there's actually two separate thuds heard.) But that of course would've entailed an entire sideplot that at least alluded to those characters still being around, since the only Lantern we see in Justice League appears unnamed in the flashback to the original battle with Steppenwolf.
From what we can gather, Alfred is almost certainly talking to the resurrected Superman here, probably just before he heads off to join the final fight against Steppenwolf. When exactly Supes had said he'd come, we're not sure, but this looks like a fun (if not entirely necessary) scene that could make its way onto Justice League's Blu-ray.
"I'll take that as a yes"
Justice League did indeed feature a scene between Clark Kent and Lois Lane on the Kent farm in Smallville, but the version seen in theaters began very differently than what we saw in the final Justice League trailer that released last October. The teaser actually kicked off with a scene in which Lois approaches her recently resurrected beau in that same cornfield, where he charmingly states, "I'll take that as a yes" in reference to the engagement ring she's wearing. It's a genuinely heartfelt sequence, one that's welcomingly accompanied by Hans Zimmer's main theme from Man of Steel.
The iteration we saw on the big screen, meanwhile, jumped straight to Lois asking Clark how he was feeling, and what it's like to be alive again. Zimmer's score is sorely missed in the final version, which also featured a lot of Henry Cavill's infamous CGI lip (another obvious negative). It's possible that Warner Bros. will include the alternate take on the Smallville scene we glimpsed in the final trailer, though we wouldn't expect to hear Zimmer's Man of Steel theme playing over it.


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With an extra-large smile, I was whooping and cheering for the female heroine in that share, and yet the action that is depicted is totally outside of my comfort range and it's not even a download I would recommend you. Talk about contradictions ^^;;
Here's a gist: our heroine has hard BSDM fantasies, wishing to be bound, spanked, throatfucked, abused, analpounded (yeah, I just created a verb, deal with it), and yet the boy she dearly loves, and who loves her back, is, to make an understatement, a huge wimp, he hasn't even fucked her yet.
Drama: after an accident, the boy suffers a temporary memory loss.
Eureka: she "fills him in", he was her severe master, punishing her hard, and to help his memory come back, let's start at once!!! :3
I'll commend the art, it was hard, strongly contrasted, highly suiting the hard action, the ahegaos, the girl's twisted ecstasy faces. In itself, it's very good stuff, just not the stuff I love. This has been released by Tech, Acedia, Axalon, Tech and Inkblot, from The Phoenix Syndicate, thanks for this quality work
By the same artist, I also share Anadol Gohoushi Produce, Anata No Haha Toshite Misugosemasen ("As Your Mother, I Cannot Accept This"), Futari Wa Onapet ("The Two are Fap Materials"), Hana Wa Tenji Te Saki Midare, Miurizuma, its sequel Miurijima ~ Akume Hisho Maki, Onaho Keeper, Tonari No Sumire-san and Kango Shidou Onegai Shimasu.


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When I woke this morning it was a little strange to not be able to hear the sound of the sea, any waves or be in touch with the ocean. I was 90% happy that my weather app would not fail me and that it was going to be windy where I am and this is where I would be heading for my next stop. I headed to the lounge and put more wood on the fire and sat quietly in the peace and tranquillity of this lovely farm house, the rooster was now awake and being a normal crazy rooster. I personally find the sound of them crowing pretty cool and it is never a bother to me, even in the morning. It is cold but fine, the wind had not as of yet woken for the day. We had cups of hot coffee with breakfast and sat by the warmth of the fire. We sorted out the gear hanging on the over the fire hanging clothes rack, I have such fond memories of childhood times on the farm, coal-ranges, open fires and warm hot, cups of tea...great memories.
We then walked to the beach where I will be landing and what a great surprise, it is a nice beach, well today at least. There are not five sets of crashing surf, after a long paddle this is not what I really want. As we walk across the paddocks to the beach I am overcome by the beautiful cliffs on either side off the beach and the huge sand dunes surrounding and beneath the cliffs. The wind is a fairly strong easterly now and I am pleased that my weather app is keeping me up to date and is accurate. We spend some time on the beach looking and watching the wave sets. We talk about the best landing options and then hunger grips me and we head back through the paddocks of cows to the house.
The wind is blowing, the sunshine is out so the repairs and drying of gear, repacking and packing starts. I am in one area and Jase, fondly known as Tim the Toolman, starts on the re-kitting of Louise. There seems to be sea water in a lot of my gear, or just that normal dampness associated with gear that is in and near the ocean all the time. I sort out Ziploc bags and I have a big clean out. I throw out things that have absorbed moisture like my nurofen, my bic lighters have stopped working and just checking over all my gear, letting it dry in the wind and the sunshine. Jase looks over my tent, repairs a couple of holes and we generally wash away the past few days of yuk. Cuzzie gets all her doors greased so they actually open and slide, the doors do not creak anymore and her windows are cleaned. By the time we sit down for a late lunch it seems a positively organised day. The farm chickens have been entertaining us all afternoon and when we sit down they head over to see if they can perch on a table or a seat close by to grab a morsel of food. I then cook up feijoas that we have been given. Actually I am enjoying being in the fresh, clean and tranquil environment, it is calming, it has some familiarity that I am liking a lot. There is a great vibe in the air, this place has a wonderful soul. We both agree and like it a lot.
Joyce arrives later on to milk the house cows so we wander with her and Nana (Carol) out to round up the three cows. In my teenage years I used to help with the milking on our farm so this is like déjà vu. Today it is a pleasure, sunshine, warm and great company. The chickens follow us out into the paddock and are locked away for the night in their chicken run and then Joyce milks the cows. We have fresh farm milk for brekkie and I am going to try the cream from the top of the container in the morning for my coffee, let's see who is up first. With the fire going and all the gear packed away we sit in a very warm lounge with the fire crackling, the wind has eased.
It has been a lovely day and I am really blessed to have been connected with this lovely location, the wonderful people and accepted into their homes. This is what I have missed about living in the city and it has only just clicked when taking with everybody today. The city has no community. We have forgotten to say hi to our neighbours, or offer them help. I have missed this and now understand what I have been feeling was so different as I headed south, the community, the helpful people, the caring souls. Thanks for showing me what NZ is truly about.
Heading for dinner now, venison, yum.
My smiles today:
Sunshine on a beautiful west coast beach.
The chickens and the rooster.
The farm and it's calming feel.
The house cows and the fresh milk.
The fireplace, it gives this place a fab homely feeling.
My thoughts today:
Enjoy your life, no matter how hard it may seem, when life gives you a thousand reasons to cry show the world you have a million reasons to smile.


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Lead Litigation Attorney
Brief info
Alexander Bekker is the lead litigation attorney at Frontier Law Group. Mr. Bekker focuses on civil litigation in the areas of business law, first-party property law, contract disputes and community association law.
He earned his bachelor's degree in philosophy from the University of Central Florida and his Juris Doctor degree from the Shepard Broad College of Law.
During law school, Mr. Bekker was a competitive member of the Nova Trial Association where he competed with the best student advocates in the country. Before joining Frontier Law Group, Mr. Bekker worked as an Assistant Public Defender in the 17th Judicial Circuit where he gained invaluable skills and experience as trial lawyer. Mr. Bekker would later work as an litigation attorney representing FedEx where he handled personal injury cases across the state of Florida.


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Altrusa: Read with Me Volunteers/
Read With Me Volunteers
Reading with a child one hour per week can make a lifetime of difference.
Read With Me is seeking volunteers to read one-on-one with elementary students in Bishop and Big Pine. Please join us for an informational meeting and volunteer training:
When: Tues., Sept. 12 (12:00-12:45pm)
Where: Bishop Elementary School, 800 W. Elm St
Contact: Mini (ICSOS) at 760-873-3262 ext. 2106 or Sarah (Altrusa) at 760-920-8762.


text:
Join us on each 4th Monday for Mommy's Morning Out! We will brighten your child's day while you get your well deserved mama time. Choose from 2 or 3 hours to give yourself opportunity to be YOU while your child participates in enrichment activities with friends in a FUN environment.
Mommy Mornings Out bring your child social activity through structured group babysitting from our Guardian Angels while mamas get those errands, shopping, or mom time in!
Hosted at Funderdome, Guardian Angels Sitting Service alongside Mommy 'n Me provides the kids with craft time, snack time and many fun learning activities! Our beloved sitter, Miss Mackay, will be joining us each month alongside other sitters depending on the size of our group.
RSVP via Email to: firstname.lastname@example.com
Registration link will be sent. Must register to guaranty a spot for your child. Looking forward to our quality time together!
10:30 – 12:30 OR 1:30 pm
Prices: $30 / 2 hrs OR $35 / 3 hrs
(add'l $15 per additional sibling)
Event details:
Facebook Event https://www.facebook.com/events/333284797171531/
Meetup Event https://www.meetup.com/MommynMeBrowardCounty/events/251018276/
Connecting the Community with Mommy 'n Me
Play, Learn & Be Social with Mommy 'n Me
Mommy 'n Me has been connecting families through activities, events and community outreach in Broward County since 2011.
People, Places and Businesses we <3 Find local parks, libraries, resources and places to learn and play at
Our calendars:
FB: https://www.facebook.com/mommynmeco/
Meetup: https://www.meetup.com/MommynMeBrowardCounty/events/calendar/


text:
Open Silences in Shakespeare's Measure for Measure
Open Silences in Shakespeare's Measure for Measure
Length: 6617 words (18.9 double-spaced pages)
Rating: Excellent
Essay PreviewMore ↓
Prologue: Playtext. Performance. and Open Silences
In the Preface to his edition of Shakespeare's plays, and even as he vigorously defended the playwright against attacks by other neo-classical critics, Samuel Johnson nonetheless also offered his own survey of Shakespeare's weaknesses. Among the more well-known and provocative remarks is his assessment of the endings of the plays:
It may be observed, that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and in view of his reward, he shortened the labour, to snatch the profit. He therefore remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented. [Preface, in Sherbo VII: 71-72.]
That Measure for Measure, in particular, was taken to be an example of Shakespeare's tendency to "remit his efforts," and that these failures created problems about the ending of the play symptomatic about larger issues of genre, is testified to by Charlotte Lennox's often quoted criticism:
The comic Part of Measure for Measure is all Episode, and has not Dependence on the principal Subject, which even as Shakespeare has managed it has none of the Requisites of Comedy. Great and flagrant Crimes, such as those of Angelo, in Measure for Measure, are properly the Subject of Tragedy, the Design of which is to show the fatal Consequences of those Crimes and the Punishment that never fails to attend them. The light Follies of a Lucio may be exposed, ridiculed and corrected in Comedy.
That Shakespeare made a wrong Choice of his Subject, since he was resolved to torture it into a Comedy, appears by the low Contrivance, absurd Intrique, and improbable Incidents he was obliged to introduce in order to bring about three or four Weddings instead of the one good Beheading, which was the Consequence naturally expected. [Lennox, I: 27, quoted in Vickers, 4: 112.]
As we shall see, these strictures reappear in at least one edition of the play, namely in Francis Gentleman's commentary on the play in the 1773 edition (Bell's edition) examined below.
In this presentation, and concentrating on the issues raised by Johnson, rather than the wider issues raised
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As a means for framing and sharpening the focus of inquiry, I will concentrate on what Philip McGuire has defined as open silences in Shakespeare's plays. Open silences are those silences mandated by a play's text and can be distinguished, as McGuire does, from "those [silences] that a playtext allows but does not require." Measure for Measure provides clear examples of both mandated and optional silences in the last scene . On the one hand, there is optional silence of Isabella after Mariana completes her appeal to Isabella to join her in begging the Duke to pardon Angelo for what they suppose to be judicial murder of Isabella's brother, Claudio. As McGuire reminds us, the actress playing Isabella can choose to immediately kneel and begin the plea mandated by the words Shakespeare's text assigns to her or she may pause, for a longer or shorter time, before beginning to speak those words. Of course the length of any such pause cannot be determined from the text itself but is rather the creative choice of the actors and director composing this production. Furthermore, it is crucial that we realize that such a silence will become a constitutive element in the experience of the spectators as they seek to make meaning from this act of mercy.
In contrast to this optional and delimited silence, there is the open silence the play mandates because no words are given to the convicted murderer Barnardine when he is pardoned by the Duke, advised to "take this mercy to provide / For better times to come" and consigned to the guidance of Friar Peter (V.i.484-485). Here Barnardine, although directly addressed, must remain silent, and yet his silence, with whatever choices the actor makes in playing that silence, must speak. McGuire himself offers this definition:
What is an open silence? . . . An open silence is one whose precise meanings and effects, because they cannot be determined by analysis of the words of the playtext, must be established by nonverbal, extratextual features of the play that emerge only in performance. Such silences are usually required by Shakespeare's words, and they occur most often during the final scene of a play. (xv)
A focus on the open silences is particularly appropriate to this play, since as McGuire further notes, the open silences which so richly appear in the last 80 lines of the play render Measure for Measure one of the most "open" plays in the canon in terms of the range of perfectly faithful yet sharply divergent performances and, therefore, of coherent yet divergent, even contradictory experiences from which we spectators must create meaning.
In what follows, then, I will focus on several of the open silences in the last scene of Shakespeare's Folio playtext of Measure for Measure --the silences of Isabella, Claudio, and Juliet--as well as an earlier open silence in the Act 3 scene between Isabella and Claudio--in order to trace some of the ways in which 18th, 19th, and 20th century productions resequenced, repositioned and, especially added to Shakespeare's playtext in order to close these open silences. I will also point to another interesting feature, namely the process by which a promptbook would became a performance text, and that performance text, in turn, would serve as the basis for a later promptbook, in a chain that at once preserved theatrical innovations while rendering them available for further revision. We will thus also be able to sketch the ways in which key revisions moved from the theater to the performance text and, in some cases, survived for well over a century in the theater.
Enumerating Silences
Extending McGuire's definition, I would say that in most cases an open silence is initiated when one of the dramatic personae is addressed, and especially when that character is addressed by a speaker who seems to request, prompt, provoke, require, or insist on some response. Given this mandated silence, it is still the actor's and director's choice as to what non-verbal response, if any, that character makes. Furthermore, a character may be silent not only in relation to the one who addresses her or him but in relation to one or more other characters to whom she or he might be expected to respond, due either to the bonds between them or to the nature of their last encounter. As the attachment [a copy of the last two pages of the play from the Riverside Shakespeare which marks the open silences in the last eighty lines] indicates, Isabella, Mariana, Angelo fall silent in this scene while Barnardine, Claudio, and Juliet, enter and maintain unbroken silences.
(1) Isabella: Isabella is both the first and the last character to move into an open silence during the concluding 80 lines. Maneuvered by the Duke into a situation in which she chooses to plead for the life of the man she believes murdered her brother, Isabella falls silent after completing her plea to spare Angelo. Moreover, she remains silent when the unmuffling of Claudio reveals her brother is alive, remains silent during the reunion of Claudio and Juliet, and remains silent even as the Duke twice proposes marriage. Isabella's silence is threefold as she does not speak to her brother, her brother's wife, or the Duke.
(2) Mariana: Married to Angelo, the man she has loved even though he broke off their engagement, Mariana pleads for Angelo's life when the Duke condemns him to death for the murder of Claudio. She persuades Isabella to join her in this plea, but she falls silent, not responding to Isabella, nor to Angelo's plea to be executed, nor to the Duke's pardon, nor to the Duke's exhortation that Angelo love her.
(3) Angelo: Compelled to marry Mariana, Angelo says "I crave death more willingly than mercy; / "Tis my deserving and I do entreat it" (V.i.472-73), and then remains silent as he is pardoned and exhorted to cherish Mariana.
(4) Barnardine: Previously convicted of murder, Barnardine is pardoned by the Duke yet he says not a word to indicate how he takes being spared execution, nor how he takes being assigned to Friar Peter "hand" for spiritual guidance.
(5) Claudio: Claudio's open silence is also a three-fold silence: he offers no words when the Duke pardons him; nor does he respond when the Duke offers pardon while addressing Isabel; nor when in the last speech of the play the Duke says that Claudio should "restore" the woman he wrong 'd.
(6) Juliet: Juliet, who is never directly addressed but is referred to in the Duke's final speech, also has an unbroken silence: she does not speak to Claudio or the Duke, nor does she have a verbal response to Isabella.
Rephrasing this from a more performance-oriented stance, we can summarize these silences as a suite of questions, thus:
How, if at all, does Isabel respond to the Claudio? to Juliet? and to the Duke?
How, if at all, does, Mariana respond to Angelo? and to the Duke?
How, if at all, does, Angelo respond to Mariana? to Isabel? and to the Duke?
How, if at all, does Barnardine respond to the Duke? and to Friar Peter?
How, if at all, does Claudio respond to the Duke? to Juliet? and to Isabel?
How, if at all, does Juliet respond to the Duke? to Claudio? and to Isabel?
For purposes of illustration, I will focus on the silences of Isabella, Claudio, and Barnardine as enacted in five productions from 1720 to 1929, including (1) three performance editions from 1720 to 1803; (2) one nineteenth century promptbook, which is itself a marked copy of a published edition; and (3) one early twentieth-century promptbook, which is a typescript that presents interesting challenges as to its origins.
The three performance editions are: (1) The edition based on the performance of 1720, with the text supplied by W. Chetwood, the prompter at the Theatre Royal at Lincoln's Inn Fields and printed in London in 1722.
(2) The single-volume version in Bell's multi-volume complete Shakespeare; this edition was based on the Covent Garden promptbook, "revised by Mr. Younger, / Prompter at that Theatre," and with "An Introduction and Notes Critical and Illustrative" which were added by Francis Gentleman, printed at London in 1773.
(3) The single volume edition produced by John Philip Kemble: Kemble published his first performance edition in January 1795, and republished it in 1803 and 1815. The promptbook I examined is actually a copy of the 1803 performance edition marked by Kemble for his part as the Duke.
(4) Next comes one nineteenth century promptbook, which is also a marked copy of published edition: this is the promptbook created by Samuel Phelps for a production that opened in November, 1846, at Sadler's Wells, and which used a copy of the earlier Cumberland edition as its text.
(5) And finally there is an early 20th-century promptbook used by Henry Jewett for his Boston Repertory production which opened November 16, 1929. One particularly interesting feature of this promptbook is that it not a cut-up printed edition but rather a typescript, bound in a folio-like volume, which Jewett or an assistant created, which clearly draws on the 19th century performance editions [Halstead tersely notes "Resemeblance to Cumberland" (13: 601).]
Isabella's Silence Makes the Duke Speak More: Examining Added Speeches
Perhaps the most striking feature in the 18th century history of Measure for Measure, which starts with the revival of Shakespeare's text in 1720, is the response of the performers and adaptors to the open silence of Isabella in the face of the Duke's proposals. Although an obvious solution would seem to be to end that silence by writing a speech in which Isabella articulates an unequivocal response, the players, producers, or actor managers responded by maintaining Isabella's silence but adding a new speech for the Duke. In fact, these performance editions offer three different new endings to the play. (I would note that these three texts do mark the speeches to indicate they are not part of the original Folio text of Shakespeare, which is not the case with some of the later acting or performance editions.)
The first addition is from the 1720 performance, published in 1722 in a text supplied by the Drury Lane Theatre prompter, William Chetwood. It begins at what is line 534 of the Riverside text [see attachment], and is a bit tricky: it keeps the first line; it keeps the remaining lines of the Folio text but marks them for omission (with a '); and it adds the eight new lines that were actually spoken. On the page, then, it looks like this:
Th'Offense pardons it self. Dear Isabel,
' I have a motion much imports your good,
' Whereto if you'll a willing Ear incline,
' What's mine is yours, and what is yours is mine:
' So bring us to our Palace, where we'll show
' What's behind that's meet you all should know.
Thy virtuous Goodness, which alone has Charms*
To make thee worthy of a Monarch's Arms;
A Monarch who his Peoples Hearts would try,
And shrewdly turn'd a Priest to turn a Spy:
For Empire then he quits the lower Plain;
Resumes the Scepter, and gives Laws again:
On sure Foundatons learns to fix Decrees,
Like the Supreme, by judging what he sees.
[Exeunt omnes]
But presumably what audiences heard James Quinn speak is as
Th'Offense pardons it self. Dear Isabel,
Thy virtuous Goodness, which alone has Charms
To make thee worthy of a Monarch's Arms;
A Monarch who his Peoples Hearts would try,
And shrewdly turn 'd a Priest to turn a Spy:
For Empire then he quits the lower Plain;
Resumes the Scepter, and gives Laws again:
On sure Foundatons learns to fix Decrees,
Like the Supreme, by judging what he sees.
[Exeunt omnes]
The second addition is from the 1773 edition, in text supplied by the Covent Garden prompter, Mr. Younger, with notes by Frances Gentleman. It begins at what is line 534 of the Riverside text [see attachment]: it does not print the omitted Folio text, and concludes with the five new lines that were spoken in performance as follows:
Dear Isabel, I have a motion much imports your good,
Shade not, sweet saint, those graces with a veil,
Nor in a Nunnery hide thee; say thou'rt mine;
Thy Duke, thy Friar, tempts thee from thy vows,
Let thy clear spirit shine in publick life;
No cloister'd sister, but thy Prince's kife. / [Exeunt]
The third addition includes not only added lines for the Duke but an added stage direction, and is from the performance edition of John Philip Kemble, as published in the 1803 text of his revival of Measure for Measure at Covent Garden Theatre -- although this ending appears as early as the 1796 text issued by Kemble from his Drury Lane performance. This is a marked promptbook copy for a post-1803 performance, which shows that Kemble cuts the first proposal -- which eliminates one awkward moment caused by Isabella's open silence -- and begins the addition after line 531, as the Duke finishes addressing the Provost by promising "We shall employ thee in a worthier place." This text also omits the remaining lines from the Folio, and runs as follows:
Duke. .... For thee, sweet saint -- if, for a brother sav'd,
from that most ho1y shrine thou wert devote to,
Thou deign to spare some portion of thy love.
Thy Duke, thy Friar tempts thee from thy vow:
(Added in the margin by hand) Isa. is falling on her knee,
the Duke prevents her,--kisses her hand & "In its right" &]
In its right orb let thy true spirit shine,
Blessing both prince and people: -- thus we'll reign,
Rich in possession of their hearts, and warn'd
By the abuse of delegated trust,
Engrave this royal maxim in thy mind,
To rule ourselves before we rule mankind.
It is striking, of course, that the version of the ending offered in Kemble's edition repeats one complete line from the 1773 edition -- "Thy Duke, thy Friar tempts thee from thy vow/s," --as well as echoing two other phrases closely. I think we can infer that Kemble drew on at least the 1773 edition, whose text he may have encountered either when he witnessed a performance of the play in which his sister, Sarah Siddons, starred as Isabella before Kemble himself was able to assume the role of Duke; or when he read the 1773 edition, or perhaps the promptbook on which it was based, when he did assume the role. More specifically, I think that we have evidence that Kemble used the 1773 edition, for if we look at the extensive comments Francis Gentleman offered in that edition we read the following:
... the five distinguished lines, which conclude, are an addition, by whom we know not; however, they afford a better finishing, than that supplied by Shakespeare ... to royal and princely characters it offers a most valuable truth----that nothing is more dangerous, that to trust a seemingly virtuous statesman with too extensive powers of rule over his fellow-subjects; delegated authority being more liable to abuse, than the power which gives it. [1773L 71-72]
Not only is the content of Kemble's last four lines close to this observation, but his use of delegated and abuse seems taken directly from Gentleman's formulation. Gentleman's commentary is also intriguing because, as I noted at the beginning of this essay, it chimes with the commentary of Johnson and Lennox about the problematic elements of this play:
upon the whole of this play, for we cannot stile it either Tragedy or Comedy, there are several great beauties, clouded with much trifling and indecent dialogue; it must always be heavy to the majority of the audience; yet purged of impurities and superfluities, as we hope the readers will find in this edition, it may be entertaining and instructive in the closet.
(As noted later on, Gentleman's comments are applauded 150 years later by Odell.)
When we look at these three performance editions as a set, I think they demonstrate that, like Samuel Johnson, those who composed these added speeches found Shakespeare's ending both improbably produced, specifically in terms of the Duke's textually uncued proposal to Isabella, and imperfectly represented specifically in terms of Isabella's silence in response to that proposal and, one might suspect, the brevity of the proposal itself. Adding the speeches and, in Kemble's case, the stage directions for Isabella to fall to her knees and for the Duke to prevent her and kiss her hand, thus registers the point that for the 18th century producers of the play, the most troubling open silence and the one that most insistently demanded to be closed was Isabella's silence.
Closing the Silences Between Isabella and Claudio -- and Eliminating Juliet
Whereas the 18th century editions register the sense that open silence of Isabella in response to the Duke's proposal is the major flaw needing to be improved, in the 19th century, and perhaps precisely because of how the improvements close this first open silence, a second open silence seems to become thefocus of attention. Thus I turn to examine the silences between Isabella and Claudio and the fate of Juliet in the play's last scene. For purposes of this analysis, we need to turn back to the middle of the play, for the silence between Isabella and Claudio in Act 5 scene l is continuation of a silence that begins in the middle of Act 3, scene 1. In 3.1, Isabella informs Claudio that Angelo will spare Claudio's life if Isabella lets Angelo have sex with her. After Claudio first agrees to die, he changes his mind and pleads with her to make this sacrifice. His reversal provokes a response in which, after calling him beast, coward, and wretch, Isabella continues:
Die, perish! Might but my bending down
Reprieve thee from thy fate, it should proceed.
I'll pray a thousand prayers for thy death,
No word to save thee. [Riverside, III.i.144-147]
And, in her address to Claudio she insists "'Tis best thou diest quickly" (150). Given this horrific encounter, the reunion of brother and sister in Act 5 should elicit intense curiousity from us as spectators, especially coming after Isabella's extraordinary plea to save Angelo, the man she believes has murdered her brother and would have raped her. While we may hope for an immediate and complete reconciliation, we may fear that there will a hard-to-heal or even impossible to heal rupture. What the performance editions and the promptbooks based on performance editions offer is the development of additions that close this open silence. This seems to occur in two phases, with the introduction of additions to close the open silence between Isabella and Claudio in 5.1 and later to close the silence in 3.1.
One simple way for the players to deal with an open silence is to add a disambiguating non-verbal action, and this is the route that Kemble takes:
[(handwritten) Claudio advances at Provost's R.]
Duke. What muffled fellow's that?
Prov. This is another prisoner, that I sav'd
Who should have died when Claudio lost his head:
As like to Claudio, as himself.
Duke. If he be like your brother, for his sake
Is he pardon ' d.
[Claudio discovers himself, -- Isabella runs, and embraces him.] [pages 66-67 in Kemble, Shattuck edition]
The fact that this added action is printed in the text, rather than appearing as a handwritten addition as is the "Claudio advances" stage direction above it, indicates that this was already accepted stage business before the 1803 performance edition was published. Clearly, the aim is to establish unequivocally that Isabella has forgiven Claudio his lapse into self-preserving cowardice, and that Claudio has either overcome his own shame at having lapsed in virtue or forgiven Isabella her momentary willingness to let him die in order to save her chastity, or both. It is also important that Juliet was cut out of the scene entirely, so that the joyous reunion between sister and brother will be the single focus of attention for that moment. Eliminating a silent character does more than eliminate her silence: it eliminates the varied relations that performers might invent prompted by that silence, and thus eliminates the suite of cascading inventions such a silence always makes possible.
But apparently, the possibility that members of the audience might speculate about the rupture between the sister and brother for a period that, by Kemble's own timing [Act 3 = 35 minutes. Act 4 = 28 minutes. Act 5 = 43 minutes], would seem to be about one hour, troubled the actor-managers who followed Kemble. Thus when we turn to the promptbook of Samuel Phelps for his 1845/6 production--a prompt-book that according to Shattuck is based on the Cumberland performance edition--we discover a printed additional stage direction supplemented by a handwritten stage direction. In the Folio text (Riverside editing) we have:
Claudio. Let me ask my sister pardon. I am so out of love with life that I will sue to be rid of it.
But here we have.
Claud. Let me ask my sister pardon. [Crosses to Isabella. and kisses her hand] I am so out of love with life that I will sue to be rid of it.
[Crosses to R.]
Duke. Hold you there: farewell. [Exit Claudio R.]
On the facing blank page for stage manager's notes we find:
O Isabella comes down LC
Claudio X to LC. Kneels, & kisses her hand.
The Duke returns up C.
[Cumberland 32 and facing blank page]
It is striking that by introducing this stage direction to have Claudio address his second line to Isabella, the adaptor changes the function of the dialogue. For when it is addressed directly to Isabella the words become a different speech act: it is now his vow or oath to die to protect her, hence his attempt to resume the status of a gentleman she has claimed he no longer merits. This elegant maneuver preserves yet transforms the Folio speech, and it seems designed to restore or even intensify the bond between brother and sister.
When we return to 5.1 we find that the edition used by Phelps prints a further development. For in addition to repeating the stage direction added to the Kemble text, there is an added line of dialogue for Isabella. I would note that in this text none of these added elements are marked as non-Shakespearean:
Duke. If he be like your brother, for his sake
Is he pardoned.
[Claudio discovers himself--Isabella runs and embraces him--
Angelo falls on his knees Isab. ( ) O, my dear brother.
Thus one crucial silence is transformed into speech to give closure to one of the troubling possibilities left open or not explicitly re/solved in Shakespeare's Folio text, namely that brother and sister remain unreconciled at the end. I turn now to the early 20th century example, from Henry Jewett's promptbook for his Boston Repertory Company's performances of Measure for Measure, November, 1929. Looking at the two moments in the two scenes we have examined, we see how Jewett's script represents an eclectic development of over lOO years of prior editions. In 3.1 we find:
(Isabella comes forward to C)
Let me ask my sister pardon. / I am so out of love with
life, that I will sue to be rid of it.
And examining Jewett's promptbook for 5.1 we find, when Claudio is unmuffled:
(Isabel runs to Claudio and embraces him)
0, my dear brother.
And for the Duke's final speech, we find that the script includes the entire lO-line speech that first appears in Kemble's edition, but with the second line crossed out. The speech as it exists in the script thus runs as follows:
For thee, sweet saint--if, for a brother sav'd,
From that most holy shrine thou wert devote to,
Thou deign to spare some portion of thy love,
Thy Duke, thy Friar, tempts thee from thy vow:
(Isabel about to drop on her knees, the
Duke prevents her, kisses her hand, and then continues
to her)
In its right orb let thy true spirit shine,
Blessing both prince and people--thus we'll reign,
Rich in the possession of their hearts, and warned
By the abuse of delegated trust--
Engrave this royal maxim in the mind,
To rule ourselves before we rule mankind. //(all clap hands)
(Flourish of trumpets and drums)
That "Flourish" appears at least as early as the Kemble promptbook, where it is a handwritten addition to the 1803 printed text; and "Flourish of drums and trumpets" appears at least as early as the printed text in the Cumberland edition of 1830. [I have not yet been able to recheck this detail in the 18th century editions: my notes only record an "Exeunt omnes" after the Duke's speech, but it may be the case that I did not record a "Flourish" when I was doing my initial research.] I find that "all clap hands," added to the flourish of trumpet and drums, an intriguing touch. It was meant to function, surely, as a cue to the audience, to see in the Duke what his subjects were supposed to be coming to see: namely a Prince who has come to know himself, as both a ruler and a man, which they and we are to presume is a wisdom that will guarantee the justice of his renewed reign; and a Prince whose marriage to a saint-like maid is the final testimony to his virtuous nature. It functions, that is, to invite the spectator-citizens of Boston in 1929 to unite with the subject-onlookers of an imagined 17th century Vienna in applauding a full comic resolution that they, like Isabella, Juliet, Mariana, Angelo, and Claudio, might conceivably have doubted was possible.
Put in the terms articulated by Samuel Johnson, we might say that the decision to produce the triumphant comic ending as including its own onstage ovation may be seen as one move in an ongoing effort to improve Shakespeare's ending, making it more probably produced and perfectly represented in order to make the play be or become in on the stage unequivocal "comedy" critics often found lacking on the page.
That a stage production might need to insist on the comic nature of the ending and on prompting applause in this fashion is something that may be attested to by the extremely hostile response of George Odell in his famous study of Shakespeare from Betterton to Irving (1920). Here, in one of the first efforts to examine the theatrical history of Shakespeare's plays in a comprehensive, scholarly fashion, and in a book published at the beginning of the decade in which Jewett staged his production, we find Odell bluntly announcing that he finds the play indecent and revolting. Not only that, but Odell announces his own preference in stage editions, and thereby suggests the ways in which attitudes articulated by Samuel Johnson and Charlotte Lennox were still very much alive in the early twentieth century:
Exigencies of arranging by alphabetical order bring on the second of Shakespeare's bitter comedies--Measure for Measure. This like the other--All's Well that Ends Well--has a revolting plot, and its sub-plot is even more indecent than that of its fellow play. Both comedies really deserve the stage-oblivion into which they have fallen, though Measure for Measure held a fair degree of popular acclaim during the regency of Garrick and of Kemble. This vogue I take to be attributable entirely to the assumption of the part of Isabella by several very great actresses, the most notable being Mrs. Yates, Mrs. Barry, and Mrs. Siddons. The Bell version, in which the first two probably appeared, strikes me as more satisfactory than Kemble's by just so far as it eliminates more of the offensive underworld matter of bawds and panders and gentlemen of loose living. I believe that this subplot was necessary to round out Shakespeare's scheme, but I cannot alter my opinion that on the stage it is exceedingly offensive. In, fact, I am not sure that Measure for Measure should be acted, if its rendition necessitates the retention of much, or indeed any of the Froth, Pompey, Elbow, Mrs. Overdone material.
If I am correct in this view, Bell's version of Measure for Measure is almost ldeal; the character of Mrs. Overdone is entirely eliminated. The second scene of the second act omits the loose talk of Lucio and the two gentlemen, and of course the Overdone business; it starts with the entrance of the Provost, Claudio and Juliet, and with Claudio's "Fellow, why cost thou show me thus to the world?" After this, to the close, the editor follows the original. Gentleman's foot-note is, as usual, very charming: "There are three very slight, unworthy pages of the original most properly rejected." A very little of the ElbowFroth-Pompey episode, wherein they meet the Duke in the Street, is retained in Act III, Scene 2, but of the first of these scenes omitted Gentleman writes: "Here follows no less than seven pages of absolute ribaldry, ... the annihilation of them does credit to our author and the stage." Otherwise the stage is fumigated free of these people, except for the necessary retention of Pompey (here called Clown) in the late prison scenes. It would have been well if Kemble had continued the same practice, though candour elicits the statement that he has rendered the group as little maladorous as their retention at all in the dramatic personae would admit. Of course the amusing scenes involving Lucio and the Duke are retained. The main plot is very well handled in Bell's edition, more of Juliet being retained than was usual in later versions.... In general, this is an excellent acting version--its being disinfected of the gross underworld folk makes it unusually pleasing. I am glad to think that Mrs. Yates appeared in such good company. [Odell, 2325; note that in his next paragraph Odell quotes the passage from Gentleman cited earlier, including the non-Shakespearean final speech.]
It is striking to see how Odell's comments connect with Francis Gentleman's commentary from nearly 150 years earlier. (Just as Shattuck later offers an interesting and positive analysis of how, given Kemble's premises, Kemble's adaptation might be seen to improve the play.)
It is also striking to recognize how the criticism of and in some cases hostility to the original text expressed by Johnson, Lennox, and Gentleman, among others, and echoed by Odell, can, in a sense, be seen as being validated by the radically different stagings of the play as a whole of the ending in particular that begin around 1970. The earlier critics recognize the potential disharmonies in the play as written, assume these potential disharmonies are the result of error or carelessness on the part of Shakespeare, and applaud the theater's efforts to complete the play properly as Shakespeare failed to do. Many of the productions of the last twenty-seven years, on the other hand, take advantage of the openness of the ending to offer us, to cite only the most striking difference, Isabellas who either flatly refuse or postpone any answer to the Duke's proposal. They thus seem to demonstrate that Shakespeare did indeed fail to mandate a fully comic ending, but then proceed to seize the opportunity and to suggest, as some critics of the play now suggest, that the greatness of the play, both on the page and on the stage, is constituted precisely by its refusal to end with the flourish and the onstage applause that Jewett offered his spectators; and by the opportunity it presents the players to offer endings whose dissonances (dissonances which can also be seen as in harmony with a dissonance-loving time) impel us to uncomfortable responses to neartragic dilemmas as we leave the theater. In the case of the 1985 production by Yossi Yzraely for the Three Rivers Shakespeare Festival that I hope to wrtte about in the future, for example, we might say that the director uses the openness of the written script to explode the play that he implies both the Duke and Shakespeare seek to write.
As my readers will have noted, the attempt to perfect a "comic" ending can also be read as an attempt to produce a particularly positive image of the Duke as politician, and thereby provides a cue for acknowledging what this essay does not do. For given the focus of this analysis, I have not turned to examining the ways in which new historicist, cultural materialist, and feminist criticism might want to train and has already trained our attention on the wider context of productions of Measure for Measure staged in such different times as 1720, 1773, 1803, 1846, and 1929. But I would hope that this sketch of some of the "internal" theatrical pressures would offer interesting evidence to those who wish to focus on the "external" pressures shaping productions, reproductions, and performance texts of this play.
Furthermore, there is another intriguing area that I have barely touched on, namely the transmission of the revised text as a theatrical convention having its own extended life, such that we can discern continuities between a London productions of 1795 and 1803 and a Boston production of 1929. In her recently published study The Trick of Singularity: Twelfth Night and the Performance Editions, Laurie E. Osborne suggests that we think of what have usually been called "acting editions" as "performance editions," and suggests "Together prompt-books and performance editions preserve the development of acting traditions because they record performance choices" (xii); she continues by arguing that if we frame our inquiries in these terms "The reward is uncovering an editorial tradition based on performance" (xiii). Her formulation point towards an area I hope to explore more fully as I develop the theatrical-critical history outlined here.
Works Cited
Halstead, William P. Statistical History of Acting Editions of Shakespeare. A Supplement to Shakespeare as Spoken. Volume 13. Ann Arbor, Michigan: UMI: American Theatre Association, 1983. The section on Measure for Measure is on pp. 593-617.
McGuire, Philip C. Speechless Dialect: Shakespeare's Open Silences. Berkeley: University of California Press, 1985.
Odell, George C. D. Shakepseare from Betterton to Irving. 2 volumes. (Scribner, 1920, Benjamin Blom, 1963).
Osborne, Laurie E. The Trick of Singularity: Twelfth Night and the Performance Editions. Iowa City: University of Iowa Press, 1996.
Piddick, William, Editorial Director. Shakespeare and the Stage: Series One: Prompt Books from the Folger Shakespeare Library. Washington. D.C.. An Inventory of Parts One, Two, Three and Four of the Harvester Microfilm Collection. Britain's Literary Heritage. Harverster Microfilm. Brighton, England: Harvester Press, 1985. The promptbooks of Measure for Measure are on reel 47.
Shakespeare, William. The Norton Facsimile of the First Folio of Shakespeare. Prepared by Charlton Hinman. New York: Norton, 1968.
Measure for Measure. A Comedy. As it is Acted at the Theatre Royal in Lincoln's-Inn-Fields. Written by Mr. W Shakespear. [With the text supplied by W. Chetwood, prompter at the Theatre.] Printed for J. Tonson. London, 1722.
Measure for Measure. As Performed at the Theatre-Royal, Covent-Garden. Revised by Mr. Younger, Prompter at that Theatre. An Introduction and Notes, Critical and Illustrative, are added by the Author of the Dramatic Censor [Francis Gentleman.] London: Printed for John Bell, 1773.
Shakespeare's Measure for Measure. A Comedy, Revised by J. P. Kemble; And Now First Published as it is Acted at The Theatre Royal in Covent Garden. London: Printed for J. Ridgway ...
And Sold in the Theatre, 1803.
Measure for Measure. John Philip Kemble Promptbooks, Volume 6, edited by Charles H. Shattuck. Charlottesville, Virginia: University Press of Virginia. Published for the Folger Shakespeare Library, 1974. This promptbook is a marked copy of Kemble's own 1803 edition of the play.
Measure for Measure. A Comedy In Five Acts by William Shakespeare. Printed from the Acting Copy, with Remarks, Biographical and Critical, by D--G. As now performed at the Theatres Royal, London. London: John Cumberland [1830].
Measure for Measure. Promptbook of Samuel Phelps for the (November) 1846 production at Sadler's Wells Theatre, London. This promptbook is a marked copy of the Cumberland edition of 1832.
Shakespeare's Measure for Measure. Promptbook of Henry Jewett for 1929 production of the Boston Repertory Company. Typescript based (in part) on Cumberland edition of 1832. In the Folger Shakespeare Library, Washington D.C.
Measure for Measure. In The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin, 1974: 550-584.
Shattuck, Charles H. , editor. The Shakespeare Promptbooks: A Descriptive Catalog. Urbana: University of Illinois Press, 1965. The section on Measure for Measure is on pages 269-275.
Sherbo, Arthur, editor. Johnson on Shakespeare. The Yale Edition of the Works of Samuel Johnson, Volumes VII-VIII. New Haven and London: Yale University Press, 1968. Johnson's "Preface" in VII: 59-113.
Vickers, Brian, editor. Shakespeare: The Critical Heritage, volume 4, 1735-1765. (London: Routledge & Kegan Paul, 1976): 110-112.
Vickers offers excerpts from Charlotte Lennox's Shakespeare Illustrated: or the Novels and Histories On which the plays of Shakespear are Founded. Collected and Translated from the Original Authors. with Critical Remarks, vols. I and II (1753); vol. III (1754).